Every Man and Woman is a Star

 

„Was the title – Every Man And Woman Is A Star – a conscious nod to Aleister Crowley?

Yes. I think we liked the idea of the all-inclusive slightly hippyish sound of it, but it coming from quite a dark, esoteric source.“

from a Interview with Paul Hammond on Ban Ban Ton Ton

„We would like to dedicate this album to Dewey, whose spirit pervaded the sessions and who will be fondly remembered by us all for his kindness and his wisdom. It was on a late summer evening at Dewey and Cassie's place in Sweetleaf County, Arkansas, that the seeds of these songs were sown.

With a belly full of Cassie's hog-roast and a head full of Dewey's moonshine, talk turned to music. Dewey said "There is music for the body and there is music for the mind. Music for the body picks you off the floor and hurls you into physical activity. Music for the mind floats you gently downstream, through pleasurable twists and turns, ups and downs, rapids and calm waters...

And sometimes there is music for the body and for the mind."

After a few more bottles and some fine bearclaw, we made our way up to the ridge to take in the night air. Looking up at the sky, Dewey said, with a tear in his eye and way too much booze inside him, "Every man and woman is a star." His comment passed us by at the time, but these words stayed with us and gradually became our focal point during work on this album.“

- from the inlay cover of Every Man and Woman is a Star - 

Who can say why and why one was interested in this or that thing in one's life? Why you read this book, or another one, or whether you read books at all, or whether you liked music and what kind. You are certainly influenced by your parents and friends and were dependent on their understanding of culture before you discovered and followed your own path. It's difficult for me to attribute my interest in this or that music, or my preference for certain authors and films, to these influences. There must always have been something of its own there that emerged at some point and found its way. For me it was electronic pop music, OMD, Heaven 17, Depeche Mode, New Order & Cabaret Voltaire, later acid house, ambient & dub and everything else developed from that. The music itself was my biggest influence, and the radio DJs who shared the music with us. I owe more to John Peel or Monika Dietl than to any living person around me. And I'm glad it's this music & not death metal or classical music from the 18th century. Fans of this music will probably think the same as me.

In 1992, a friend and I were sitting in our sparsely furnished apartments, each our first apartment after moving out of our parents' homes, and listening to the album by a band called Ultramarine - which had become our attention through reviews in magazines - “Every Man and Woman is a Star.” We both grew up with the pop of the 80s, but while my friend, after an initial interest in house music and techno, including visits to the relevant clubs (Tresor etc.), increasingly felt drawn to Prince and Eros Ramazotti, I kept going the electronic route. Calexico, Tindersticks and so many other things came much later. And the realization that all this music found space inside me.

“Every Man and Woman is a Star” was an album that we both agreed on pretty quickly. I don't know how this friend feels about this music today. This album has never left me. An incredibly enjoyable album that contains everything I like.

Acid, ambient, pop, summer meadows, field recordings, nature sounds, wonderful voice samples.

Ian Cooper & Paul Hammond remained from the post punk predecessor band “A Primary Industry” and named themselves after the only album that came out in 1986: Ultramarine. 

Their first album “Folk” already contained many elements that distinguished EMAWiaS, but it was only with this second album that everything came together in a perfect way. The band now worked heavily with samples and continued to include acoustic instruments, but also a 303 / 808, which would become crucial for their sound.

„All sun-ripened, meandering lassitude and undulant dub-sway tempos like acid-house suffused with the folky-jazzy ambience of the Canterbury scene." As well as the sublime single cuts Stella and Saratoga, the album offers a mesh of acoustic textures underpinned by a sometimes dubby, sometimes upfront beat. It's a lavish mix of light yet infectious rhythms and mellow vibes, recalling lazy afternoons and bright summer seascapes. Largely instrumental, the album also features lyric snatches from Kevin Ayers and Robert Wyatt, while on Stella the found voice speaks to the "deepest part of the soul." "It isn't really techno music," confesses Ian. "We use the shape and form of dance music but use different acoustic sounds. It's the sort of stuff which seeps into you."

• Simon Reynolds/Energy Flash - 

https://www.discogs.com/master/33359-Ultramarine-Every-Man-And-Woman-Is-A-Star

Mountains have Ears

 

In the series, "I didn't expect that" today as a follow-up to yesterday's post another obscure example. David Pajo, formerly a member of Tortoise, Slint, The For Carnation, Gang of Four and, and, and ...and solo as Aereal M, M is the thirteenth Letter and especially as Papa M, brought after the pretty convincing albums “Live from a Shark Cage", which exclusively contained lush guitar instrumentals & the Bill Callahan/Smog related "Whatever, Mortal" released the singles compilation "Hole of Burning Alms" around 2004, which in turn contained almost exclusively reserved instrumentals and ballads. 

Around the millennium I discovered a lot of new music. The umpteenth Summer of Love had long since passed, I was no longer particularly interested in current electronic music, but when I did, I would like to go back to the beginning of the 1990s, as I do today. 

And so there was suddenly a lot of space for music like Tortoise, Smog, Calexico, Papa M, but also for Labradford, Piano Magic……

“Mountains have Ears”, track 5 of Hole of the Burning Alms, suddenly brought me back to 1991/92 or 93. A flutey, floating melody runs through the track like a red line, a line that I am too happy to follow am, a light, pleasant acid melody and very light guitar tones come to the aid of the track and bring a big grin to my face and make me press repeat several times. 

A beautiful summery soft acid track in the mood of Ultramarine's "Every Man and Woman is a Star" or Sadie Glutz's "The Meteorite" or "Zorg". Always kind of a good man, but I wouldn't have expected that from the great David Pajo.

Those are probably my favorite surprises when it comes to music.

https://papa-m.bandcamp.com/album/hole-of-burning-alms

„Critical consensus dictates that what made the music of Louisville so vibrant in the early to mid-1990s has since exhausted itself. Descriptors like “brooding atmospherics” and “textured soundscapes” have, over the course of a decade, turned into weary pejoratives, coded phrases that warn of plodding, repetitive guitar figures and prog-rock bombast. It’s an unfortunate fact because, hype aside, bands like Slint and Rodan, Chicago’s For Carnation and Tortoise, all made great records in the early to mid-’90s, suggesting bold new directions for punk-obsessed indie rock. Most of these bands only released a full-length or two, but they left the door open behind them for lesser bands with similar ambitions to saturate small venues and college radio airwaves. Value systems have since shifted – it’s the nature of the game – and these days ’90s Louisville sleeps like a time capsule buried deep in the earth, awaiting resurrection in the form of a 5-cd retrospective box set ca. 2030 or so. 

David Pajo – with Millions Now Living Will Never Die, two Slint full-lengths, the first For Carnation EP, and some Palace singles (among many other collaborations) – has appeared on more records from this period than anybody else. He’s also recorded some of the scene’s best music himself, releasing it under names like M, M is the Thirteenth Letter, Aerial M, and Papa M. Thankfully, his teaser for the 2030 Louisville/Chicago box set has just arrived courtesy of Drag City in the form of a singles collection spanning the years 1995-2000. Among other things, Hole of Burning Alms serves as a reminder that Pajo’s subtle guitar tone was indispensable to the cacophony going on around it – the mortar between the bricks of Slint’s howling crescendos, the muted, earthly anchor for Tortoise’s taut, post-modern groove. Pajo’s early style is distinctive; he presses a hot iron to each of his notes, smoothing them at their ends, pausing a half-second too long, shifting the mood from calm to ominous and often back again. There’s an intense focus to his earliest singles – “Vol De Nuit,” “Wedding Song No. 3,” “Vivea,” and the other songs comprising the first half of Hole of Burning Alms – that places them in the company of his finest full-length, Live From A Shark Cage. They rumble and quake with a lumbering low-end fury, then slip slowly into a quiet, chiming melody. At face they seem straightforward, but their push-and-pull is dazzling and prismatic. 

In 1998, Pajo pulled an about-face on the B-side to his October single by covering The Misfit’s “Last Caress.” It was the first time he’d sung on tape, and the results are chilling. A hushed guitar line and some short-wave radio hiss barely props up Pajo’s quavering voice, but Danzig’s lyrics do more than enough of the talking. It’s the single best non-instrumental Pajo track, and save for Live From A Shark Cage, much of what’s come since (and much of what follows on Hole of Burning Alms) trades a reliably laser-like focus for a mixed-bag of impromptu odds and sods. His contribution to the Travels in Constants series, for example, couples guitar effects with thumping, generic techno to no real end. “Up North Kids No. 2,” on the other hand, is a fine second take on the track from Shark Cage, balancing the original banjo line with a meatier and more satisfying bass. The song manages what much of Shark Cagedoes well, which is to infuse delay-pedal noodling with a smoky, backwoods vibe (banjo and hollow casket thumps). Burning Alms eventually saunters to an end with a sloppy 16-minute instrumental overkill of the Byrds’ “Turn! Turn! Turn!” and a bubbling, synth-based Christmas tune. Nothing special.

Pajo presents Hole of Burning Alms as a journey through time, and this approach organizes his material effectively while also reflecting the breadth of his solo career. Like his full-lengths, the singles from 1995 to early1999 suffer a bit from uniformity, but they muscle through on the strength of their precision and detail; in other words, they’re uniformly great. The second half of the singles comp, like Whatever Mortaland Papa M Sings, demonstrates an increasing restlessness, a desire to capture an off-the-cuff aura, but the drawbacks to that approach are more significant. Still, Pajo’s solo material is some of the best to emerge from one of the ’90s most inventive centers, and he’s one of the few Louisville alums still recording with any kind of regularity (he’s already released two new singles since the beginning of this year). No doubt Hole of Burning Alms will serve well as both a primer and an easy way to play catch-up.“
By Nathan Hogan