Hey, Mom! The Explanation.

Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.

Monday, April 10, 2017

Hey, Mom! Talking to My Mother #643 - Sensoria - Musical Monday for 1704.10 - the State of the Hate Nation


Hey, Mom! Talking to My Mother #643 - Sensoria - Musical Monday for 1704.10 - the State of the Hate Nation

Hi Mom,

So, after falling a few days behind, I caught up yesterday in fury (some would say flurry) of posts (Wednesday through Sunday in about an hour).

Now I am ensconced in my Star Trek room in Sangren and doing my work (both for classes and for Calculus), and it's time for me to get another Musical Monday loaded here on the blog.

The other day, I was trying to get my wife to watch last week's eponymous video for last week's Musical Monday -- "Voodoo in my Blood" -- when she asked: "what the fuck is Musical Monday?"
Of course, this made me sad because she shouldn't need to ask that question.

Ah well...

I have also noticed that I am not getting as many likes as I would like on Facebook. Possibly the Facebook algorithm thwarts me by not showing my posts to very many people as I am not interacting with very many people. Of course, this makes me want to see the Facebook algorithm for constructing the "news feed."

That said, I created another playlist for this one (see link below) and named it for the song (and video) that I started with, which is Cabaret Voltaire's "Sensoria."

"Sensoria" is pronounced "Sense - Oh - Ree - Ah."

So, I start with Cabaret Voltaire, which is a band that I have been returning to a lot lately through the power of You Tube.

I had not meant for this to become an '80s fest, but the Google had other ideas.

I often let one song lead to the other, and so with this, Google's algorithm found like picks and formed the core of this playlist.


And so, this playlist comes from Cabaret Voltaire's song "Sensoria," which is the plural of "sensorium" as shown above.

Our "sensoria" need to be fully awake in the State of the Hate Nation and the rise of the new Hitler.

Believe me, I do not not write that idly. I have some more thoughts on this jackass who has usurped the highest office in our land and my very legitimate comparison of him to Hitler, and I will explore more of those thoughts later.

For now, these things.

I also plan to explore Cabaret Voltaire more later.

Cabaret Voltaire is like the Golden Fleece for me. I discovered them in a field trip to Chicago's great alternate music Heaven, Wax Trax, and then they were the band that I most wanted to know more about but had less access to in less progressive Kalamazoo, Michigan in the 1980s.

But now with the Internet...

Now with YOU TUBE, I can actually listen to the entire Cabaret Voltaire catalog.

And I can read about Cabaret Voltaire.

Check this out for Cabaret Voltaire stuff: http://brainwashed.com/cv/



FROM - http://brainwashed.com/common/htdocs/publications/cv-roar_13_1984.php?site=cv


CABARET VOLTAIRE
ROAR #13, 1984
[John Kevin White] recorded a Pax 12" with I Scream Brothers under the watchful production eye of Cabaret Voltaire.

What was it like having Cabaret Voltaire controlling the knobs and switches when you recorded at their Western Works studio?

They might not like this, but I'll say it. I'd worked with Cabaret Voltaire before, when I was with I Scream Brothers. I'll not dwell on that, because although the group was a major stepping stone for me, I don't really have a lot of respect for the other two members at all. We're not really on good terms now. We've slagged each other off y'know, they wasted a lot of my time. But anyway, I approached the Cabs again and said, "How about having a go with this? I'm doing a single for Marcus (Featherby of Pax Records)". He wanted me to do an anti-war single...

Weren't the tracks originally intended for the Pax "Wargasm" album?

Yes, for "Wargasm II". He said "John, record a couple of tracks for 'Wargasm 2'. I'd not specifically written an anti-war song, and I wouldn't have gone out of my way to write anti-war type tracks, but I did happen to have two things of that nature, "Just A Game" which speaks for itself, and "No Songs Tomorrow" which isn't so obvious, but it's the story of me killing a bird with an air-rifle as a teenager. But anyway, I approached the Cabs and they said "Yeah, why not. We're quite busy at the moment, but we've worked with you in the past and you've been here before. We seem to get on O.K.". Because they don't seem to have to do this sort of thing. They're not a commerical studio. If they don't like the person there's no reason at all why they should do it. They don't do it for money, because to be quite honest, the money you give them hardly justifies the time they spend with you. They must WANT to do it. So I went along for just one day because they were quite busy. And I was really knocked out with it at the time.

Digital assistance and credit: Simon Dell
© ROAR, 1984


I decided to list all the songs up front here rather than adding text labels between the videos which already have titles on the display image.

SENSORIA PLAYLIST ON YOU TUBE

Cabaret Voltaire - "Sensoria"
Can "Vitamin C"
Shriekback "Nemesis"
Jenny Hval "Female Vampire"
Killing Joke "Love Like Blood"
The Cure "A Forest"
Echo and the Bunnymen "The Killing Moon"
Siouxsie and the Banshees "Kiss Them For Me"
CocoRosie - "Lemonade"
Bjork "Notget VR"



AND THEN, I find an amazing web site like https://postpunkmonk.com, which deserves more exploration.

For now, here's a piece from https://postpunkmonk.com, in 2012 about this particular song, "Sensoria," calling it seminal.

I knew I was on to something good...

FROM - https://postpunkmonk.com/2012/08/06/seminal-single-cabaret-voltaire-sensoria/

Seminal Single: Cabaret Voltaire – Sensoria


Virgin | UK | 12″ | 1984 | CVS 312
Cabaret Voltaire: Sensoria UK 12″ [1984]
  1. Sensoria [12″ remix]
  2. Cut The Damn Camera
I was fortunate enough to have heard Cabaret Voltaire from the point of their second album, “Voice Of America.” Their 1980 album really opened my ears to the more avant possibilities inherent in unpopular music, as it were. Their use of found audio collage, overlaid with a deliberate moral ambiguity atop their primitivistic, rhythmic, industrial grooves was inspiring to me and yet I only sampled the occasional Cab Volt record until I heard this record, and the coin dropped, as it were. I had bought “2×45” and “Eddie’s Out” from their Rough Trade period, but that was all. After hearing this, I rode the Cab Volt horse, but hard. It didn’t throw me until the band transitioned to their house phase [“Groovy, Laidback + Nasty”] where they lost me, but good!
I happened to see the video for this track on TV. I can’t recall if it was either Night Flight, Snub-TV or perhaps London Calling, but it hit like a bolt from the blue. The juxtaposition of an authoritarian preacher intoning the gospel of absolute servitude to one’s betters with slamming industrial beats 80 feet tall as well as a chorus of African women singing backing vocals was pretty singular at the time. The deeply insinuating vocals of Stephen Mallinder added their usual sinister appeal; all the moreso since Mallinder used only his phrasing to ratchet up the sense of menace in the music. Lesser bands in Cab Volt’s wake would pioneer what I called “ogre music” and rely on vocals run through FX and distortion pedals to attempt to achieve what came to Mallinder naturally [and subtly].
Unlike their avant garde trio phase on Rough Trade, the “imperial phase” of Cabaret V0ltaire coincided with the band being signed to Virgin through Stevo’s Some Bizzare label with the earlier year’s album “The Crackdown” being the harbinger of a new period of industrial funk for the band that saw them making me very happy indeed with each new release. Like their Sheffield pals Martyn Ware and Ian Craig Marsh of Heaven 17, Mallinder and his cohort Richard Kirk sought to meld avant garde electronics with soul and funk influences; but what made them diverge significantly from the path that Heaven 17 ultimately took was their allegiance to Burroughsian cut-up technique. Their willingness to juxtapose content that was not necessarily related in order to create a “third mind” scenario that was richly evocative for its unplanned randomness.
In that way, this single itself was a sterling example of an early mashup. The track is actually fabricated from two different Cabaret Voltaire songs off of their “Micro-Phonies” album on 1984: “Sensoria” and “Do Right.” The album versions of each bear some resemblance to this 12″ single, but the remix by John Potoker [with uncredited sonic glue courtesy of Robin “M” Scott] is a thing of wonder. A rare musical example of a whole being greater than the sum of its parts. Relentlessly pounding machine energy is given an injection of funk and ironic reactionary commentary via the preacher, who by giving a sermon on obeying your superiors, plays right into Cab Volt’s fascination with exposing and disrupting the control process. The result is a dancefloor devastator and an example of the “industrial music” ethos the band trailblazed with Throbbing Gristle for over a decade before it reached the point of slickness that is evidenced here. The point where Cabaret Voltaire became a genre unto them selves with many followers in their wake of the NIN and Skinny Puppy ilk.



"Sensoria"

His head is not his memory.
Visions coming, one, two, three.
Trickle up, trickle down.
Wearily, we come unwound.
Sensoria, sensoria, sensoria, sensoria.

In hard times, hard thrills.
Reaching for the chosen pills.
Dragnets will pull you in.
Tell you that you're deep in sin.
Sensoria, sensoria, sensoria, sensoria.

In hard times, hard thrills.
Reaching for the chosen pills.
Dragnets will pull you in.
Tell you that you're deep in sin.
Sensoria, sensoria, sensoria, sensoria.

Once you were a lonely playboy.
Heading for a simple joy.
Trickles up, trickles down.
Frankly, I don't give a damn.
Sensoria, sensoria, sensoria, sensoria.

In hard times, hard thrills.
Reaching for the chosen pills.
Dragnets will pull you in.
Tell you that you're deep in sin.
Sensoria, sensoria, sensoria, sensoria.

Her new father, where and when?
Reaching for a giddy end.
Like a girl on a rainy day.
Have the needs to keep it sane.
Sensoria, sensoria, sensoria, sensoria.

Senses reaching fever pitch.
Reaching for a giddy end.
Like a girl on a rainy day.
Have the needs to keep it sane.
Sensoria, sensoria, sensoria, sensoria.

His head is not his memory.
Visions coming, one, two, three.
Trickle up, trickle down.
Wearily, we come unwound.
In hard times, hard thrills.
Reaching for the chosen pills.
Dragnets will pull you in.
Tell you that you're deep in sin.
Sensoria, sensoria, sensoria, sensoria.
Sensoria, sensoria, sensoria, sensoria.

Have the needs to keep them sane.
Sensoria, sensoria, sensoria, sensoria.
Sensoria, sensoria, sensoria, sensoria.

Songwriters
RICHARD HAROLD KIRK, STEPHEN WILLIAM MALLINDER

Published by
Lyrics © Universal Music Publishing Group

Song Discussions is protected by U.S. Patent 9401941. Other patents pending.



Read more: Cabaret Voltaire - Sensoria Lyrics | MetroLyrics





















+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

I miss you so very much, Mom.

Talk to you tomorrow, Mom.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

- Days ago = 645 days ago

- Bloggery committed by chris tower - 1704.10 - 10:10

NOTE on time: When I post late, I had been posting at 7:10 a.m. because Google is on Pacific Time, and so this is really 10:10 EDT. However, it still shows up on the blog in Pacific time. So, I am going to start posting at 10:10 a.m. Pacific time, intending this to be 10:10 Eastern time. I know this only matters to me, and to you, Mom. But I am not going back and changing all the 7:10 a.m. times. But I will run this note for a while. Mom, you know that I am posting at 10:10 a.m. often because this is the time of your death.


Post a Comment