Popper's Theme

Popper's Theme is the latest two track EP from 10:40, the second in the Retro Fit series. The first Retro Fit was inspired by The Stone Roses. This one is built around a sample of the voice of the singer in a  90s guitar band, played backwards. The first version of Popper's Theme is a heavy duty monster, layers of synths and that vocal sample over some chugged up drums. The groove is the thing- all in service of the groove. The second, the Broad Gauge Mix, is faster, more intense, more electronic, spikier and a little lairier. Both are just what January needs to perk things up a bit. You can find Popper's Theme at Bandcamp.

10:40's reworkings of 90s indie/ guitar bands goes back a few years. This is from 2020, a dubbed out version of early Verve, a B-side from the first Verve 12" All In The Mind. Before they became radio friendly everyman balladeers Verve (no The, just Verve) were wild psychonauts venturing deep into sound and space, Nick McCabe's wall of guitars a storm crossing a languid Hendrix with shoegaze, all tone, reverb and feedback with the bass and drums whipping up a storm. On the 10:40 version of Our Way To Fall- One Way To Go (10:40's So High It Hurts Edit)- Jesse re- imagines our Wigan psychedelic mystics as sleepy, bass- led psychedelic dub pioneers. The space rock guitars shimmer and Richard Ashcroft's voice echoes through the haze. It's a like bathing in sound. 

One Way To Go (10:40's So High It Hurts Edit)

Fifty Minutes Of Edits Volume Two

Another Sunday mix of edits to follow the one from two weeks ago (here). The first one was quite thumpy. This one is more dubbed out, more blissed out and laid back, more drifty, featuring a similar and familiar cast of edit- creators. There's plenty of material unused sitting in my downloads folders too so volume three is only a matter of time. 

Fifty Minutes Of Edits Volume Two

• Nine Million Rainy Days (Los Lopez Edit)
• One Way To Go (10:40's So High It Hurts Edit)
• Inner Meet Me (10:40's Outer Hebrides Dub)
• Kate's Bush (Nocturnal Edit)
• Steppers Rock
• Totem Edits 19 Medicine
• Edit To The Siren
• Totem Edits 18 Air

The Los Lopez edit of The Jesus And Mary Chain's 9 Million Rainy Days first came my way well over a decade ago, 2013 I think, Jim and William's misanthropy/ existential despair set to an electronic throb. 'As far as I can tell/ I'm being dragged from here to hell/ All my time in hell is spent with you', Jim mutters (on 1987's Darklands originally). This is the diametric opposite of the feelings and sentiment expressed in the widescreen, gloriously romantic, panoramic love that propels the fourth track in this mix. 

Jesse Fahnestock is 10:40. He recut a very early Verve song, One Way To Go (a B-side to the Wigan quartet's first release, the magnificent sky scraping northern psychedelia of All In The Mind). Jesse looped it up and set the controls for the heart of the dub. On hearing it I said to Jesse he should re- edit all of the early Verve's music as dub extravaganzas- A Dub In Heaven. I'm still waiting. His edit of The Beta Band's Inner Meet Me came out on Paisley Dark in 2021, a song from The Patty Patty Sound, one of those unearthly EPs The Beta Band released in 1997/ 1998 when they looked like the future of leftfield music, a completely new way of doing things. 

Coyote's edit of Nocturn was one of my favourite records of 2022, a swooning, deep sea dive into the cosmos. Or something. Their Magic Wand edit releases, vinyl only, are always top drawer. I love the way it starts off with one beat and then switches tempo, like the speed selector being suddenly flipped from 33 to 45. Nocturn was on Kate's 2005 album Aerial. 'We stand in the Atlantic/ We become panoramic/ We tire of the city/ We tire of it all/ We long for that just something more'. Yep, I know that feeling.

Steppers Rock came out on the recently revived Eclectics label, based in Bournemouth and the start of what promises to be one to watch. 

Totem Edits are the work of Leo Zero and Justin Deighton, a weekly treasure trove. Last week they dropped a Balearic/ cowboy stomp edit of Big Audio Dynamite's  Medicine Show (an all timer of a song for me). Air (from a week earlier) is John Martyn's Solid Air recut beautifully. I've been in a John Martyn phase recently, Solid Air and One World. By all accounts a terrible and flawed person but the music...

Edit To The Siren performs the possibly sacrilegious feat of taking This Mortal Coil's Song To The Siren and turns it into a dubbed out/ late night Balearic treat. The work of In The Valley. Wobbly. 

Fifty Minutes Of 10:40

I first heard the music of 10:40 three years ago when 10:40 (Jesse Fahnestock) shared his edit/ dub of Spacemen 3's How Does It Feel? in a few groups I'm a member of.

How Does It Feel? (10: 40's Terrace Moonshine Dub)

Jesse takes an already somnolent/ tripped out Pete Kember and co and filters him through a dub filter, everything stretched out and reverberating slowly. 

From there I dug into the 10:40 back catalogue and found a treasure trove of edits, dubs, original music, remixes, Balearic shufflers, chuggers, bangers and a lot of slow, repetitive psychedelia. Jesse's big influences- Andrew Weatherall, Hardkiss, Spacemen 3 and Spiritualized- all made use of repetition and the long groove. After a while Jesse got in touch and stated sharing tracks with me, both as 10: 40 and his partnership with Darren Bell as Jezebell. At the start of 2023 10:40 released Transition Theory, an album that is a full conceived piece of work, each track flowing beautifully into the next one. Jesse was one of the people we approached to be on Sounds From the Flightpath Estate Volume 1, a relative unknown next to some big hitters- David Holmes, Justin Robertson, Sean Johnstone, an unreleased Weatherall and Tenniswood track for crying out loud!- and his track Three Rings stands along side any of the others on the album. 

I thought it was time for a Sunday 10:40 mix. Once I started going through my folders and realised how much music Jesse has made my head swam a bit- so much music, what to include? In the end I went for a mix of slow and low, dubby electronic psychedelia, a world where it's permanently twenty to eleven. Maybe the bangers need a mix of their own. This was a tricky one to do in some ways and the tempo speeds up and slows down which maybe I should have fixed and shifted the sequence around to make it flow more evenly. And yes, that Spacemen 3 edit should really have been on it too.

10: 40's Bandcamp is here. 

Fifty Minutes Of 10: 40

• One Way To Go (10: 40's So High It Hurts Edit)
• Green Shoots
• Neighbors Dub
• Left Behind Blues
• Sea Quenched
• Kissed Again
• Iz Um
• Hey You (10: 40 Remix)
• Tumbling Down

One Way To Go was on the B-side of the first 12" Verve released, back in 1992 when the Wigan psychonauts were four young, straggly haired, psychedelic/ shoegaze noise explorers, a genuinely brilliant live band and hadn't yet been forced to add The to their name or become balladeers. All In The Mind was a calling card, a gauntlet thrown down. Jesse does a full on dubbed out treatment. I suggested to him once that he should remix and dub the entire early Verve back catalogue. I think he thought I was joking.

Last December Jesse re- presented the entire 10:40 back catalogue as an advent calendar, putting everything out there one more time before deleting it. Green Shoots was the behind 5th door, Neighbors Dub was 8th December's door, Sea Quenched the 18th, Iz Um was the 19th, and Left Behind Blues the 21st.

Kissed Again is an absolute beauty, the lead track on a three track EP that came out on Brighton's Higher Love label, the home of some truly wonderful modern Balearica. In September 2021 I described Kissed Again as ' a blissed out glide- by track from Jesse Fahnestock's 10:40 alias, an eight minute trip, with gently rising and falling synths, bubbling sounds, rolling piano chords, some acid squiggles and a sense of reaching an ending that'll leave you either grinning or slightly dewy eyed. Maybe both'. I'm sticking with that. 

Hey You is a cover  of 14 Iced Bears song Hey Fever by Puerto Montt City Orchestra with original singer Rob Sekula recording new vocals for the song. Jesse goes all Spiritualized, nearly eight minutes of trippy psychedelia.

Tumbling Down is the opener from Transition Theory and really, once you've let this mix paly through and ended on Tumbling Down you should cue up the album and go straight on through. 

Saturday Live

Back in January I started this series of posts featuring live gigs and sessions with a 1992 performance by Verve at Camden Town Hall, a band who conjured up an expansive psychedelic guitar experiment- four young, thin men from the wilds of Wigan with suede jackets, scuffed boots and long straggly hair, playing in the outer reaches. This is in the pre- The Verve days, just Verve. There's another long form clip on Youtube of the band a year later at London Astoria, recorded for late night music TV programme The Beat on a Monday night in October 1993. There are fours songs played from what was clearly a longer, full length gig- Star Sail, Slide Away, Virtual World and Blue. 

It is, and this isn't a word I like to use often, epic stuff, from the time of their first album, the psyche/ shoegaze/ indie masterpiece A Storm In Heaven. In the twenty minutes shown here the four men play from within a bubble of noise crated by Nick McCabe's guitar and pedals, an atmospheric and engulfing stormcloud of feedback, notes, distortion and melody. The drums, bass and Richard's vocals all come from within that, the four elements in some kind of perfect balance. 

After I posted Verve at Camden Town Hall I was gifted a bundle of early demos and recordings which included these two versions of Slide Away. The first was I think recorded in Wigan in 1990, very lo fi and with a peeling wail of feedback running through it as Simon Jones' bass rumbles away with that familiar undertow groove. 

Slide Away Demo #1

Slide Away Demo #2

The song eventually came out in September 1993, on 7" and 12" and CD single. The video has our intrepid starsailors lost in the wilderness a long way from home. 

Saturday Live

I thought this might be a good idea for a Saturday series, so I'll kick it off today and see how far it runs before I/ we all get bored of it. A month ago I posted a song by Verve, the early pre- The, Verve, four skinny wastrels from Winstanley college, Wigan who formed to playa  friend's house party and quickly became psychedelic adventures, built around a pummelling rhythm section, a rake thin, long haired, wide eyed, charismatic frontman and the skyscraping, shoegaze x Hendrix guitar playing of Nick McCabe. I posted the song Gravity Grave, an eight minute northern epic and a link to Jesse Fahnestock's 10:40s edit of the early B- side One Way To Go. In the comments Jesse recommended that for the full early Verve experience we should watch the fifty minute film of their gig at Camden Town Hall in October 1992 (actually it was 23rd October 1992, for those of you who are twenty three fans). 

It's professionally filmed, presumably for a regional music programme, nine songs long, starting with Slide Away and ending with Gravity Grave. The first few minutes alone are worth the price of entry, McCabe's silvery, distorted guitar lines cutting through the darkness and blue light. Ashcroft sings in that wasted, psychonaut way he had when they started, swimming like a mermaid when the band are playing the instrumental breaks (they're not really breaks, they're integral to the songs). The group ebb and flow, a slow burning energy, totally controlled but loose as you like, and then there's an explosion of guitar at five minute forty that could skin a cat. 

All In The Mind, their first single, follows, a song about getting in a car with an older woman who tells him, 'You were born to fly my son/ I say 'hey I already know'/ Because it's all inside'. Around Richard's words McCabe blows up buildings and sucks planets into black holes. To jump to the end, Verve are joined by a white shirted flautist and some stage divers. The flautist is as cool dancing, her hair flying around, as she is adding some atonal flute to Gravity Grave's sonics. Richard bounces, arms outstretched. Nick plays guitar like the Silver Surfer might sound, arriving ahead of Galactus in a blur of noise, feedback and chaos. I'm not sure they ever quite captured this on record but bless 'em, they tried. 

Slide Away

Monday's Long Songs

Back in the early 90s Verve appeared out of the wilds of Wigan, four skinny pale boys with straggly hair, suede jackets and desert boots, looking like the existed on a diet of cigarettes and LSD with the occasional bag of chips for nourishment. They were a swirling psychedelic monster, space rock that soared and swooped. Guitarist Nick McCabe didn't appear to be much interested in chord progressions and verse- chorus dynamics but in texture and tone, FX and reverb, runs of notes that were like pinpricks of light against the inky black heavens. The rhythm section thundered away, a bedrock that elevated the group's noise away from the shoegaze bands and towards the skies. As a calling card and statement of intent their debut single, 1991's All In The Mind and its B-sides One Way To Go and A Man Called Sun, is a hard to beat. This incarnation of the group got lost after the release of A Storm In Heaven in 1993 (although A Northern Soul has its moments too). They were forced to add The to their name. Inter- band relations and constant touring took their toll. Singer Richard Ashcroft, 'Mad Richard' in the press in the early 90s, began to be more interested in mid- paced, universal balladeering than stratospheric dream psyche. These things happen. 

Gravity Grave, released in October 1992 is eight minutes of the above, a delay affected bassline, big drums and a squeal of guitar, then more guitar and FX and Richard singing into the wind, 'My life is a boat/ Being blown by you/ With nothing ahead/ Just the deepest blue'. The song shifts a few times, breaking down into bass and drums, some harmonica and then builds again, Nick McCabe playing like a Winstanley version of Hendrix but mainly it's all about the moment, being alive inside the song as the groove goes on. 

Gravity Grave

In case you haven't noticed, over in Stockholm Jesse Fahnestock has been running an advent calendar of musical delights, his 10:40 recordings re- presented, clearing the decks ahead of a new album next year. On 3rd December, behind door number three, was a 10:40 edit of One Way To Go, that 1991 B-side dubbed out and extended, Richard's vocal going backwards and forwards, eventually meeting itself in the middle of the seven minute trip. You can get it here for free. 

The entire 10:40 advent calendar of releases is free, a festival of music with releases- edits, original tracks and remixes spanning dubbed out rock, laser beam festival electronics, wonky hip hop, chuggy Balearica and Tom Waits boneshaker blues. It is going on every day until the big day comes this weekend. Dig in and feed your head here.