Nell'album Knows Time, Knows Change (Fledg'ling Records, 2017) che ne ha segnato la ripresa delle attività dopo vent'anni, il gruppo Daphne's Flight - Helen Watson, Melanie Harrold, Julie Matthews, Chris While e Christine Collister, a vario titolo nomi di spicco nell'ambito del folk-rock britannico più eclettico ed elegante - ha inserito una versione di Shipbuilding derivandola a loro dire direttamente dall'ascolto di Robert Wyatt (e non cioè dalle 'colleghe' June Tabor o The Unthanks, per esempio). Il brano è parte anche del loro repertorio dal vivo: https://www.youtube.com/watch?v=Q0xfBOV2XS8

https://www.daphnesflight.com
http://fledglingrecords.co.uk/product/knows-time-knows-change
https://mainlynorfolk.info/folk/records/knowstimeknowschange

Ora è pronto a svelare tutti i suoi tesori, disseminati lungo trent'anni di musiche secondo un arco evolutivo ampio che ha condotto dal solo (Downtime) al trio (Just Woke Up, Hangman's Hill) al quintetto (Go Figure), con due ulteriori antologie di inediti (It's All 'Experimental') e un libriccino che racconta a più voci mille storie, criptostorie, retroscena (e qualche disavventura): The Peter Blegvad Bandbox.

ReR released the first Peter Blegvad Trio LP in 1988 and since then there's been a new one along about every 10 years, the latest adding Karen Mantler and Bob Drake, so it's a quintet now. In between, the trio toured Europe, America and Japan, did various projects and mounted a music-theatre performance. 30 years in, it seemed timely to collect everything together, add unreleased materials from concert recordings and out-takes, and write a fat illustrated book to tell the story so far. That box does this. In addition to the original releases, now re-mastered by Bob Drake and comprehensively repackaged, there are two full CDs of unreleased materials - and the book. That's 72 pages of documentation, recollections, reactions, insights and testimony - alongside priceless drawings and photographs, and all presented in a beautiful sturdy box. The trio was part of the fallout from the merger between Henry Cow and Slapp Happy in the mid 1970s. Once they'd unmerged, Henry Cow's bassist John Greaves joined Peter in New York to make Kew.Rhone - at Carla Bley's Grog Kill studio (which is where they met Karen, who X years later joined the band). Drummer Chris Cutler, also from Henry Cow, masterminded and released Peter's first independent recording, during the execution of which the trio instinctively came together. Since then, whatever other projects the three may have been engaged in (and there have been absurdly many), they kept coming back together to play Peter's songs. A proper artist: his songs have been covered (amongst others) by The Fall and Loudon Wainwright III - and have featured in movies; his cartoon series Leviathan ran in the Independent on Sunday for a decade [Peter Blegvad's comic strip is one of the greatest, weirdest things I've ever stared at. Matt Groening]; he's a regular on BBC Radio 3's The Word and author of several experimental radio dramas; his paintings appear in galleries and his stories are published in books. This box brings all the strands together - with additional help from B. J. Cole, Adam Philips, Eddie Reader, Loudon Wainwright III, Syd Straw, Phil Shaw, Geraint Watkins, Stoffer Blegvad and Jakko Jakszyk.

https://tinyurl.com/ydelc4wj
https://www.spincds.com/the-bandbox-6cd-box

Sean Kitching dipinge per The Quietus lo strano strano mondo di Charles Hayward, e ne parla nel contempo col diretto interessato. Da lui si fa dire tra l'altro dello strepitoso set solitario proposto dal vivo per anni tra la gioia e la meraviglia del pubblico di mezzo mondo - tra Abracadabra Information e One Big Atom più o meno, ma in epoche anche precedenti - prima di suscitare analoghe reazioni con il più recente, affatto diverso, 30 Minute Drum Roll: "I started to wonder how I could play drums and sing, and not do it with other musicians. So, I devised this system, where there are no click-tracks and in fact nothing is in time with anything else. I came up with a system where I had a collection of foot pedals, which controlled volume and then I had these taped signals which could be up to nine minutes long, which were built and tailored specifically to the song I was making, and as the song changed I’d take some sounds out and bring other sounds in, related to the harmonic shifts and I would bring them in and out in relation to the drum beat and the vocal line and people would think that everything was to a click-track. If I was playing a bass part, when I recorded the bass part, I would be thinking along the lines of a constantly shifting pulse, so there is no pulse. It becomes almost like an extreme funk, the bass doing these amazing syncopations against the drums, but it’s completely random. I think some people think I’m playing to a backing track, and I’m not. I’m playing to some sounds that I have made, that are assembled in front of your ears, differently each time I play. The audience makes sense of it and 90% of the work is going on in their heads. It means I can be wild. If I’m playing to a click-track, I’m being a good boy and the last thing I want to be when I’m making music is a good boy. Having to justify your time keeping against some bit of machinery is dehumanising. The heartbeat is at the centre, not the clock."

http://thequietus.com/articles/24790-the-strange-world-of-charles-hayward