Love & VVords
It’s about time for a short break and so I would begin this week by letting you know that I shall be off running with wolves in the Amazon or something for the next fourteen days or so. Well, that was the plan originally, if by ‘running with wolves’ you interpret either some form of jaunt to Split or ‘looking at spas and ruin bars and record shops in Budapest. Neither of those things are happening now and so I am resigned to, ready for and quietly satisfied with the prospect of wandering this city with a camera and no particular place to be. Someone is apparently working on Catlantis, which - I mean, well done on the name - is a new cat cafe on Planet Marylebone. It’s coming this year but I can’t find concrete details as to when. Perhaps it’s now? It could be. I’m not even one hundred percent on the location although I did try opening the location data and was briefly subjected to the horror of accidentally opening Apple Maps. Mine eyes.
The Real Harley Quinn and I went to see that new Leonard Cohen film at Rich Mix the other day, mainly because that was the only place cool enough to be showing it in close proximity to our regular stomping grounds. A couple that paint had recommended it and even gone so far as to claim it was beautiful. 'Marianne & Leonard: Words Of Love'…where to begin? It’s a movie that embraces its imperfections and imperfect characters because life is imperfect and complicated and messy. People are not always inherently likeable or even good people all the time but they are real and Nick Broomfield did an incredible job of pinning that down. There is a story about the rights & production of ‘Hallelujah’ that does not sit well. The Super 8 esque footage is stunning and stuffed to the brim with wonderful light which complements what is a suitably stunning soundtrack. It’s an honest movie and earns its ending well. You should go see it and fortify thyself. Well, try. As it turns out, they took no prisoners whatsoever in that regard and very few people were immune to the strings pulled before curtain fall, despite everyone knowing full well where we were headed. Most tried to leave the screening in prompt fashion, so as to beat the lights and I was one of them. Ultimately, we spent the remainder of the afternoon in something of a daze and I don’t know why anyone wouldn’t want to love in a yurt for the remainder of their time together on earth.
V was indeed in the shop last week. At least, I think it was last week. Time has become fluid again in the run up to this August break thing and there are more plates than sticks to spin them on. Either way, we had a chat about his thing which is an acting thing and photography and perhaps even writing. In the process, I did attack him with various cameras, specifically a pair of 35mm disposables - one in colour Kodak and the other in b&w Ilford - as is my habit. While these shots are not even close to what might be collectively termed ‘headshots’, I caught him good and I caught him best in mono. My favourite one would be that mid-convo / out the window / Dylan’s glasses shot, most likely because he was in the middle of something that he found of interest, even if I was busy in the watchtower for his soul. As it turns out, we’ve both recently taken custody of a pair of late 70s Canon AE-1 Programs in near mint form and there might be a couple of good days left in summer for park shots and the like. Floated in tandem, was the suggestion that we might haunt a studio and snap fuckers there…or even a particularly buzzy public house. Imagine something akin to those Wandsworth/Muswell Hill pram clubs, only it’s two guys and instead of babies it’s cameras.
Mixing is in full swing. You could very nearly say that we have a final mix of ‘Chupacabra’ in our hands. You could say it and it would very nearly be true. We seem to be sticking to our original plan of a mix via mail from T, followed by notes, followed by a sit-in session with Mr Rigot and I, followed by a further mail mix, further notes and then one last session in person to hammer out each track. That’s about a week’s turnaround and things tend to heat up after tracks one and two and you start to see the general shape and sound of the record as a whole. Mr. Miller’s station is robust and he was kind enough to take Bass through some rudiments in between work on the aforementioned track. We have a number of tools available to us re compression and a similar number of units responsible for things like guitar delay in post. In fairness to me, I was given the option between either Teo’s longest serving, most reliable rack module or the (for want of a more apt term) sewing machine.
What was I gonna do?
JD - TACOCAT
[Props to IMDB for the thumbnail image.]