Among the benefits of having a clear head in the evening is the freeing up of synapses that would otherwise be closed down. Engagement circuits, the ones governing (self)care, the bits that get irate, unhappy, the ones that get over-excited. It is also, longer term, the bits that cover amusement and enjoyment as well; all blissfully fuzzed over and turned down, ‘dark’ setting, less brightness.

With the absence of the dampener of alcohol, all of those come back on, which can be both boon and bane. I find myself spending hours trying to get the same kind of levelling off from reading… content, input, til I find the click.

Current status: a modest 10 tabs open, one of which is WordPress, where I’m typing this. I follow a lot of newsletters, all of which link to stuff I find interesting for different reasons.

So, keeping the head busy, but there’s always more content. Input…

Probably room to improve the filtration here too!

[Reposting to put it back in its rightful place in the timeline, and for minor edits occasioned by removal of erroneous copy/paste text]

Last week was a short working week thanks to Bank Holiday Monday off. Though still, regrettably, a working week, locked into this global pyramid scheme and unable to extricate. The seemingly effortless genius of the Childish Gambino event for This Is America pretty much set the mood for us.

It’s quite remarkable in its commitment and range of ideas, in any of its various contexts.

Was glad to discover Liz Phair continues to rock.

Need a planet without cars and wars… I wish it could be true.

…got riled by newsletters that just post links and click bait.

Listened to a great podcast, The Horror Self, Conner Habib in conversation with horror writer Brian Evenson. I haven’t had chance to read Evenson’s works yet, but he had lots of interesting ideas. A chance comment they made about Beckett had me wander off dabbing madeleine crumbs from my chin (yes i kno thats Proust) and thinking about the time I saw John Hurt in Krapp’s Last Tape. I am convinced it was one of the stages at the Barbican in London, but… the details are hazy.

Also stirring memories of previous selves this week was the unfortunate Scott Hutchison of band Frightened Rabbit, who went missing in the middle of some personal problems, and whose body was later found by police. Variety’s report on the story gives a fuller picture, though his tweets, first reported in “concerns grow for the safety of” reports, take on a kind of tragic, obvious significance in the light of what happened.

Difficult, allusive thoughts on responsibility, on treating people badly, a judgemental tone, a pervasive sense of personal failure, a combination of contrition, abandonment, resolve and futility… I recognise it all. His words had an eerie resonance with things I have thought, written, expressed, fucked up in the same way. It made me quite emotional, glad I had the great fortune to be able to recognise support from friends, to be able to make it over that great forbidding bulk, to learn from the experience, and not to perish on its exposed flanks.

My sympathies to his friends, followers and so on. And yes, hugs to all your loved ones, perhaps especially the ones you think you’ve failed.

Thank god that’s all done with, anyway.

– Krapp

Finally, this week I’ve been forging new working methods (words and music). The nascent schedule was interrupted by our youngest child developing a comically unpleasant sickness bug, reminiscent of The Exorcist. Full-on, handprints smeared across walls, ankle deep in body horror bathroom nightmares sort of stuff. With that and the day job, it was difficult to establish the rhythms I’d intended… but I got going, if a little syncopated.

One of the things was a writing challenge, for which I missed the deadline… and now I am having bother locating the precise origin of the prompt… but anyway: the task was to go to the New Releases section of Project Gutenberg, pick a title that you liked, then write something riffing on that. Here’s the title I fell on:

Illustrated Horse Breaking

At Wyatt’s Stable Yard, the so-hip-it-hurts hangout of the moment, one of the horses is going through his warm-up routine.

Planting one hoof firmly, with a swagger he floats the other to the ground, a succession of freeze-frames, each movement accompanied by a change in expression: rolling eyes, fury, mugging, a comic tongue lolling, ears flattened, a wide-mouthed grin sheer delight, slack jaw aping the watching press pack. Legs still tense, splayed, he swings up a hoof to close his mouth, his stance relaxes and the spell is broken as he snorts with laughter.

“You’ve got to play around,” he says, and this statement encapsulates the wanton abandon of one of the brightest stars of the post-dressage firmament, Re-Drum.

The unforgettable moment that this heavily tattooed former Olympic champion shocked the precise and exacting world of dressage with a jaw-dropping interpolation of street dance moves is the stuff of internet legend. Clips of that routine – where he first transitioned from Piaffe to Jackhammer, bouncing off one hoof immediately to Change of Direction into a sequence of apparently never-ending Air Flares – stunned the watching crowd and has been seen since by millions.

“The Horse That Broke The Internet, yeah, yeah!” His infectious laugh is as genuine as his self-effacement. “Well, it turned into this thing, but we’d been talking about it, and we knew we just… the time was right, y’know? I mean, we were disqualified, remember?”

Although his easy patter is disarming, this final comment has a barbed quality that suggests his career since has been motivated by more than a love of play.

The idea of classicists becoming energised by urban motifs is nothing particularly innovative. One recalls with indulgence Nigel Kennedy’s football hooligan persona, and insistence on matey abbreviation for composers (Viv) and equipment (Strad) alike. There have been others: the line of RSC actors that have moved from Macbeth to the Marvel universe stretches out to the crack of doom. Yet Re-Drum, formerly Neuschwanstein II, cites his own journey from the Standard Arena to the worn flagstones of Wyatt’s Stable Yard as one of “coming home”.

” For sure, we’re all from the stables. Sometimes gees get used to the horsebox lifestyle, the nosebag, if you nose what I mean?” He feints a hoof past one briefly flared nostril. “But we all come out on to straw. This being born with silver stirrups idea… I never knew my sire. Neusch and me haven’t ever met. Everyone thought I’d do what he did – which was win everything, twice – but I wanted to go somewhere different. I know the old fella’s watching, he reads your paper.”

Re-Drum tips a heavily-accented wink as abruptly he changes direction again. He is keen to recommence practice, and while his candour is genuine he demonstrates an impatience any time the conversation lingers too long on history.

His choreographer – former rider Chantal Wyatt, herself a member of a proud lineage, having inherited the Yard complex from her late father Robert in the early noughties – is certain that there are further changes of tack to come.

“He’s only just started. It’s all Re, no doubt. He’s the originator.” Asked if she feels sidelined, she is quick to demur. “I’m there for balance, but he’s all about the solo stuff at the minute. I’m happier running the keyboard stuff, calendar and so forth?” She waggles her fingers. Without breaking stride, Re-Drum, passing in a wide circle with ostentatious steps, waggles a hoof at eye level. More laughter, and the interview has to conclude.

Across the yard, all around the pair are similar exiles from the formalised restrictions of traditional dressage. Jetset and Stella H are already household names. With more and more talent arriving to go through their paces with Re-Drum the originator, his game could be getting serious.

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Y’know. If there are zones of the multiverse where anthropomorphic whimsy, punning and horses are a mystery, I hope our timelines never cross.

Two weeks off from band practice again. This is what we get for expecting to rehearse in a school room during Easter break.

Tonight’s notes are thusly the last week of other people’s tunes what I have heard… We have been royally enjoying the sounds of Harbors, a band from LA, USA, being the project of a musician called David Shayne ‘and friends’. Nice lines in bitter lyrics with sweet melodies, and murmurous vocals that bring to mind 80s/90s New Zealand bands, as if this can be anything other than a good thing. The marvellous eponymous album can be had from Harbors Music at Bandcamp, and I really dig the tracks “Good Luck” and “Glass Heart” in particular.

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Also been listening to a mixtape from Azealia Banks, “Slay-Z”, which I found out about from Pretty Much Amazing dot com.
Dancefloor rudeness “Queen of Clubs”, loudly through earphones and juxtaposed with a very busy Easter Saturday shopping mission in ASDA, made me giggle (slightly hysterically). I also love the languid delivery on “Along the Coast”. Miss Banks recently abandoned Twitter in no uncertain terms, and that’s another reason.

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"ASDA"?

Finally, pleased to note that my favourite synth pop 80s throwbacks Robots With Rayguns have a new EP out, Skin Tight, which you can find at the RWR Bandcamp disco zone.

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The music's contagious, outrageous!

It is to my chagrin that I was too slow to snaffle a cassette copy of “As Fresh As It Gets”… maybe later… Sometimes you just need the Electric Love.

Next week: E, C#m, A, B, E