The Dickster has done it again. Evil Dick, never one to shirk his responsibility to throw us all off the musical track, has created yet another exquisite red herring, Earthly Delights. Evil is a multi-instrumentalist of rare ability with a stunning imagination. A truly unique composer in a Varesian and Other Worldly tradition, whose music demands an attentive and serious, yet inquisitive and playful ear. A musician who never forgets to pose the question to the listener, in fact, to all of us, now living in an ever increasingly precarious world…
“Well, are you going to buy the fucking thing or what?”
This album was compiled between January and August 2018. It takes its name from the famous painting by Hieronymus Bosch; however, comparisons largely end there. The music has its own logic, taking the listener on a sonic journey through a mysterious and often unpredictable, phantasmagorical landscape. The full title of this album is Evil Tends to His Garden of Earthly Delights.
released October 31, 2018
Produced by Richard Hemmings.
All compositions and xenochronicity © 2018 Richard Hemmings.
Improvisations © 2018 Richard Hemmings, Dave Jackson, Craig Ashenden, Scott Freer. All rights reserved.
Environmental recordings made by Richard Hemmings andwww.freesound.org.
All artwork and photographs © 2018 Richard Hemmings, except the image of fly (borrowed from Google) and the photo of Dave (lifted from his Facebook page).
More stuff at evildick.co.uk.
“MWMIF meets the Japanese-born female improvisor “Casio Loopy”, who is known for her improv’s using just a Roland “Dr. Rhythm” drum machine (controlled via a modified game console), and no-input digital delay. Recording was taken from a pre-concert sound check (date unknown?). This night, MWMIF draws strongly from their back-catalogue, while “Casio Loopy” shadows their performance surfaces with matching transient crosshatches and skittering counterpoints unique to her Onkyokei-inspired rig. Extra-musically, and for no explained reason, there were three pink crows in the rafters for entire set.”
For as to happen fucking probably the great! Huge! It!
What displayed music upon!
Spelling improvised but being. Not advanced having every start with an end drum bone “play like” on musicianship.
Read more… “SHIT ME “A” SLASH THEME APPLICABLE”
Have only one main objective; work on your self esteem. Fiercely eliminate any people from your thoughts. Be careful about moving beyond your station; you might suffocate. Don’t be too rough with others, unless you enjoy being alone. Eliminate any blockages with people who no longer care for you. Think only of yourself. Nothing wrong with giving yourself a pat on the back once in while. Don’t think about it you deserve it.
Read more… “CUT UP”
Be it may we talk and I as I, in theory, am the OK man. Ideas, the Chakrabarty. Wow! Record it new and read. Plank, perhaps, realism. Bite off political IDEAS. Make subject the state. Not dismissing individual will less the “in” way to where deep is stored. Relative instincts talk against capitalism, individuals, nations, by definition class historicity. Within no state struggles. Their posturing points to totality. The fucking working guys incorporate the “us” approach. Luxemburg, even artists it seems, inconsequential, where the last anti-individual think tank is embroiled. Yeah… time. An ongoing personality show! Their modern mourning comes normally.
Read more… “THEIR MODERN MOURNING”
Times since then though I’m only guessing that he was my friend King? She was black as well!! I am certain that after we had been lighting grass fires on the plain and I was doing some electrical work she first showed me the record player. I was smoking cigarettes, think he might have been in jail. Read more… “SHIT AND FRUIT”
Jack Wright, saxophones; Joel Kromer, modular synth; Edmond Cho, guitar
Bailey Recognisable #60 (Link Your Mind With The Mind Of George Vuke #2)
This. I me eye. Permission I from the look hope I peace I aks (sic) from to brah’.
“Why the fuck did I say that? Like I thought my choice of words and views raised and general conversation was relevant and even interesting. The way I brought in those asides. When I took a more dominant status in the conversation that was OK too. In fact I thought I did well steering the discussion at that particular moment. And I was being a good listener too. And the way I drew person X into the conversation and sought to clarify what they meant by that subject that I know they are very interested in. I thought it was ok. Except when I said “ZZZ ZZZZ XXXX ZZZZ” what was I thinking! For fucksake. That would have surely changed their opinion of me! I was probably going quite ok up until that point? What comes over me that I have to make trite comments like that? Spoils everything I had said for the whole discussion. No wonder these people rarely choose to engage with me or ask me over for a visit. They just know that I am going to say something stupid and reveal that my intelligence is, you know, so so. That although not a bad guy can be annoying. Says a lot of stupid things. Really I should just listen more and not fucking say anything.”
Read more… “WHY THE FUCK DID I SAY THAT?”
I think my teeth r shit
like… when you’re at the dentist… do you ever try and check out the dentist’s teeth? Or think of him with a fucking big mirror and a drill? Or think of him calling another dentist and asking “Can I make an appointment?”
Or what about a dentist getting a fucking tooth ache…
Mine are starting to crack up..
I’m starting to fall apart Jim!
What about a chemist? Does he go to another chemist to get his script filled or just grab what he needs off the shelf?
Read more… “TEETH (checkup)”
No worries; I’ll will do my due diligence next time and find a slide virtuoso. Someone who has a micro-bevelled custom finger-size fit tempered glass slide. Someone who has not only studied the Robert Johnson method of what is often ignorantly referred to as accidental clanking noise when the player’s slide hits a fret awkwardly, but someone who can also faithfully reproduce that sound at a specific velocity as dependant on the weight of dynamics and harmonic movement in preceding bars. In fact a slide guitar virtuoso who can guarantee that all collateral noises, buzzing, fret rutting, dead string sounds and accidental note clips in their performance are deliberate and backed up with notation and transcription examples showing their historical context. I knew I should have got someone like this from the start. Precision at all costs, particularly with those incidental sounds. I understand that there is a ratio of incidental mechanical noises based on tempo and true note density and should have realised that only someone who has a thorough technical understanding of these ratios would be appropriate otherwise the music will inevitably have little true substance. Did you give much thought to the historical context of that buzzing sound? Have you any peer reviewed written evidence that a true slide master would have played what you played in the last half of bar 10, chorus 14 in the context of this songs harmonic movement and tempo? Have you actually written any papers examining Son House’ use of incidental slide noises in a spirtual context or as metaphorical good vs evil survey? No, I didn’t think so.
Read more… “I’m such a shit slide player. Sorry about that.”
Ben Watson on COFFEE AT MILANOS
“It’s very direct, very melodic, and it sounds like a bunch of demos recorded by visitors from outer space who have just encountered jazz and are demonstrating what they’ve found to an interplanetary alien space station crew of investigative analysts.You see, what kills music is THEATRE, the sequencing of brute effect according to narrative … Wagner, Pink Floyd, Cornelius Cardew’s The Great Learning, David Bowie. What I crave is collective union of attention to musical detail: to the intricacies and intimacies of players’ establishing harmony and rhythm; unstitching the inherited garment and playing with frayed edges and weird worlds of thread. Or, to change metaphors, what I hear in COFFEE AT MILANOS is the dissecting scalpel of player intelligence cutting through the skin surface of “music” to expose pumping arteries and zinging nerve cells and replicating blood corpuscles. Close focus on the stuff of music itself.”
‘I’ll play this and you play that’ (he said to the army band cornet player pointing to the cornet and then his drums after he had asked ‘What shall I play then?’)
I said 'Play anything you like and I'll drum with it'.
He said 'But I can't do that'.
And I said 'But you can just blow a note, any note, and I'll play this and you play that'."
Read more… “I’LL PLAY THIS AND YOU PLAY THAT”
It began as a spirit of revolt
To break the rules and upset forms
It is the suspension of decision making
We let the body speak for itself.
To reveal itself
To reject the superficiality of everyday life.
– Akaji Maro on Butoh