• The Castle Of Crossed Destinies

    3 mai 2011, 20h33m

    the first of the month is always a joy as it means a new edition of the the mixtape club.
    may's edition SESSION 021 includes a selection from LustrousChemistry entitled The Castle Of Crossed Destines, which is a collection of askew electronic/avant pop with slight gothic undertones. please have a listen to it as well as all the other splendid mixes at http://www.themixtapeclub.org


    The Castle Of Crossed Destinies
    by LustrousChemistry

    01 / Die Slow (Tobacco Remix) / Health
    02 / Fresh Hex (feat. Beck) / Tobacco
    03 / We Are The Plague / Snowman
    04 / back from england / OLO Worms
    05 / Wor / Django Django
    06 / Sailor Itch / The Intelligence
    07 / Seas of Green Glass / The Saffron Sect
    08 / Wasted by the Screen / Pill Wonder
    09 / Creeping / 2:54
    10 / Soft Room / Lorn
  • Blown

    9 mars 2010, 14h17m

    I have just uploaded a new LC mix called 'blown' to the sound page of my website http://www.lustrouschemistry.com/soundstage.htm it's an agressive mix of psyched-up fevered guitars and lo-fi garage blues. hopefully you will enjoy it, in the way you might a bad dream.

    these mixes and soundscapes will become a regular occurrence at LustrousChemistry so check back in a month or two for the next instalment.

    also if you know of any friends who might appreciate my artwork make sure you click "suggest to friends" on my LustrousChemistry Facebook FanPage http://www.facebook.com/pages/LustrousChemistry/110349856643
    cheers! you know I reciprocate.

  • Fall Setlist 19/11/2009 Mr Kyps Poole

    28 nov. 2009, 11h49m

    Thu 19 Nov – The Fall, Audioporn, DJ Gruppe!

    Your Future Our Clutter (?) / Strangetown / Wolf Kidult Man / Cowboy George / I'm Not from Bury / Wings / Sloppy Floor / I've Been Duped / Scenario // Psykick Dancehall / Mr. Pharmacist / Blindness // White Lightning // Reformation

  • Fall set list

    22 nov. 2009, 12h49m

    Sat 25 Jul – Under Canvas

    Bremen Nacht / Terry Waite Sez / Frenz / There's a Ghost in My House / Tuff Life Boogie / L.A. / Mark'll Sink Us / Mr. Pharmacist / Australians in Europe / Oswald Defence Lawyer / Hit the North / Lucifer over Lancashire / Hey Luciani
  • Not Droning, But Waving

    4 avr. 2009, 13h58m

    Fri 3 Apr – The Wave Pictures, Planet Earth, jay newton

    These guys are incredibly good live. Engaging, energetic, and wry. Live, The Wave Pictures bring a whole new dynamism to their songs that I perhaps had overlooked when first hearing their recordings. They manage to take the mid 80's guitar pop sound and make it their own.
    With a host of lazy reference points that include Violent Femmes' staccato posturing and early The Smiths lyrical lilt, it would be easy to write them off as a pastiche, but as proven at this South Street gig, their relaxed but fully -present stage presence and informal technical panache help lift them into musical territory that is of their own making.
    Their set comprised of a number of songs that were suggested by the audience and also included songs from their imminent album If You Leave It Alone. I will await to hear whether the new recording can capture their live gauche glory.
  • Pop Stars Explain Science #001

    23 mars 2009, 17h42m

    Pop Stars Explain Science


    Robbie Williams ON ENTROPY

  • Fully Prepared

    22 mars 2009, 23h43m

    Thu 12 Mar – Hauschka, love.stop.repeat, Om Corporation

    Sometimes when you attend a gig or a concert you realize that you are witnessing something special. It doesn’t happen all the time, just every now and then. At such a gig you become conscious of the pieces adding up in front of you. It doesn’t need to be a big venue or a large audience, but sometimes particles of excitement start whizzing around the space. These particles join with others to form bigger particles. Suddenly you are aware of atoms of excitement silently humming with anticipation.
    This was the feeling that pervaded South Street Arts Centre in Reading on Thursday 12 March as Hauschka appeared on stage.

    Although I was aware of what a prepared piano was, I had not before enjoyed one live and its intriguing skeleton on stage invited the contemplation of what might happen next. A prepared piano in case you have not yet stumbled across one is an ordinary piano that is opened up, with its insides laid bare. The mechanics, the hammers and the strings are disrupted by objects such as sticks, pieces of metal or, especially useful tonight, gaffer tape, placed strategically on or in between the strings. These disruptions then radically affect the sound that resonates after the piano keys are depressed. The piano has always been a somewhat percussive instrument but with all the insertions and add-ons, a prepared piano takes this idea to an excitingly extreme level.

    The prepared piano is not an altogether new phenomenon and has been famously employed by John Cage as well as Erik Satie, and harpsichords have been “stopped” with pieces of paper since the 19th Century, but its engaging sounds are not widely heard today. I am no musician but I feel as if the prepared piano requires its pianist to possess a special personality, so as to exploit its rather left-field qualities. A very special personality that is able to at first revere the grand legacy that piano music carries and then in the next instance shake this cloak of reverence to the ground. It is a very special personality that Hauschka possesses.

    Hauschka’s compositions can be compared to Erik Satie or contemporaries like Yann Tiersen or even Sufjan Stevens. His playing is very subtle, light and even pretty at times, but this prettiness, which can often sound like a slight to a complex personality, is turned into a more substantial beauty by the mechanical intrusions of the prepared piano. As far as I can work out from observing Hauschka’s performance most of the keys allow conventional notes to be played, but certain keys act as triggers for the special mechanisms that play the metallic or wooden attachments. Hauschka’s talent, as I see it, is to balance an exquisite melody with well placed percussive refrains that allow for repetitive elements to form a crystalline quality that shines from the stage. The patterns that grow from the piano are reminiscent of work by Steve Reich but can also take on the form of glitches that populate modern electronica. The analogue nature of the glitches imbues the compositions with texture and warmth as well as excitement. They also allow for an element of theatre to creep into the performance. At one point he uses a wind-up bird to tap against the side of the piano like a delinquent metronome. The theatre is brought to climax when the sounds made by the tape and objects being torn from the strings during one piece, adds to and contrasts with the notes being played on the keyboard, showing the prepared piano at its most extreme as well as marking its end in the performance.

    Throughout the evening Hauschka was able to engage and surprise his audience. His genial stage presence belied a great talent for making extraordinarily complex pieces sound simple and clear. It is an incredible feat and this outward simplicity is not generally employed amongst performers, but it was this that marked the evening as special right from the beginning.

    Hauschka is currently performing in venues dotted over Europe and America and if you live nearby be sure to attend. The experience is something special.
  • Pop Music. Pop Mantra.

    20 mars 2009, 22h28m

    Could it be possible to avoid pop music, even if you wanted to? If you ignore it, it is still there. It's on the television; in programs unrelated to music, and between the programs; it’s in the adverts. You find it on mobile phones, computer games, and at the cinema. Walk into any shop and there will be music playing. Hear the bass thump from a passing car or a tinny tickle from that person next to you on the bus. The only way to avoid it would be to remove oneself from society and make yourself at home in the hills. But even then there is sure to be a festival pop up in the field next door, and there you go again. It follows us wherever we go like some abstract gene; part of us but also outside us. We almost become immune to it; no longer noticing as it plays incessantly, like the buzzing from a refrigerator that we fail to hear until we are shocked by the silence that is left when it suddenly stops. As soon as we become immune to it, pop music pounces. It strikes at our heart and gnaws at our memory. It defines our schooldays, our holidays and our first kiss. It reminds us of that drunken night in a town we wish to forget. It becomes a land marked map of our life that unfolds sideways and stretches back to our dawn of consciousness.
    It categorizes who we are; this is my music someone will say when they hear a style that they like. This is my music. But it isn’t, is it? Someone else has written it and someone else has published it and above all someone else has the copyright. It is theirs not yours. But this cannot be true can it? There is something incongruous about the ownership of music. It is created by musicians, certainly, but the musicians need an audience for it to exist. There is a requirement for music to fill firstly ears and then the brains of its suspecting (or otherwise) host. If no host is found; the music dies. For it to thrive it needs symbiotic parents; one to broadcast and one to receive. Male and female. Then like a swarm of nanobots the music is unleashed into the world, fixing and refining and then replicating itself. So sophisticated is it that it also sets about creating more parents; more musicians and more audiences. Its longevity is assured.

    In celebration of this phenomenon, LustrousChemistry has uploaded a
    sound installation to LustousChemistry.com. You are invited to spend a
    few moments contemplating the miracle of Pop Music’s natural history;
    its essence and its science.

  • Ourobouros

    20 fév. 2009, 9h35m

    If pop does eat itself, then surely by the same token it must shit itself too.
  • Back to The Future 4

    17 fév. 2009, 18h02m

    I have just been browsing through some old Smash Hits magazines
    from 1982 in an attempt to research a personal project that I'm trying to
    pursue. 1982: I was 13 years old and it was the time I first discovered
    the kabala of pop music. No longer was pop music just something you
    heard on the radio it suddenly became something that was important.
    It became a way of life, no it was more than a way of life, for me
    it was a Bushido. Instantly, there was a strict code to adhere to,
    there were things you did and things you didn't do. Through the
    pages of Smash Hits coolness was at hand. It was simple you just had
    to follow the instructions, like the bands that were cool, wear the
    badges, have your hair cut a certain way. From out of nowhere there
    suddenly appeared the way to deal with all the anxieties of upcoming
    teenage life, and it was available to me, bi-monthly, for 38p.

    Looking back at it now it all seems pretty laughable, well it was the
    Eighties after all. But as funny as it all seems to me now, glancing back
    through those pages, I can remember how important it all was and also
    how much of what I experienced in those pages has made me, for
    better or for worse, who I am today.

    Pop music is linked with rebellion and free-thinking and doing things in
    a new way but looking back now this really wasn't the case with Smash
    Hits, or my 13 year old self for that matter. Of course all the above
    played a part, but more important, I think, is the feeling of belonging,
    but belonging on your own terms.
    I think the main thing Smash Hits gave me was a sense of my own
    integrity, there was a code to follow, but by following it through there was
    a sense of achievement that I had not felt before, not in school and
    certainly not at home.

    Anyway reminiscing can be fun, it can show you how far you have
    travelled or how little you have changed. Browsing the pages with
    adverts, posters and reviews of yet to be superstars or now forgotten
    has-beens is a great way to appreciate the context of your life now.
    What amazes me the most while looking again at these pages is how
    nothing ages faster than the new. Also how many of the adverts I
    remember, like they were printed yesterday, especially the adverts for
    the new technology of the time.
    New technology is important, it means you are going somewhere. It
    means you have a future. So just about 5 years after the Sex Pistols
    extolled their nihilism in God Save the Queen, here was TDK,
    The Human League, Wham, and Panasonic showing us the opposite.
    The future was going to be great and I wanted to be part of it.

    So here are a few of the adverts for stuff that kept me moving, from the
    marvellous "Music Muff" that I would never own, no matter how much I
    lusted over it, to my first computer that got me here today.

    The Music Muff!!! How cool is this??

    TDK, home taping is killing music, don'tcha know??

    In the days when pocket calculators were cool!!(??)

    Wow! who wouldn't want a walkman that slotted into a boom-box??

    Ah I'm getting all teary-eyed just looking at all those pixelated screens.

    And also as a treat, here is what Neil Tennant of the Pet Shop Boys
    used to do for a living; he was the editor of Smash Hits and on occasion
    he would review the singles.
    Hey, don't you like his encapsulated one-line style?