Wilson was a Cambridge-educated intellectual, trade unionist, Situationist, Granada TV star and post-punk record-label co-founder.
Ryder was a street urchin singer and songwriter with an appetite for drugs so ferocious he once infamously sold his clothes to buy crack (he’s now several years clean).
Despite both hailing from Salford, the two should probably never have crossed paths, much less worked together and formed a deep and long-lasting bond which once saw Wilson describe Ryder’s slice-of-life, vernacular-heavy lyrics as being “on a par with WB Yeats”.
— Malcolm Jack
veteran alpine snow motion stop stop stop
you and your veteran status full motion block block
wide open winter jade alpine glow
the moon you see it moving across the setting snow
january full luna looming down through the shivery fir
cats hunched in the window through the frosted blur
incandescent warming in the yellowed room, wallpaper parched
porcelain chipped on shelves turned just so, that tungsten glow
above and about, strained in the frigid night
there are valentines on the floor, crayons beside them, unfinished
these valentines on the floor, unmeant
like that top class sleeping in another day that’s never been
come here, hold my hand
let me see
carols and rodeo candy
from decaying cassette tapes — from basement sessions — proceed at your own risk
Skimbleshanks_Wayside (from Sonalysts 1987, better version forthcoming)
Skimbleshanks_Underground Recorded on Thames Street, Groton, by 17 Relics, 1987
Sodium Lights have released a follow-up single to their scintillating Transtulit LP from 2011. After the sessions that completed Transtulit, the band decided to go even further into the deep house foundations that made up the electronic side of the group’s electro-rock.
The guitars were put inside their cases, and programming began in earnest during the winter of 2011-12. The band wrote an album’s worth of new material in a few months, and singer Julia Farrar began to add vocals to the rough ideas. As the songs began to take shape, the band began to realize that releasing a single from the best of the accumulated material would actualize the ideal of the “trance pop” songs they were trying to create.