The Discovery Of A World Inside The Moone

As far as I know this is the only album in my collection named after a 17th-Century treatise on speculative astronomy: specifically John Wilkins' The Discovery of a World in the Moone: or, A Discourse Tending to Prove that 'tis probable there may be another habitable World in that Planet (London, 1638). It's not at all obvious to me why the band chose that title: some of the songs' lyrics hint at otherworldly shenanigans, but I don't recall the moon being mentioned anywhere in them.

My belated exploration of the œuvre of the Elephant 6 artists had led me to The Apples in stereo ca. 2004. I bought Tone Soul Evolution (1997) which I enjoyed, and then Her Wallpaper Reverie (1999) and Velocity of Sound (2002 - thereby skipping over The Discovery...) neither of which held as much appeal for me, so my exploration of their catalogue stalled at that point. Only a few years ago did I return to their music, discovering that I very much enjoyed The Discovery..., and outright loved their 2007 album New Magnetic Wonder.

I suppose one could call it subtly psychedelic retro pop music. Beatles and Beach Boys influences are obvious, with a dash of added Motownesque flavouring. The production, courtesy of main man Robert Schneider, is clean and vivid. Drummer Hilarie Sidney wrote (and sang on) two numbers, the remainder being Schneider's handiwork. My favourite tracks include the opening three: 'Go', 'The Rainbow' & 'Stream Running Over' and, further along the running order, 'Allright/Not Quite' & 'The Bird That You Can’t See'. If it weren't for a couple of weaker tracks, this would be an outstanding album, rather than just a very good one.

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All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Complete String Quartets

While the string quartets of Nikolai Yakovievich Myaskovsky (1881-1950) were all published in the Soviet era, a few of them had pre-revolutionary origins. Two quartets he wrote in 1911 and '09 while a conservatory student re-surfaced some twenty years later designated as Quartets Nos. 3 and 4. An even earlier "schoolboy" piece was later re-worked more radically as Quartet No. 10, premiered in 1945. Myaskovsky partook of an ample share of the turmoil and tragedy of his times: he was wounded and shell-shocked after service on the front line in World War I, and his father, who had been a high-ranking military engineer, was brutally murdered by a revolutionary mob. Despite that, his music, even at its most sombre, hasn't the black bile or biting sarcasm of Shostakovich's, or of his friend Prokofiev's. Of the works collected here, in excellent early '80s performances by the Taneyev Quartet, only Quartet No. 1 has any significantly metallic tang of early S...

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