Anything Is Permitted At Any Given Time Volume Three

by Ian Moss

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about

The last of three albums featuring the lyrics of Ian Moss performed in a spoken word setting with ambient music being provided by Space Museum.

Proceeds from the sale of this album will be donated to Strummercamp to assist their ongoing work to promote excellent music

Notes for the words

The Factory Closed Down - one started with Larry Gott but not completed

Falling out with Harry - work politics driving me nuts , Harry was my employer ,,, he remains a friend

Legalise Drugs - when a band dismiss new material like this in favour of polishing older material it's time to go , should have been a Kill Pretty single , wasn't .

Manchester - on the Kill Pretty album "Bubblegum Now"

More Punk ! - A song that never quite fit anywhere , provoked by people with the right haircuts but the wrong attitudes

Mr Pye - my favourite author was Mervyn Peake. This is dedicated to him.

Old is the New Young - Wire, the pop group, Vic Godard , the Nightingales ,,even more relevant now than then.

Rehash - written with cute Bobby Williams in 2010 for that years Hamster shows , recorded by Kill Pretty for album "in 80 days"

Rob a Bank - musing one afternoon on ' love' this happened , recorded by Kill Pretty on album Dark Heart.

Something Out Of The Day - inspired by a twisted boned old lady I encountered in Ashton under Lyne and memories of my mother , one I wanted to work on with Kill Pretty , enthusiasm elsewhere seemed lacking so it stayed on the shelf.

Streets Gonna Get You - a combination of cities I have felt uneasy in , Hamburg , Budapest , Athens , Philadelphia and Manchester , Kill Pretty version on album Bubblegum Now

Super Soar Away Sun - a dig at the dirty digger and his pack of dogs , on album Bubblegum Now.

Sylvia Fading - watching my mum dying horribly this was how I articulated her dementia , on Kill Pretty album Dark Heart.

Titty Belt - Ed Gein inspired piece intended for a possible final Kill Pretty album that was not to be.

Travelogue - dreadfully ill in a steaming Marrakesh hotel room , reading William Burroughs ' Wild Boys' one verse each day as I suffered , first Kill Pretty recording , on album "in 80 days"

Unhappy Birthday - more meditation on my mums painful demise , co written with Larry Gott , on album ' Bubblegum Now'

War Porn - another one earmarked for Kill Pretty , never attempted ,

Andrews World - I met Andrew at Manchester ' pride' he was a lovely person , I only saw him another couple of times , but was devastated when I heard he'd died so needlessly from a drug overdose , on Kill Pretty album Dark Heart

Back Passage Boys - unimpressed by my colleagues , no pride or shame , on Kill Pretty album Dark Heart

Breakdown Man - on Kill Pretty album Dark Heart , channelling my Bruceness,

Burnley - my absolute favourite Kill Pretty track ., so good it almost makes up for the disgust I feel at having been in that band , written in its entirety as I lay in hospital hooked up to a plentiful supply of morphine , it's a tribute to places and people who have not surrendered their very identity , on album Bubblegum Now

D is for Death - the last (unrecorded ) Kill pretty song played with any regularity during my tenure with them.

Of course they continue, so expect plenty of toe tappers soon.

Notes for the sounds

The voice recordings were coming thick and fast and there was a desire to conclude things as soon as possible so the impetus would not be lost. So we had started of with something vaguely electronic, wandered through jazz and dub, this last set was a chance to continue some of that but also perhaps be more experimental.

The Factory Closed Down - a pop song structured little ditty

Falling Out With Harry - time for something a little more on the outer edges. We are both fond of Stockhausen so there is some of that but also more obscure film soundtracks.

Legalise Drugs - it suggested some sort of trancey trippy approach and what better influence than the 70s albums of Tim Blake with their spacey repetition.

Manchester - what to do with KP's most famous tune? Well perhaps to reflect the bustling night life of the Cotton King. Intentionally all over the place in terms of rhythms and structures.

More Punk - dub rhythms, trumpets, distant guitars and sparse piano. The music bizz is full of envy and resentment - some tension and no release therefore.

Mr Pye - one of the last things recorded, there's some reference to John Martyn here I think. It felt like it needed a late night sense to it.

Old is the New Young - deliberately experimental and repetitive

Rehash - again one I needed to take out the context of the original recording. Some manipulation and sampling of Mr Moss.

Rob A Bank - taking another famous one and putting it somewhere else - dub and drum 'n' bass seemed the most appropriate.

Something Out Of The Day - I had to get some arpeggiators in on at least one of the tracks, Ian is at his very best here and it deserved a nice simple melody floating over two chords.

Streets Gonna Get Ya - gave this one a jazzy urban feel.

Super Soaraway Sun - a very strong original musically so a complete brain flip was needed. Cheesy disco advert music.

Sylvia Fading - a deeply personal song so some attention to detail with a lounge jazz west coast style.

Titty Belt - menace and clapping - the Steve Reich connection continues

Travelogue - mutant dub, could have gone in a souk direction but that would have been a bit obvious

Unhappy Birthday - Mr Moss echoes Mr Gott's melody in his delivery so I used Ableton to grab the notes and turn them into midi signals and then shoved that through the Oscillator synth.

War Porn - multiple rhythms and various extraneous sounds

Andrew's World - guitars heavily processed and chill wave rhythms

Back Passage Boys - eschewing the Sabbath derivation of the original - four chord standard song structure with reversing synths

Breakdown Man - Kraftwerk obviously

Burnley - the original was all about Bo Diddley - this was New York Disco in a contradictory way

D is for Death - more serial repetition - Mr Moss shows is innate ability to hit the beat without even hearing the music - quite extraordinary as Mr Coleman used to say.

credits

released April 10, 2015

Ian Moss - Words
Ion-Morph - Narration
Space Museum - Guitar, Keyboards, Samples, Keyboards

Artwork by Todd Rempling
Recorded at Grosvenor and the Den February 2015

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