The next move

After a lengthy break from writing, during which I've been contemplating which sections of the book require improvement I was unable to resist revisiting my section about the E2-E4 album today. Having read the recent article about the recording in The Wire magazine I learnt one or two little fragments of information that I felt may add to my account of the making of the record and in tweaking a few bits and pieces I ended up giving the whole of the chapter a bit of an overhaul. I now think that I'm almost there with this part, which is great. Next weekend, time permitting I intend to return to the start of the draft and begin the next raft of improvements.

In other news off the back of this blog I've struck up correspondence with a few fellow Manuel Gottsching fans and was going to e-mail one friend today when he beat me to it and sent me a list of his top 10 M.G. records for a bit of fun. It's always really nice to receive messages like that and great to be able to discuss the music in this way, which leads me on to what I was going to say next: if you have been moved by the music or feel that you have something to add to the book do get in touch. I'd love to hear from you.

Travelling music

As most readers of this blog will probably know Manuel Gottsching graces the cover of this month's copy of The Wire magazine and the issue includes a fairly lengthy piece about the classic E2-E4 album. One of Manuel's quotes from the article really struck a chord with me. "I once was asked what's your favourite album when you're in bed, when you're on a plane, when you're in your car," he says. "I thought about it and every answer for me was E2-E4. It fits in every situation."

For me E2-E4 is a particularly versatile piece of music because if you decide to tune into it there are dense, multiple layers of sound to examine. If, on the other hand, you elect to zone out and not focus on what unfolds as the recording progresses the effect is extremely meditative. Last weekend I travelled to Manchester and on both the outbound and return journey my first choice of listening was E2-E4. I've listened to the album dozens of times when in transit: on trains, on planes and also travelling to and from work and this is perhaps because there is something about the piece that conveys motion. When one considers that Manuel Gottsching originally recorded E2-E4 to play on his Walkman during a flight to Hamburg the following day I would say mission accomplished.

In other news: there are ongoing developments with the book but I can't say what they are yet. Watch this space.

E2-E4: Approaching a work of genius

I’ve been putting it off for a while but soon I’m going to have to write a review of E2-E4 for the book. Why have I been putting it off? Well perhaps it’s a result of being overawed by the subject matter. How do you approach a work with this complexity/reputation/genius? The first step is probably to listen to the record again at least three or four times making notes…lots of notes. Before I begin writing the review I can offer an early observation as to a part of why the album has been and continues to be so successful. Perhaps an element of this is because it has soul. E2-E4 undoubtedly had a massive influence on techno; a genre, which at it’s best, can be incredibly euphoric and at its worst can involve a series of machines set to boredom. Although E2-E4 was recorded in just one hour and without any premeditation it always feels very human. The complexity and feel of the recording mean that the machines never control the man. Quite the reverse. Anyway: more later….