Life Elsewhere

Keeley, fronted by singer, guitarist, songwriter and enigmatic Dubliner Keeley Moss, took time out from a hectic schedule to chat their debut album Floating Above Everything Else. The album showcases the breadth of Keeley’ssongwriting, bristling with lush harmonies, muscular beats and inventive atmospherics, weaving gleefully between indie-rock sub-genres. As with all her songs, this set highlights Keeley's ongoing fascination with the murder and short life of teenage German backpacker Inga Maria Hauser, who was brutally murdered in Northern Ireland in 1988 and whose case remains unsolved despite many promising leads pointing to the culprits. Keeley recently appeared in Murder In The Badlands, a moving BBC documentary that further explores Inga Maria’s tragic demise, and a brand new film centered around Keeley's involvement with the case is in development. Norman B’s conversation with Keeley reaches into unexpected areas where you will learn why seven-year-old Keeley Moss asked, "Can I bring my Walkman?” And, how the iconic cassette machine became Keeley’s doorway into another world. You’ll hear moving, reminiscences from one of Ireland's most creative and visionary songwriters, plus four cuts from, Floating Above Everything Else. 

Fräulein - Pet

This Northern Irish/Dutch duo have created a deliciously rambunctious EP with Pedestal. As you listen to Pet I’m sure you will find yourself asking who comes to mind with that “Heyyyy!” Yet, Fräulein have their distinctive own sound. This one is available courtesy of Submarine Cat Records.

⁠A.S.O. - Rain Down⁠

Singer-songwriter Alia Seror-O'Neill, and producer Lewie Day use the moniker A.S.O for their debut self-titled album. On Rain Down they invoke an exotica lilt, which works, without sounding excessive. Fun fact, Ms. Seror-O'Neill is also an actor, check out her IMDB page.

Angel Magic - Generational Color

Now here is a cut I could write a long rave review on, instead for guidance you should know I have had the Generational Color on repeat play at Life Elsewhere Tower for the last few days. In spite of the almost wonky beginning to Generational Color this one settles into full effect as Lauren Smith weaves her magic with smart lyrics and Andrew Aguilera twiddles the knobs at the production consul. Interesting music here, difficult to select just one cut. A tip of the hat to Korey Martin with the lovely artwork.

Maya Ongaku - Nuska

From a small island located 50 km southwest of Tokyo a ragtag collective of local musicians present as Maya Ongaku. Their album, Approach To Anima is a delightful collection of songs as illustrated by Nuska. Maya Ongaku say their brand of earthy psychedelia transcends widely beyond the roots of their inner souls, and I have no reason to dispute that. 

Kitty Fitz - I Want Your Love (Oh My God)

Oh, yes, this is so good. Ms. Fitz is also the bassist for Prima Queen and here on her All My Own Stunts EP, the London-based artists says she “Produces super sad bops in her room at 4am”. And, what an excellent job she does as you’ll hear with I Want Your Love (Oh My God). This is one of those songs where you know the chorus is coming up and you can’t wait to sing along…Oh, my god!

Backlash - Loosen Up

Now here are lads from Italy who cite a wide range of influences: Stone Roses, Charlatans, Oasis, The Verve, Arctic Monkeys, and Black Rebel Motorcycle Club to name just a few. Yet, if I had to pick a reference, it would be The Beatles psychedelic period. The band was formed in 2011 in Milan by Francesco Lucà and Luca Mangano, later they added the voice of Alessio Gatto and together they have produced the LP, Rise. Loosen Up, the single from Backlash’s new album sounds as if this was an almost live recording with little studio trickery. Full marks to Shoredive Records for another terrific release.

Macie June - Fragile Lover

Stemming from her classical background, Macie June says her melodic style reflects her love of alternative/indie pop and instrumental piano. Macie’s Cerulean album showcases the Denver-based artist distinctive style in all of her relatively short songs. Writing and production credits go to Macie June.

Bluest - Talk Soon

From Missoula, Montana, Noelle Huser fronts Bluest with her haunting, plaintive voice, on Talk Soon, she shares engaging lines like, “Remember when you tripped me, it was an accident my tooth bite through my cheek, and now I have scar, it’s the favorite part of my smile” There is a lot going on here on the Bluest album, Cold Sweat, available from the very fine Anything Bagel label.

Lexie Carroll - Growing Pains

OK, I will admit, I’m fascinated by Lexie Carroll, not least of all she is a very talented songwriter, and it takes considerable skill to sing in almost a whisper and make it sound convincing. Lexie, an 18-year-old talent from London appears almost brutally honest with her It’s Difficult To Talk album. Brutal may not be quite the right word for a singer-songwriter who displays the awkward shyness exhibited on her Tik Tok page. I’m impressed with Lexie Carroll, there is a vast audience out there who will relate to Growing Pains. 

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When America became a nation, a woman had no legal existence beyond her husband. If he abused her, she couldn’t leave without abandoning her children. Abigail Adams tried to change this, reminding her husband John to “remember the ladies” when he wrote the Constitution. He simply laughed―and women have been fighting for their rights ever since. Fearless Women tells the story of women who dared to take destiny into their own hands. They were feminists and antifeminists, activists and homemakers, victims of abuse and pathbreaking professionals. Inspired by the nation’s ideals and fueled by an unshakeable sense of right and wrong, they wouldn’t take no for an answer. In time, they carried the country with them. The first right they won was the right to learn. Later, impassioned teachers like Angelina Grimké and Susan B. Anthony campaigned for the right to speak in public, lobby the government, and own property. Some were passionate abolitionists. Others fought just to protect their own children. Many of these women devoted their lives to the cause―some are famous―but most pressed their demands far from the spotlight, insisting on their right to vote, sit on a jury, control the timing of their pregnancies, enjoy equal partnerships, or earn a living. At every step, they faced fierce opposition. Elizabeth Cobbs gives voice to fearless women on both sides of the aisle, most of whom considered themselves patriots. Rich and poor, from all backgrounds and regions, they show that the women’s movement has never been an exclusive club.

Award-winning historian Elizabeth Cobbs brings fresh, unexpected perspectives to our understanding of the past and present. Building upon worldwide archival research and her own extraordinary life experiences, Elizabeth writes best selling  fiction and non-fiction that is both scholarly and witty. Her path-breaking books, articles, and documentary films reveal a world that is as intriguing and surprising as it is real.Elizabeth earned her Ph.D. in American history at Stanford University. She now holds the Melbern Glasscock Chair at Texas A&M University. Her books have won four literary prizes, two for American history and two for fiction, and she has won four prizes for documentary filmmaking. Elizabeth has been a Fulbright scholar in Ireland and a Fellow at the Woodrow Wilson International Center for Scholars in Washington, D.C. She has served on the Historical Advisory Committee of the U.S. State Department and on the jury for the Pulitzer Prize in History.

King Isis - I’m Fine, Thx 4 Asking

This sixty minutes of carefully curated new music begins with King Isis from Oakland, California who says they are, “The queer, Black genre-bending afrofuture.” I’m Fine, Thx 4 Asking from the album, Scales should prompt you to want to hear more. Plus, King Isis explains, “Scales is the beginning of an eternal journey of introspection. It’s an attempt at beginning to peel back the layers to start the journey of becoming whole through duality. Scales for balance, scales for practice, scales for beginning. Scales for the serpent, the shadow selves, for embracing the unknown”. This is hardly an unassuming body of work, yet there is a class and style here that should be not be overlooked. Excellent!

⁠Laura Wolf - Calligraphy and Calculations⁠⁠

Cellist, singer, and producer Laura Wolf says this about her second LP, “Shelf Life is about life after trauma and what we do with the decay we’re dealt”, the Brooklyn-based artist also curiously states, “I'm the moth in your sweater”. Clearly, Laura has a delightful sense of humor coupled with a keen ability for creating intriguing new music. Shelf Lifeis on Whatever's Clever Records.

⁠Withered Hand - Crippled Love⁠⁠

Originally from London, now based in Edinburgh, singer-songwriter Dan Willson presents as Withered Hand. Crippled Love a cut from his album, How To Love is Dan’s first new music in nine years. Already into his thirties, following the birth of his son and the death of a close friend, Wilson says he started singing and writing songs, which could explain the obvious maturity of his music.

⁠This Is The Kit - Inside Outside⁠⁠

Here is an artist we have featured on the show before, not least of all because the distinctive style of Kate Stables who performs under the moniker of This Is The Kit makes unique music. And, not unexpected, Kate offers her commentary on her LP, Careful Of Your Keepers, “The album chronicles a world of mistakes and mishaps, cruel circumstances, and universe-driven surprises. It's a record that embraces the concept of outrospection – the idea that you get to know oneself by developing relationships and empathic thinking with others.” Do not miss out on This Is The Kit, available on Rough Trade. 

Fatima Al Qadiri - Fidetik (I Lay Down My Life)⁠⁠

Kuwaiti musician Fatima Al Qadiri with fellow fellow Kuwaiti vocalist Gumar give us, Fidetik (I Lay Down My Life)from a four track EP, also titled Gumar which is Arabic for moon. This EP is delicious listening, ruminating on the subject of unrequited love, arguably the most common theme in Arabic music past and present. Oh, and a tip of the hat for the sleeve artwork, quite splendid. And, make sure you check out Fatima’s website.

Out of Madrid, Spain, producer, multi-instrument player, and DJ, Latrama who is also known for his collective Chandra Sound System as one of the key global mixers of traditional world music sounds with electronic breaks. With Knot To Knot, Latrama skillfully performs magic to full effect with samples. Slightly retro in the ambience, yet one of those cuts you’ll want to hear again, and again. Nice.

Latrama - Knot To Knot⁠⁠

Samples are to the fore in Mounika’s work, and how splendidly she uses them on her LP, Don’t Look At Me. To get a an audio-visual take on her work, pop on over to Mounika’s site and check out the videos. It’s like pages of ID magazine’s street reportage coupled with overtly sexual tableaus. As Mounika is based out of Poitiers, France, I hope you’ll understand when I mention her work is decidedly, well, French. And, that’s a good thing.

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A bomb planted by the Irish Republican Army exploded at 2:54 a.m. on October 12, 1984. It was the last day of the Conservative Party Conference at the Grand Hotel in the coastal town of Brighton, England. Rooms were obliterated, dozens of people wounded, five killed. Prime Minister Margaret Thatcher was in her suite when the explosion occurred; had she been just a few feet in another direction, flying tiles and masonry would have sliced her to ribbons. As it was, she survived—and history changed. 

We begin with a cut from a very fine compilation of electronic dub from Cosmic Sands Records based in Lyon, France, Cortex Of Light who tell us about Future Curvature. The album is titled, Pro Unlimited, definitely worth searching for. 

From Marseille, in the south of France, Michèle des Belladonna performs as Miss Bella. Featuring Miss Bella on accordion, the quirky retro-sounding LP, Eternel Retour (Eternal Return) is a tribute to women of the South, to freedom, to the Mediterranean says, Miss Bella. Not so sure that comes across on En Prison Dans Ma Tête (In Jail In My Head), no matter, this is an enjoyable spirited collection of songs.

Every so often I rummage around in my archives and come across a release I think you may have missed. Michael Barker is out of Sydney and goes by the moniker, Dying Adolescence (which I think is a noteworthy name). Michael has put out a number of releases, his 2017 Lonely EP on Z Tapes is a fine representation of his abilities. With the title cut, Lonely, Michael Barker pushes the emotional envelope to full effect - I love it!

This is the solo project of 24-year-old artist, writer, and producer Ash Johnston based in London. Born in Hong Kong to a Chinese-British mother and American father, Ash says they have called upon the range of influences that have inspired them throughout their life to produce their diverse, memorable, and heartfelt musical repertoire. Well done, Ash.

Now here is one I had to make sure I was listening to the correct track, after all, it said, Death Hags! I know I shouldn’t be surprised by the monikers some artists choose to use, but honestly, I was expecting something quite a lot different from Death Hags. As it happens, I’m far from disappointed, this is exceptional work from musician, songwriter, and producer Lola G, originally from LA, currently living in the woods near New York City, (I will admit that does make me ponder, which woods?). Topologie Spectrale (Deep Drift) is from the Death Hags LP, Lost In The Triangle d’Or (Extended Version), and you’re advised to show some love for Lola G’s enterprising work.

Now we arrive at an album that may not be taken so seriously by some people, but I want to assure you that whoever is behind Spiritual Conspiracy sincerely understands good music and has the gumption to mess around and manipulate to extraordinary results with the album, Warped Standards.  The iconic dance floor hit Tainted Love is familiar to everyone, except Spiritual Conspiracy have (I believe) passed on Soft Cell and taken the original version by Gloria Jones and pitched it down, plus adding a whole slew of smart samples. Another example of brilliance at work here is taking an early Elvis track from 1956, Anyway You Want Me (That’s How I Will Be) layering a quasi-disco beat, pop synths, and even a harp sample. Nutty and fabulous. The album is on the New York-based, Stargazing At Blank Stars label. 

Staying in NYC, Matthew McIntosh and Beth Narducci got together in 2018 to form, A Cloud Of Ravens. I’m sure they won’t mind me mentioning that this couple has the Goth look and sound down, perfectly. A number of bands head in the Goth direction but unfortunately end up sounding like parodies. Matthew and Beth do show their influences, yet they managed to carve out a sound that is completely their own as you will hear in Parable. The album is, Lost Hymns, and the production is stellar.

Now for two in a row because I like what Personnel is doing and so should you. From the very opening of Leave Me Behind you know you are in for a treat. Robbie Defacto’s synth work and effects bank along with Trixy Skulz alluring vocals result in a somewhat familiar coda yet at the same time completely brand new. The second cut, Thin Lines shows that Robbie knows his way around a mixing consul. While Trixy Skulz recites a list of familiar phrases and references not heard so perfectly delivered since the late and oh, so great Ian Dury.

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Why are so many humans religious? Why do we daydream, imagine, and hope? Philosophers, theologians, social scientists, and historians have offered explanations for centuries, but their accounts often ignore or even avoid human evolution. Evolutionary scientists answer with proposals for why ritual, religion, and faith make sense as adaptations to past challenges or as by-products of our hyper-complex cognitive capacities. But what if the focus on religion is too narrow? Renowned anthropologist, Agustín Fuentes argues that the capacity to be religious is actually a small part of a larger and deeper human capacity to believe. Why believe in religion, economies, and love? In his new book, Why We Believe - Evolution and the Human Way of Being, Agustín presents a fascinating observation on the most common misconceptions about human nature, his book employs evolutionary, neurobiological, and anthropological evidence to argue that belief—the ability to commit passionately and wholeheartedly to an idea—is central to the human way of being in the world.

What a lot of wonderful releases I have for you in LEM Vol 317, and as usual we continue to defy genres as you’ll hear. 

After Jason’s world falls apart in LA, he moves to Berkeley for a fresh start with his kid brother. Just one problem: his long-closeted Adderall addiction has exploded into an out-of-control crystal meth binge. Within weeks, Jason plunges into the sprawling ParTy n’ ’Play (PnP) subculture of the Bay Area’s gay community. It is a wildly decadent scene of drugs, group sex, and criminals, and yet it is also filled with surprising characters, people who are continually subverting Jason’s own presumptions of the stereotypical tweaker.

Soon Jason becomes a dealer on the pretense of researching this tweaker world for a project that will carry him, like a life raft, back to the shores of a normal life. But his friendly entrepreneurial spirit and trusting disposition disarm clients and rival dealers alike. The money begins to roll in as demand increases to frightening levels. Suddenly, Jason is in control of the entire crystal meth market for San Francisco’s gay community, even as he finds himself nodding off behind the wheel of his car, or walking down the sidewalk. As friends and family work frantically to steer him towards recovery, Jason resists, chasing something else: a sleepless nirvana fueled by sex, drugs, and the Tweakerworld.

With painful honesty, Jason Yamas has crafted a landmark narrative that is not just a personal account of addiction, but a portrait of a vulnerable, largely undocumented community of people who, for many reasons, have been marginalized to the point of invisibility.

We take a diversion from our usual format by not introducing another guest or topic in this edition. To aid you in digesting the intense, important conversation with Jason Yamas we've included a selection of "different" music.

The Playlist

For this volume, we take a slight diversion from brand-new releases to celebrate the wonderful women of Reggae. Cover versions have always played an important part in the output from the Reggae hubs of Jamaica and London. Often a Reggae cover version is equal to if not considerably better than the original. There are far too many examples to illustrate that notion, but you are advised to check out a Reggae cover anytime you come across one. We begin with what could arguably be classified as a superior cover of Anita Ward’s 1979 hit, Ring My Bell. Almost immediately after its release, Anita’s record became an instant hit. If you were in New York at the time, (I was) you’d hear Ring My Bell everywhere - on the radio, in the clubs, in bars, in taxis, everywhere. The song is noted for its innovative use of the Synare electronic drum, playing a decaying high-pitched tom tone on the first beat of every bar. It also uses chimes. It was these electronic embellishments that made the song so captivating and perhaps even better to sing along to as Anita urges, “You can ring my bell(Ding, dong, ding, ah-ah, ring it), You can ring my bell, anytime, anywhere, (Ring it, ring it, ring it, ring it, ow)”. Written by Frederick Knight, the song was originally intended for then-eleven-year-old Stacy Lattisaw. Contractual obligations prevented the young singer from recording the song, although it’s quite possible that someone noted that the title was a reference to pleasuring a woman with oral sex. Anita Ward was asked to sing it instead, and it became her only major hit. It reached number one on the Billboard 100 chart and also reached number one on the UK Singles Chart. By chance a few weeks after the single came out and riding high in the charts and booming from ghetto-blasters non-stop everywhere I went in NYC, I happened to pop on over to Kingston, Jamaica. Ring My Bell was dominating the radio waves and dancehalls there too. Then I discovered there was another version just as popular as the original, this version was by Blood Sisters, complete with a substantial dub on the 12” mix. In true Jamaican form, getting details on (The) Blood Sisters and their version of Ring My Bell proved nigh on impossible - and remains the same today. It’s a well-observed fact, details on Jamaican releases are often shrouded in mystery, non-de-plumes, and sometimes blatant misinformation. | Dawn Pickering recorded under the name, Dawn Penn released You Don’t Love Me (No, No, No) in 1967 on Coxone Dodd’s Studio One label. Despite her initial success, Penn decided to take a break from singing, which lasted 17 years, In the late 1980s, she returned to Jamaica in the hopes of reviving her career. In the early 1990s, she re-recorded a version of You Don't Love Me with the noted Jamaican production team, Steely & Clevie. Throughout the years the song came to be known as No, No, No and ranked not only high in many charts, the song also achieved widespread critical acclaim. | Written almost 40 years ago by Sister Audrey, English Girl was one of the first songs recorded at the then “new Ariwa Studios” owned and operated by Neil Fraser AKA Mad Professor and was released on Jah Shaka’s label after the overwhelming response at dances. This was one of several Shaka / Ariwa partnerships from the ’80s. Sister Audrey a.k.a. Audrey Litchmore was born and raised in South East London, her musical journey was rooted in h