Labour’s failure reflects our lack of imagination and bottle to demand something new

The nauseating PR seems so ridiculously quaint now; those genius adults were back in charge. How quiet it would be after a decade plus of Tory dysfunction and incompetence.

That this Labour government, with the drabbest weathervane leader imaginable, would faceplant into extreme unpopularity this quickly wasn’t much of a prediction. Giving Nu-Labour another chance was akin to re-heating a three-day old slice of Pizza. Even after the hangover from Tory austerity, reality has bitten with instant regret on the first bite – it’s rubbery cheese and a base that’s been desiccated into the consistency of concrete.

Even so, to be met with such an unapologetically bland brand of bi-lateral virtue signaling neo-conservativism and economically detrimental fiscal rules has been jarring. It has ensured ongoing austerity, wage stagnation for the masses, increasing government debt and declining public services, while enrichment for the political class and their multi-millionaire and billionaire benefactors continues unabated. No Labour voter wanted this.

It’s enough to make you indulge in the conspiratorial – that this bullshit is a deliberate cross-party political project to demoralize vast swathes of the electorate and make them check out from politics completely. Because nothing screams “get fucked, you plebeians are all irrelevant and have to suck it up, because that’s the way things work” more than punching down on the disabled and unemployed folks with mental health issues in the name of saving a few pennies. Don’t worry, the growth will come eventually (they haven’t told us how) to save us from more of these policies, honest.

For more and more people the capitalist consensus of the last fifty years is failing, having being fully ceded to privatization, deregulation and vulture capitalism. Productivity is laughably low. With Donald Trump mangling the established post-cold war geopolitical order, we now require new political and economic solutions. No political party is offering taxation reform that feels viable or sufficient enough to prevent growing wealth inequality and economic decline.

There’s a line from Mad Men that’s always stuck with me – “if you don’t like what’s being said, change the conversation”.

Much of the conversation seeks to revert back to halcyon era of Blairism. This is favoured by the centrist dads, your Alastair Campbell’s and Rory Stewart’s, and much of the legacy media and political class. All the talk over culture wars, mildly tweaking taxation policy, getting tough on crime and demonizing immigration is all a misdirection from how intellectually bankrupt neo-liberalism is. It’s all theatrics, and with the aid of the dreadful first past the post voting system, it makes the Conservative and Labour duopoly at Westminster a self-propagating cottage industry that has scant need to interact with or present new ideas to the general public.

It’s why the political experts offer no explanation for Labour’s polling collapse beyond feigned naivety or banalities – they’ve made hard decisions (not hard on anyone who matters) and their comms are bad (that’s because the policies are). It’s also a huge problem that many enter politics not for public service but for access to lobbying donations, consultancy side gigs, privileges and peerages and the taxpayer picking up the tab for London pads.

Knowing there needs to be change is one thing, how to change it and replace it with what is the hard bit. When a threat to the political order tries to emerge, see Corbyn, Brexit and Scottish Independence, the political class, and their sycophantic client media chums, go into self-preservation mode and ruthlessly gang up to crush it. Their aversion to the prospect of a Reform victory is not concern with the effects of Farage doing his pound shop Trump routine, they’re worried about retaining power, and access to the political gravy train.

Reform’s political narrative is a different deception – illegal immigration’s cost to the taxpayer being tethered to economic stagnation or the Britian I know is gone and Brexit hasn’t fixed it. Both are popular in part because empowering Reform would damage the current political structure and especially a political class that’s brazenly and unashamedly taking the piss. The former motivation is correctly inferred as racist and xenophobic. The latter a harking back to a time when things were less woke; football hooliganism and flares were en vogue, women could be groped and likely wouldn’t or couldn’t grass, the gays kept their pride private, there were less black and brown people, Jimmy Saville was only viewed as eccentric, Bernard Manning was allowed on the telly, you could smoke in pubs and Fred West was a good pint.

It’s easy to rubbish the aversion to social attitudes changing drastically and increased integration over the last fifty years as the atavistic gripes of pondlife and gammon. But this nostalgic pining is partly influenced by a logic that is often not articulated or analyzed by its opponents – things have declined economically in parallel with significant cultural changes during this period. Wages have stagnated, and things used to be affordable, mainly housing. I love to hammer cunty boomers for being Nimbys, Tories and self-interested home-owners. But even they understand financial security is becoming increasingly impossible for their children and grand-children.

The reaction to Gary Stevenson trying to introduce something new to the conversation, reforming the tax system to redistribute wealth back to the government and working people, is an interesting test case. That his tax wealth not work message is growing in popularity is encouraging, and it’s making some of the worst people imaginable nervous – the political class itself, but also the beneficiaries of their deregulation; cultish I’m going to get rich by trading Crypto from my bedroom truthers, non-doms, the super-rich and Thatcherite entrepreneurs are going after him because he wants to tax their growing wealth holdings. Others focus on his accent, or dismiss his claims about his abilities as a trader. These are concerning, as they’re symptomatic of a bitchy pettiness that lurks in the heart of the British psyche, an envy of assertive, confident expertise and folk not having the temerity to stay in their lane. Any new idea has to overcome this decadence.

You’ll notice very few can refute Stevenson’s analysis of the cause of the economic problems we have, or attack his track record of making correct predictions. It’s opposed with misnomers in a derisive patronizing tone – “it’s hard to tax rich people”, “they’ll leave the country”, etc. It’s all coda for “keep things as they are” with the subliminal message being “it’s working for us” and “there’s nothing you can do”.

That message can seem impossible to fight against when it’s coming from the current government, mainstream media, and virtually all of the opposing voices in the political realm. So, it’s up to us to demand the political and economic reform we want, not vote Reform or take what’s on offer. Because right now, the choices four years from now are looking pretty grim. If it isn’t clear to you yet, while we get poorer, the political and media class have never had it so good, and are not for turning.

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Song Of The Day – Drive It All Over Me by My Bloody Valentine

From the EP “You Made Me Realise” (1988)

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Song Of The Day – Figaro by Madvillain

From the album “Madvillainy” (2004)

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Essential Listening: Best of Jan Jelinek

It all started with a Secret Thirteen mix in 2014. Before this I’d never heard of Jan Jelinek, and truthfully, the only reason I even gave it a chance was superficial – the disparate track list, and that I recognized some of the names on it. Incorporating Jimi Hendrix, Frank Zappa, Dean Blunt and Bernard Parmegiani, amongst others, into a coherent set, that covers a sixty-year time span in music, was some undertaking.

That Jelinek managed it with some aplomb led to me to giving his own material a look.

Fortunately, going through his catalogue didn’t seem as daunting as first dipping your toe into Bob Dylan, which is a rite of passage for everyone, contending with Richard D. James’ various Pseudonyms and SoundCloud dumps, or the labyrinth discographies of Coil or Muslimgauze. On the latter, Bryn Jones may have died in 1999, but he still remains prolific. However, Jelinek has multiple other aliases, so there was still a fair amount of ground to be covered.

After chipping away at it for ten years, in a process as satisfying as collecting Subbuteo teams back in the day, I reckon I’ve narrowed it down to a few essential releases in Jelinek’s catalogue that are musts and good entry points for the uninitiated.

The theme with all of Jelinek’s works is repurposing, first deconstruction of jazz instrumentals into fragments and then reconstructing them into a new perspective, fused with abrupt glitching and other electronic effects and fluctuations from a programmable drum machine. To simplify, quoting that narrated sample used by The Orb in Little Fluffy Clouds “layering different sounds on top of each other” or, to use my old man’s hyper-specific interpretation of the genre; “that’s LSD music”. What I won’t do is refer to it as microhouse, a hideously twee, lazy journalese term favoured by pretentious wankers at Pitchfork or the Guardian music review pages.

The onus on Improvisation and Edits Tokyo is soothing ambiances contorted by static-glitch, think Kompakt’s Pop Ambient series and Brian Eno’s Music For Airports meeting the piercing fragmentation of Muslimgauze’s Iranair Inflight Magazine. There’s maximum fruit machine freneticism on the chaotic “Hot Barbeque” and “Barbeque Version”. Those two outliers aside the looping samples are predominantly brass rather than base, creating salubriously sombre melodies on “The New Anthem” “Watch What Happens” and “Straight Life”, while the density of layering on “The Post-Anthem” fosters a persistent drone that reminded me of Do While by Oval.

The Textstar+ remaster from 2022 is peak Jelinek. Some offerings have a kindship with DJ Sprinkles’ penchant for muffled baselines, see “T.Microsystems” and “Silikon”. “FF” is a seat groover and toe tapper with a delightful twang and on “Farben Says So Much Love” the tempo is jacked up to tits with a wicked repeating baseline while the groove is imbued by another layer of base. “farben Says Love To Love You Baby” follows a similar pattern but with strings being punctured by a truncated sax sample. The prominence and the abruptness of the glitch used on “Suntouch Edit” wouldn’t feel out of place on Loop-Finding-Jazz-Records.

Side note – Soulseeking this one to ensure you get tracks that were on the original Starbox release but that are omitted on the reissue is a good idea. There’s five of them missing (likely due to copywrite); “At The Golden Circle Stockholm Vol. 1, 1965”, “Live At The Roxy, 1984”, “Raw Macro”, “Loop Exposure” and “Bayreuth”.

Loop-Finding-Jazz-Records delivers on the title’s promise, melodies are created by abbreviated repeating samples, and are mostly piano based, except where specified on “Moire (strings)”. “They Them” has deep baselines punctuated by static before it’s embellished by a piano loop, “Them Their” uses a similar structure to create a softer tone. This record proves how versatile sampling one instrument can be, when the surrounding embellishments and pacing are altered. “Rock In The Video Age” borrows from the austere industrialist aesthetic on Basic Channel’s Radiance EP. “Do Dekor” has the lot, rhythm set by static, simple organ chords and fragments of a warm baseline just begging to be brought into ascendency throughout.

Bandcamp release blurbs are often drably po-faced, the one for Do you know Otahiti, however, was at least concise:

“Do you know Otahiti? is a twofold collage; it combines unreleased material with fragments taken from Kennen Sie Otahiti?, a radio collage produced for SWR Radio in 2012 on the theme of fictional and real travelogues”

Not a great sell, is it? But don’t be put off by how naff that sounds. Conceptually “Do you know Otahiti” comes dangerously close to a wankery art installation, but escapes this burning cross as the splices of German narration are married to an ominous echo vocal effect, which belies the (likely?) banality. A dramatic shift to a looped vocal creates an atmospheric unease, before the track tapers off. This would not work in English, I guarantee it, some Cockney geezer saying “I went to Butlins with the kids and got shat on by a seagull” over such an interesting score would be Damien Hirst try-hard cringe. Comparatively the rest of EP feels less experimental but regal. “Live at Frameworks Munich 2012” utilises a dainty mellow percussion contradicted by creepy buglike tapping sounds. “Live at Avantjazz” sees the vibraphone of collaborator Masayoshi Fujita take centre stage to create a zen Japanese garden ambiance. Japan meets Germany may have not been a hit eighty years ago, but it is here.

The best thing I can say about Jelinek’s material is how moreish it is. Traversing from one Jelinek release to another over the past decade has been akin to cleaning down the back of the sofa and finding a two-pound coin, repeatedly. It’s a process that’s made me richer in the way that matters.

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Song Of The Day – The “In” Crowd by The Ramsey Lewis Trio

From the album “The In Crowd” (1965)

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