Acid Mothers Temple,Stearica, Chambers of the Heart (Oxford 30/05/2010)


Hello Good People who still sometimes read this blog…

I return briefly to give a highly subjective account of a gig I went to at the weekend, that blew my mind and which has deafened me although I hope to regain my hearing gradually over the week (wear earplugs kids and don’t do as I did).

I decided on the spur of the moment to go to Oxford on Sunday to see Acid Mothers Temple.

I bought my ticket online, but shortly afterwards realised I was ill with a stomach bug and had a bit of a temperature, but decided to go anyway, these difficulties were  compounded by missing not one but two Oxford Tube coaches ( long stupid story). However I live with the philosophy that if something has many obstacles in the way, then the rewards at the end of it all are bound to be amazing so I forged my way to Oxford from London eventually.

The Bullingdon Arms venue was a bit grim but OK. Many posters about sniffer dogs and a ban on drug dealing, made me realise that I was probably not hanging out in the poshest part of Oxford but the low down and dirty experimental rock part, as it should be for such a gig.

The first act on were a young local band called Chambers of The Heart. I think they were a 5 piece band, it was hard to tell as they were playing in the dark, with only a film projection behind to illuminate them. Sounding like early Hawkwind, they were very loud and jammed continuously well, but in line with the age of the musicians, they sounded too well rehearsed and polished to actually be mistaken for a group who were creating sounds out of the air after taking a strange combination of far too many drugs ( i.e. early Hawkwind or any of the other 70s jam bands crawling out of the squats and back streets of Ladbroke Grove).

Chambers of the Heart had no vocalist but was fronted by a truly excellent female theremin player, who made this contraption her own by making it sing like a drunken but earnest Clanger. They sounded somehow slower  than Hawkwind, but compensated for this by having great swells of  loud energy and contrasting quiet peaceful bits.

I couldn’t find any youtube clips for this band but instead here’s their myspace:

chambers of the heart
http://www.myspace.com/chambersoftheheartgroup

Motorhead may have claimed to have “Everything Louder Than Everything Else“, but that’s only because Stearica was not playing live at the time. Italian band Stearica, have several pleasant-sounding melodic clips of themselves online however at this gig they were loud, forceful, speedy and raucous like this clip but much louder and somewhat faster:

Stearica 14/4/2008 ( in the spirit that I saw them play in)

Again there was no singer, but the drummer was the front man. He was the most manic drummer since Keith Moon , although this reference may now be outmoded. He asked the audience standing a few feet back from the stage,to come in closer, in a strong Italian accent. So I moved right to the front, but I had already become so engrossed in the music than I forgot to put in earplugs. Thereby injuring both brain and ears and experiencing the music in the same way as gorging a curry full of chillies and not much in the way of other ingredients.

The bassist played from a wheelchair, with energy and originality. A third member of the band played synth and guitar through two rows of pedal effects, but I was not able to hear him until the rhythm section stopped playing, and even  then, I wasn’t sure if what I was listening too was him playing high-pitched sounds or my internal screaming tinnitus.

However here he is on an occasion where he can be heard:

There was nothing subtle about this band, but also no boring moments,high-speed all the way through. At one point, in mid-song,the drummer got up and the whole band halted in suspended animation, which was surreal. They kept this up for some time until the crowds cheered enough for the drummer to start back up again and the others joined in perfectly in time. Pretty impressive. If I was running a psychedelic club I’d book them just for their sheer attitude and contagious enthusiasm.

By the time Acid Mothers Temple got on stage , I was already a bit deaf and had headbanged several thousand brain-cells out of existence ( now living in headbanger’s heaven). I was a bit worried that I would not be able to hear the next band or have any energy left to dance with. I needn’t have worried as they cranked up the volume of the Marshall amps even further, and the two guitarists standing in front of me, moved about as they played ,so that somehow I became possessed by a need to dance even more frenetically. I didn’t need drink or drugs, the music was enough to temporarily cure my stomach malaise and send me into a psychedelic trance.

The entire band was Japanese except for the bass player who had broken his arm and was replaced by a white guy with a poney tail and a moustache . He was a dead-ringer for a guy I used to know who was both a devout Catholic and a devout drug dealer with gangster connections.  This phased me initially, wondering if people who look just like other people, have similar personalities and lifestyles, but I digress. He was just a good bass player.

The lead guitarist was an artist. I don’t know his background but I could imagine him starting by learning to play Chopin from an early age and practising this for 5 hours a day and then graduating to Hawkwind, Hendrix, Pink Floyd and Steve Hillage in adolescence.

The front man with long grey hair, on guitar and synth, seemed also to have studied the greats. You note that I do not name them.I  know little about Acid Mothers Temple.

Of course I had heard of this band for some years , and knew that they had a connection with Gong, but the reason why I was at this concert was after a conversation in a London restaurant with some music students.

One girl, who is an excellent musician herself and generally a nice person, was taking the piss out of hippies as most people do. She was telling us about an Acid Mothers Temple gig she’d been to. She described them as being total hippies, who jammed for hours on stage, with a lead guitarist who did twenty-minute long solos, how everyone there was on acid and how there were hundreds of long-haired hippies in the audience either swaying or dancing crazily for hours on end to the loud psychedelic mayhem happening on stage. At which point I had to say “That sounds great!” even though she was criticising them. A music lecturer then helpfully told me that they were on tour and about to gig in Oxford.

I had heard some Japanese “noise” bands from clips on youtube, and this is what I was expecting, but Acid Mothers Temple was not only “noise”, it was bloody good music. It was not “original” music in Western terms, but blatantly imitating early Pink Floyd and Hawkwind jams, Hendrix , Steve Hillage, or other psychedelic artists, re-hashed (pardon the pun) and re-assembled into beautiful musical forms, sublimely executed by these crazed rebellious musicians. The riffs could be  a bit laboured and repetitive, but this had the effect of sending everyone into some kind of  trance. At one point I got slightly bored with the repeated riff  but then the bass player launched into the most amazing bass line in the style of Yes bassist Chris Squire.

But you can hear this for yourselves. A clip of  Acid Mothers Temple, this is one of their famous tracks ,Pink Lady Lemonade..wait for the bass to come in…followed a minute or so later by guitar solo (27 th march 2010 Vancouver)

Here is a little taster of them during a manic more disjointed phase of their musical performance from 2006:

The drummer was tucked away in the back but still drove the ever-changing speed and volume.There were phases in the music of light and dark, the pretty and melodic contrasted with piercing chaos. Feedback was used throughout as an extra dimension as well as prolific stage antics.

On several occasions, I expected the guitarist to smash his guitar to pieces in front of me and was ready to duck or catch it, if it landed in my direction. There were attempts at singing but due to the volume of the instruments it was impossible for either the audience, or the musicians to hear any vocals. At times,even the drum kit , which was being hit as hard as humanly possible, barely registered against the storm of surrounding feedback and electronic overdrive.

But hey, why have one drum-kit when you can have two?

Here is a clip of  Acid Mothers Temple ( with two drummers), doing a cover of a Steve Hillage track :The Glorious Om Riff Somehow they manage to shout the lyrics in a totally different key to the music, I don’t know if this is intentional , or just because they were deafened. Luckily they did not play this at the excellent Oxford gig I attended,as it is a bit painful to a  Steve Hillage fan, and yet it’s still brilliantly rebellious and entertaining. I assure you that they are much more “polished ” in 2010…if polished is the best word to describe them. Anyway Steve Hillage fans should play this clip from around 5 minutes in and see what you think of their cover version. Even later on in the clip, the band gets a tad nihilistic.

Acid Mother’s Temple with glissando guitar ( beautiful!)
14th April 2010 Kentucky

The final 30 minutes of the gig had virtually non-stop strobes. The lead guitarist threw his guitar around and then hung it up on the lighting rig, letting it ring out the feedback before leaving the stage.

Love ’em or hate ’em, the hurricane of electronic sounds and the dedication of the musicians to blow your mind into the ultimate psychedelic experience makes an “Acid Mothers Temple” concert an unmissable cathartic event.

It’s been three days and I still have some tinnitus in my ears, but all in all, that was the craziest psychedelic rock gig I have been to in 30 years.

There were no lyrics, no elaborate lightshows, no on stage choreography, but f*** me it was good.

Go see Acid Mothers Temple before you die, or they do (and bring earplugs).

Love and Peace

Born2rant

Steve Hillage and Gong at The Forum (27th November 2009)-A Review


Hello Good People who read this blog


I am recovering from my evening out at the Forum last night in Kentish Town ( in London for anyone who might be reading this in Estonia) to see Steve Hillage and Gong.

Our little troupe of Hillage/Gong fans started our  journey to the gig after lots of cups of tea and a supper of winter foods including of course our green vegetables. We trailed up the road happily like well-fed hobbits, ready to face the bright lights and commuters, but had to make a detour after a rather alarming  encounter with Orcs dressed in blue accompanied by their hounds of hell.

By the time we got to The Forum , The Steve Hillage Band was already on stage, playing “Love Guitar” ,one of my favourite soppy songs.  The audience didn’t seem quite warmed up at that point and so we reckon we must have arrived pretty much close to the start of the proceedings.

(double-click on the photos to see them in full-screen)

Steve Hillage Band-The Forum-27/11/2009

Left to right

Miquette Giraudy Keyboards-Synth-Backing -Vocals-Air Guitar and fun

Steve Hillage –Genius Electric Guitarist, Vocals.

Chris Taylor (I think! at least it’s him on the 2032 new album by Gong) – Drums with a zillion tempo changes

Mike Howlett-Bass-player extra-ordinaire

I know that Steve Hillage and Gong have played The Forum before in 2008, and that they have toured quite a bit in the past 18 months or so,but this is the first time I have seen the “Steve Hillage Band”. The last time I saw Steve Hillage  playing live in a “rock” band,must have been around 1979  or 1980 at The Hammersmith Odeon. Also to my embarrassment, I had never seen Gong live until  last night. Although I know their early albums and the fantastic Japanese import  “Gong Live etc.” (Virgin,1977 ) back to front. If you do not have this double album, try to get one.I got mine on vinyl as a Japanese import around twenty-nine years ago now, but still love it.

Steve Hillage and Gong fans are very difficult to get rid of, as we could tell from the average age of the audience, although there was a minority of teenagers looking blissful while cuddling with their significant others.

We didn’t go there to take photos or film, but we took a few pictures and short clips,like the two above . We went to  have a good time in the audience, not to film, and we did have a great time, my sore  feet, sore neck and sore throat (from singing and dancing along) are testimony to this, so I’ll stop writing now and put up some photos and clips enshrined in a couple of comments.

After the first couple of songs, the audience were warmed up and the crowd had swelled, in fact the place was packed out. They had made an early start and this had obviously caught some by surprise. Steve Hillage and his band were on form. Occasionally Hillage seemed to lose confidence with his vocals, as many singers do as they get older, especially if they have not been singing for a decade or two. If you listen to Joni Mitchell in the sixties and now in her sixties, her voice is totally different but it’s good, she has had to change her singing range and vocal style to keep it up.

In terms of guitar playing and performing, Steve Hillage is still at the top of his league. As the evening wore on, he just got better and better ( and better) playing complicated solos, with key changes, tempo changes, etc..

Here is a short clip Intro to Hurdy-Gurdy Man

He played some fast and furious guitar too and the band were great, but we were too busy dancing to film it! No doubt more footage will appear on youtube. Also Mike  Howlett’s excellent bass playing was mixed in a way that was not beefy enough , we wanted to hear it louder,and yet it obliterated a bit of the rest of the band’s sound, not sure how! I guess that’s what live music is about, it depends where you stand (and the taste and/or ability of the engineer).

The set was amazing and the crowd were ecstatic, a great lightshow too with inventive animations adding to the whole performance.

My only complaint about The Steve Hillage Band was that their set was so short. I would have been happy to see them play their first five albums from start to end and would have not got bored for a second or judged them if they had missed a few bits and improvised instead.

Personally I would have been happier to see the evening split equally between Gong and Steve Hillage.

An Interval of Rainbow Dome Musick , while we got our “healing” beer would have been ideal! ( I am joking…kind of)

However,when we saw the long set that Gong played with the same instrumentalists , we realised perhaps why Steve Hillage’s set was short but quality rather than quantity. When we arrived at 7.45 pm, The Steve Hillage Band was already playing and by the time Gong had left the stage it was past 11 pm.

Miquette and Steve ( Forum 27/11/2009)

There was a long break for drinks, just as well as it seemed impossible to get served ( hence the request for Rainbow Dome Musick at this point to keep us all calm). Only two bars on the ground floor, for thousands of people, the bar we queued up at only had one person serving, although after half an hour or so ,he was joined by two others.

The mood was jolly, lots of blokes, average age 50, many still with long hair or bald.But there were also a few women of all ages and also there were young, some very young ,teenage boys occasionally with young,very young,girlfriends in tow.

There is always a new crop of hippies germinating from any background. They emerge at around the age of 13 and by 16 they are either in a band or leading some form of alternative lifestyle with individual image to boot.These budding hippies who appear from nowhere decade after decade, will always gravitate towards the music of Gong and Steve Hillage.

Gong appeared on stage at around 9.15pm. They consisted of the members of  The Steve Hillage Band , plus Daevid Allen ( vocals and  guitar, and much leaping around), Gilli Smyth ( Vocals, “Space Whispers”, Goddess/Witch) and Theo Travis ( playing some rather excellent flute and sax).

Gong at The Forum 27/11/2009 ( minus Miquette)

We couldn’t help but notice that Gilli seemed older than the kind of woman you’d expect onstage with a rock band.We have been conditioned to expect only young people onstage doing weird rock music,  especially when it comes to women in a non-acoustic band.We are super-conditioned that only certain types of sexualised young women or alternatively young teenage rebel girls who shave their heads or dye it some extreme colour, will  be there. But I believe in breaking boundaries, most of the best classic bands are older, too old to rock and roll and too young to die? No! Get on stage, I say!

According to Wikipedia, Gilli Smyth, is 76 years old and used to be in academia, lecturing at the Sorbonne before deciding to do something all the more intellectual by forming Gong with her partner Daevid Allen.

Here is Gilli being a Witch on stage along to a free-form jazz jam from other members of Gong.

The Witch’s Song Performed at The Forum 27/11/2009  originally released 1973 on “Radio Gnome Invisible.Part One”

Daevid Allen is 71. But he bounces around the stage like a kangaroo on acid (and speed). Daevid has such a stage presence  that I can’t help but wonder what on earth he would do if he didn’t go on stage and dispel that energy. He is a jester with apparently boundless tigger-like energy. He definitely needs a stage to bounce on!

Gong- You Can’t Kill Me

Unfortunately the camera ran out of memory before being able to film Daevid in his special silver-white silk catsuit, embellished by CDs, or his “No one Knows I’m a Lesbian” T-Shirt, or when he chased Miquette around the stage, or was she chasing him, either way his energy was impressive.


Daevid Allen at The Forum 27/11/2009

Miquette having fun playing air guitar along to Steve (27/11/09-Forum)

There were times when Gong shouted and repeated the same line over like a cross between a sergeant major barking orders and the rat-rat-rat of a self-loading machine gun, which reminded me of war , riots and abrupt change. At other times, Gong intoned half-sung and half-spoken poems with themes of the collective unconscious and mythical archetypes in a free-from jazz jam, then planting  a strong melodic chorus , wherever and whenever it seemed the least expected. There were times when the music became ultra-psychedelic, the same repeated riff and beat, getting faster and louder with glissando guitars and excessive strobes, it went on in a cyclic fashion until it induced the brain into resistance or acceptance. I could not help but close my eyes to take it in. I felt like I was at some spiritual ceremony and that certain harmonious energies were being purposefully raised. I was pelted with rays of  white light and the sound of repeated musical mantras ,until I felt transported from the middle of winter, to a bright dance tent at some summer festival. People didn’t dance as much as they would in a dance tent though, but then we are older and we were tired by the end of the evening.

However there seemed to be some incredibly strong positive force present within the music. ..and I couldn’t help but notice that at the end of the evening, after a long encore and a very long gig,  Daevid Allen seemed to do a little ceremony to seal off each one of his chakra points, starting at his head and working his way down before leaving the stage.

Aha! I thought to myself , that’s where Daevid gets his energy from: rituals and chakras!

I am somewhat cynical about anything too religious, but they must be getting their energy from somewhere!

Love and Peace ( off to do yoga,meditation and find my chakras now!)

Born2rant

p.s. for more of a spiritual explanation click on Pete’s comment on the upper part of the left hand column of this blog or follow this link  to hear Daevid Allen’s spiritual vision for Gong( thanks again Pete).

http://vimeo.com/1626328

new readers to this blog  might be interested in this entry as well…

Steve Hillage always looking to the future: Part one from Hyde Park to Solfest


Steve Hillage Part 3 :Gone to Heaven and Found System 7


Steve Hillage Part 3 :Gone to Heaven and Found System 7
(something old , something new, something borrowed,something Green)


Hello Good People who read this blog! (sorry about typos I am still editing this!)

Apologies for the delay since my last entry.
Yesterday
I went to Heaven last night and saw System 7.

launchparties2c.gif
Preamble….
I have to say that I wasn’t in the mood to go to the album launch party. This was for a totally different reason. Recently I’ve been thinking of learning to play Congolese music on the guitar from a guy I met at a folk club ( The Green Note) in Camden called Nick Mulvey whose guitar playing is stunning. Yesterday afternoon, impressed by the Congolese style of guitar playing I’d heard Nick playing , I went online to find out a bit more about the Congo which is now split into 2 countries .
I read some deeply disturbing facts about “the war against women” in The Democratic Republic of Congo and it had put me in a mood of feeling just so naive about what is really going on in this world and how cut off and priviledged we are in this country.
I phoned up my son in Germany for some some encouragement to go to the gig knowing he would be very envious of my seeing System 7, Eat Static, and Alex Patterson and Slack Baba .

He told me that I must go and to wear something “funky” so I did! I wore something funky and totally untrendy that suited my hippie roots and I went.

I got there just in time as System 7 were already on stage. Steve Hillage was wearing glasses but they suited him ( I am being so shallow but honest! I wish I could think of a witty joke including the phrase ” should have gone to specsavers” but I can’t).

dragon-and-phoenix

I was feeling self-conscious at first alone in a rather over-the-top outfit at Heaven and decided that I would not and could not dance. However the music was infectious and I started to move and then once dancing I could not stop.
I recognised the beautiful “Hinotori” and “Song for the Phoenix” from the youtube excerpts .Others of my too-old-to-be-dancing-to-techno generation surrounded me going berserk in time to the music , including a guy who danced with me who looked exactly like Howard Marks I still don’t know if it was him.

Some of the crowd were young and alternative, others young and gay and not really familiar with System 7 et al, and mostly people in their thirties who probably used to go to Megadog but no one I knew apart from those on stage. I was half expecting to see Mixmaster Morris dancing there or some significant others but even surrounded by strangers I felt at home and sharing a common need to dance and celebrate life there and then.
Miquette as usual seemed to be enjoying herself smiling at the audience and making synth sounds. Steve Hillage played a lot of guitar and at times I just wanted them to take out all the sequenced drum beats ( sorry I know I am using uncool music terminology because I am a 60s and 70s music person) because I just wanted to hear the live guitar on its own.
There was a good lightshow with some interesting video clips but the music was the main thing for me.
There was a contrast of old and new. Some bits of rock guitar and psychedelic ” analog” sounding synth, some ambient phases and then the hardcore techno. But no matter what style and twists and turns the music made it was always colourful and multidimentional and never once got boring .

I confess that a lot of techno bores me senseless when too repetitive but this was not in that category. Furthermore rather than trying to be too cool/trendy to make an effort to relate to their audience Steve and Miquette frequently made eye contact with the crowd and smiled warmly.


Here is a bit from the album courtesy of System7 on Youtube “Hinotori

They played their new “Phoenix“album which has samples of old and new. “Hinotori” has bits of rock guitar riffs, with ambient keyboards and the “thumping bass”.

I’ll pause this assessment of the new System 7 album with a little rant about where I am coming from

In case you hadn’t guessed by now, I am not a “clubber” although I’ve been to a lot of club nights over the years. I’d so much like to hear a live bassist and drummer and percussionist with this music, but I guess then the bass-player would inevitably want to play something more complex and less trance-like than the simple one note on one beat and it would alter the experience. There is something about “repetitive beats” that switches off the endless chatter of the mind and waves of emotions and takes you into wanting to move and to feel the rhythm connecting in your body like a kind of physical euphoric meditation . However I still prefer a live band and emotions and the chatter of the mind over dancing .The experience of dancing to ambient/trance/techno music in a friendly atmosphere I can enjoy from time to time, it has its plus points, I can get on a physical and mental high without the use of toxic substances and sometimes make new friends, get fit but there’s no denying that I prefer live bands with songs, emotions, controversy, mayhem.

Now back to the gig/Phoenix Album…..

The celestial and very beautiful”Song for the Phoenix” (which you can hear on my previous entry or on youtube) starts with Tibetan bells and has guitar that sounds almost acoustic through reverb, there are many familiar sounds here and there and I wonder if samples for Steve’s works from the seventies were used in places. I wish I was more of an anorak and could tell you.
The dancing crowd went completely crazy as samples of Gong’s “Pot-Head Pixies” singing ” I am , you are , we are crAAAZEEE!”
were blended with industrial beats ( if they are not industrial then I was just guessing! I need my son to help me with the right lingo)

The atmosphere was fantastic and wildly energetic and there was room enough dance madly without injuring others too badly . I did not see any big fish or little fish just individuals inventing their own crAAAAZEEE dances to this Gong sample track called “Strange Beings“.
During other pieces there were episodes of glissando guitar and sometimes just mayhem but it was all good.
Towards the end of their set they were joined by Slack Baba and Alex Paterson creating interesting and at times maybe conflicting mixtures which seemed to be due to a short technical setback but no one minded as it was still good enough to dance to…and let’s face it … once you start dancing to this kind of music it is impossible to stop if the good vibe is still there.

Lastly Merv ( Eat Static) joined them on an electronic pad drums and played in his usual forceful way in control and master of any rhythm . He is really is an astounding live drummer.

I wish the 5 of them had gone on for longer but it had to end. There was a lot of cheering and shouting and handshaking, even minor stage-invasion at one point.
The last time I had seen System 7 was in the dance tent at Solfest this summer but the atmosphere was totally different here. In the huge dance tent it had been very loud, very heavy, very crowded and I had felt alienated in the noise , the stage seemed remote and I was surrounded with people dancing with a bit of an aggressive and drunken edge to it that time. Last night the venue was cosier, the crowd was smiling, joyful and the volume was not deafening and so the more melodic aspects of the music could be more freely enjoyed without distortion.
Afterwards Alex Paterson ( The Orb) did a set and the bass was cranked way up . Later still after 1 a.m. Merv on his own started a Joie-less set for Eat Static I would have loved to have stayed but this time everything was cranked way up on trebble and bass and all the middle frequencies too! and my ears without earplugs just had to be taken home, plus I’d danced solidly for two hours and considering I have just shed wearing a neckbrace after having an agonising neck I thought it wise to leave and stop dancing before I risked further pain and inflammation. ( I’m so boring I know but I did enough excessive headbanging next to bass drum speakers when younger and lost a little of hearing and braincells).

I had a sore neck this morning but it was worth it. Last night I felt euphoric without alcohol of drugs, or even friends, just from the music, the never-ending dancing and the friendly atmosphere. I’ll see Merv in Eat Static or the Ozrics another time.
I was so impressed with System 7′s gig that I bought the new album on the way home which is playing happy vibe music on my computer as I tap my little blog here.

I love “Makimura -Space Pilot“( track 8).

If you like the old Steve Hillage guitar playing but not keen on pounding techno BUY THIS ALBUM ! and then we can try to persuade them to do it on “Later” on BBC2
( with Merv on drums) .

Jools Holland would be perplexed by something that actually is innovative and vibrant and not like so many hyped up acts I’ve seen on that show. Steve Hillage could teach them a thing or two!

This is the cover of “Green” from 30 years ago definitely one of my desert island discs.Cover of “Green” 1978

Some of the elements of this new album remind me of Green are they samples or is it the spirit?
Now I am listening to “Wolf-Head“(track 9) which is written in collaboration with Eat Static it’s great too. It’s like rock and deeply chaotic synth weirdness , clever passages of dark, light and a guest appearance of R2D2.

They probably use samples from Eat Static tracks . If you happen to know where from tell us in a comment.
Go to this link to hear these tracks now

http://www.a-wave.com/system7/
then click on the title that says
PHOENIX New album released Jan 28th 2008 – MP3 page
and you can listen to all the tracks!
then support System 7 by buying their album.

Yes I am biased and any other reviews of any other bands will no doubt be far more critical.
I wish I’d had a camera or phone to take pictures but I didn’t think of it but there were plenty of people filming .

Next time a review of Steve Hillage’s live in 1979 DVD and rant on about Steve Hillage some more.

( at some point I will do a little thing about Cantlin Stone ..but not yet!)

Here is a sample of System 7 at Glastonbury 2007

If you are having trouble watching this press pause until it has fully downloaded.
P.S. I was so upset about what I read about the ongoing war in Congo that I joined Amnesty International today…long overdue. I hope in the future to do something more to help rebuild peace and the welfare of people in this country, the DRC or Democratic Republic of Congo. If you want to know a bit more even though it is harrowing to read then please go to these sites. I cannot believe this stuff is not in our mainstream news more often.
Article in The Guardian

http://www.guardian.co.uk/world/2007/nov/12/congo.international

BBC report in 2002
http://news.bbc.co.uk/1/hi/world/africa/2405563.stm

Amnesty International Article
http://www.amnesty.org/en/region/africa/central-africa/dr-congo

Steve Hillage: Part Two trying to reach number 7


Steve Hillage: Part Two trying to reach number 7

Hello good people who read this blog

If Steve Hillage had been a spy I am sure he would not have called himself 007 but maybe 777.
On the “System 7” site the contact e-mail is s777@a-wave.com. (oh but please don’t bombard them with spam!). There is also a page explaining why in the USA Steve and Miquette are called “777” and not “System 7” – because there was another band called System 7 of course. How confusing!
This obsession with the number 7 goes back a long way.
On his album Motivation Radio released in 1977 he has a Tarot card on the back. It is the card called “The Chariot” which is one from the Major Arcana ( spiritually more charged). Guess what number it is ?
Yes number VII or 7.
Plus in his song “ Light in the Sky” he sings ” In ‘77 the light shone in our hearts and in our minds”.
Once Steve and Miquette formed “System 7” they released an album called “777” in 1993, one called “Power of Seven” in 1996 and another album called “Seventh Wave” in 2001.
I haven’t looked at the track listings but I would be surprised if there weren’t any 7‘s there.

So if I ever got to talk to Steve Hillage for any length of time I’d want to know. ” Why all the 7s?”
Without him here to answer I am speculating that he and Miquette are probably into Numerology and possibly using the number 7 is a kind of symbol to help his music to generate the right energy and receptivity ( there are plenty of numbers in their lyrics and track titles not just 7).
I am not a numerology expert although I do know quite a bit about The Chariot tarot card.
Depending on which book you read it can be associated with a variety of concepts. Off the top of my head I would say it is symbol of Motivation, of either competing drives within oneself or different drives working together ( the horses drawing the chariot). The Chariot is going places that is why it’s associated with motivation and no doubt the album Motivation Radio. The driver is in control of the reins and the horses can symbolise sometimes conflicting emotions, or spiritual energies or subconscious impulses that work together to propel us to “Progress”. It is one of the “gateway” cards in Tarot which takes you a new part of a spiritual journey of growth.
My knowledge of Numerology is not good. I have problems with it.
Doing a bit of research online it looks complicated as there is Indian numerology and Qabalistic numerology and many other types. I once had my real name and date of birth calculated in numerological terms and I was told I was a was number 7 . They might as well have told me that the meaning of life was 42 . The meaning of who I am is 7 ! That’s 6 times 7.
But I am not a number ! (neither 6 nor 7) I am a free person!
Before I annoy everyone into numerology I’ll confess my weakness for the I Ching and Tarot both of which use numbers and random acts to gain insight into the psychic, emotional and spiritual undercurrents we may generate subconsciously which then can be interpreted in both numbers, symbols and ancient philosophies and archetypes.
Actually I guess that anyone reading this who is into numerology is probably rubbing their chins right now and have a big thought bubble popping out of their heads saying “Yes , well reading her blog I always thought she was a number 7!”
To which I sing back the lyrics Steve Hillage’s “Unidentified!” “Don’t put no labels on me, don’t you block my energy…so my spirit can be free..”etc..etc..

Yes I don’t want to be labelled by a number as that means I cannot change or be fluid in who I am.

Anyway I now realise I don’t need to ask Steve Hillage the seven question because someone else has.This is what Steve Hillage said in an interview in 2001( shortly after 9/11 ) to read the full interview please go to http://www.centralstation.com.au/articles/shownews.asp?newsid=692

” Numbers pop up a lot in your work, how important is numerology to you?

Steve Hillage: “We’re not number fetishists, but numbers do have a great symbolic importance and we’re also intrigued by things like sacred geometry, which also has a bearing on music. The number 7 is a number we particularly like and keen students of Steve Hillage albums from the 70s will find plenty of references there. We’ve moved away from expressing ourselves through songs and lyrics towards a purely instrumental form.”

What kind of ideas are you trying to put across?

Steve Hillage: “You can’t encapsulate it in a few glib sentences, particularly when you look at the state of the world now, which is pretty dire. As a musician, you have to honestly ask yourself what you’re doing and why. Ultimately the best thing we can do is put over some positive, genuine feelings and hope to influence people in a positive and expanded direction. That’s the only way people are going to sort the world out. I’m not making any claims about there being any particular power in what we do, but as musicians I’d defend what we do as being honest. We feel a natural inclination to associate our music with certain symbolic things, in order to try and tilt people’s awareness towards positive and beneficial things. Also, the experience of partying is not purely an escapist phenomenon; there’s actually a positive function in people expressing themselves to good music.”

So there you are but I still want to know more! Maybe I am making too much of this , maybe it doesn’t matter. But ultimately music and physics boil down to numbers. I feel that for me music is like a maths and imagery ( in lyrics) and sound imagery ..I don’t know this is nonsense but I’ll say it anyway: for me music is the place where maths meets the soul.

So here is a brief definition of the number 7 from a numerology website site
7 Spirituality, mental analysis, wisdom, fault finding, suppression”

Hmm…nope that’s too vague.
However for a fascinating and detailed description of number 7 go to http://en.wikipedia.org/wiki/7_(number)

So that’s my little rant about number 7 and Steve Hillage …a bit of a shaggy dog’s story really .
Here’s a poster for the London launch party for System 7’s new album at Heaven on the 21st of February click on image to enlarge. Be there or be a number 4! (square).system7.jpg

Before bed a bit of music!

This track “Song for the Phoenix” is from their new album which has just been released. I like what I have heard a lot . . It seems to me that Steve Hillage is turning his techno/ambient/trance into a more peaceful and melodic direction. This track reminds me of “Green”.

Next time I’ll be ranting and ambling a bit more about Steve Hillage. Ideally I’d like to interview him for my little blog one day. Have a good weekend!