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Friday, October 20th, 2006
8:35 am - Etc's November Reign


Amendments to upcoming Etc-schedule - in wake of the cancellation of November's "Unclogged" sessions (meanwhile "Jakarta's electro pop/new wave" Goodnight Electric play Zouk K.L. that night, along with Etc-friends & auxillary players, FreeLove. Free admission):

NOV 2006

Fri 3rd: Unclogged - K.L. Malaysia GIG CANCELLED
Sat 4th: Flamingo Pub - Ipoh, Malaysia
Mon 5th: BarNone - Singapore

don't know if Nov 5th's venue name refers to an all-ages, all creatures -great & small- policy.

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Tuesday, October 17th, 2006
7:07 am


don't know if the venue name refers to an all-ages, all creatures great & small, policy.

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Tuesday, May 23rd, 2006
5:05 am - Shelves Etc


Shoddy live debut at EarShot, Old Parliament House - Sat 20 May 06 - went something like this (while dreaming of Springsteen):

the would-be father-in-law in the dream i had
said quit with all this mister call me dad
and call the old lady mum as well
come on over lets do manthings
let's put up shelves

leave the women bitching in the kitchen son
let's tune the engine fix the transmission
while they twitter and talk amongst themselves
shoot hoops with my lad
and put up shelves

we'll go fishing and know what we're fishing for
we got clint eastwood as a next door neighbour
we can do carpentry with harrison ford
we'll saw planks cut logs watch sport
and put up shelves

we're having fun now we've cured the animal
let's slice the animal and barbeque the animal
the very animal we killed ourselves
douse ourselves in its blood and use it
to varnish our shelves

come on son get some cool ones opened up
down in the basement where we can admire my handiwork
my guns my porn my unexploded shells
a man feels good down here in his bomb shelter
with well-stocked shelves

if you want to spend time with my daughter
you've gotta prove yourself go off to war yeah
and if you come back in a body bag well hell
we'll wrap you in a flag salute you fine lad
and put you on the shelf

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Wednesday, May 10th, 2006
3:03 am - may scatalogue


back of truck
beercan bed
big girl's blouse
cheeky monkeys
crawl babies
don’t ever never
dumb waiter
dunce’s cap
ex's cassettes
fare dodger
fire of love
4004 B.C.
funny bones
guide these hands
guilty party
handphones on the dancefloor
hearts (aren’t heart-shaped)
how soon is now then?
i'll be your b-side
love is no alibi
malaysian trucks
mother of earth
mother was an athlete
navigator (ishallah)
no goldiggers
nothing like expectation
parties you don’t remember
peter panic
pilgrims further
pretty fall
riding in your car
she’s a riot
siti, majulah – siti, ne quit pas
stupid supermarket
superhero (incognito)
teenage kicks
wake up (Arcade Fire innit)
when i was a store detective
within you’ll remain (Tokyo Square cover)
worser (they’re a palindrome)

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Monday, March 27th, 2006
3:03 am - migrant voices

(link to self)

migrant voices highnotes

migrant material

migant voices thanks first

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Friday, January 6th, 2006
8:32 am - Derek Bailey R.I.P.

crap. so it is true -- another guitar maverick joining Link Wray and R.L. Burnside in the great beyond. and a sheffield lad at that. def influenced me (despite having heard less than 1% of his music i imagine) based on what he had to say on radio3's ace "mixing it" show many moons ago on a winter's night in U.K.



Derek Bailey

Restlessly creative guitarist forever pushing at the boundaries of music
John Fordham
Thursday December 29, 2005


On and off over the past decade, I would meet Derek Bailey in the same Chinese restaurant in Dalston, north London. As well as being a wonderful raconteur, the Yorkshire-born guitarist regularly blew holes in convenient wisdoms sitting smugly on some shelf in my head. His provocativeness was not oneupmanship, or a parade of erudition; it was the way his brain was wired. He had done the same for musicians and listeners all over the world for 40 years or more as a free-player and a freethinker, a Frank Zappa for the world of spontaneous performance.

Bailey, who has died aged 75 of complications from motor neurone disease, was a guru without self-importance, a teacher without a rulebook, a guitar-hero without hot licks and a one-man counterculture without ever believing he knew all the answers - or maybe any at all. With his passing, the world has lost an inimitable musician and an implacable enemy of commercialised art.

Bailey once described his friend John Zorn, the American avant-garde composer and improviser, as "a Diaghilev of contemporary music" for his catalytic influence. But he could as easily have been describing himself. He worked with performers as different as free-jazz piano legend Cecil Taylor, cool school saxist Lee Konitz, Harlem bop-and-swing hoofer Will Gaines, naked Japanese improvising dancer Min Tanaka, fusion guitar star Pat Metheny and the drum virtuoso Tony Williams. In later years, he collaborated with Japanese art-of-noise rock band the Ruins, and - when he had already passed 70 - with young drum and bass DJs.

Singlemindedly devoted to unpremeditated improvisation, Bailey published a book on the subject in 1980 called Improvisation: Its Nature and Practice in Music. Twelve years later, it led to Jeremy Marre's revealing Channel 4 four-parter On the Edge: Improvisation in Music, an ambitious venture that Bailey both scripted and presented. The project tracked the improvising impulse through the most radical interpreters of Mozart, the methods of the organist at the Sacré Coeur, Paris, in baroque music or the blues, and in locations from the Hebrides to the Ganges.

Bailey was born to George and Lily Bailey, in the Abbeydale district of Sheffield. His father was a barber, his uncle a professional guitarist who gave the boy his first instrument and some haphazard lessons. By a process of osmosis from musicians he met, sustenance from odd jobs, record-listening (bebop guitar pioneer Charlie Christian was his early model) and some later self-education in theory and arranging, Bailey became a pro on the UK dance-band and studio circuit in the early 1950s. By 1965, he was playing Blackpool seasons for Morecambe and Wise.

By that time, he had begun rehearsing regularly with two adventurous younger players in Sheffield - classical percussionist turned jazz drummer Tony Oxley and bassist (later to become classical composer) Gavin Bryars. The three formed the group Joseph Holbrooke (named after an obscure British composer whose work they never played), and, from 1963 to 1966, its jazz beginnings in John Coltrane and the Bill Evans Trio were crossbred with ideas from John Cage, Stockhausen, serialism, Oxley's labyrinthine rhythm variations, and much more. Gradually, the group moved from jazz into a non-idiomatic approach - free-improvisation.

From 1966, Bailey began visiting the Little Theatre Club, a West End bolthole where the drummer John Stevens ran all-comers' sessions and young improvisers (including Evan Parker, Trevor Watts and Paul Rutherford), jazz virtuosi (Dave Holland, Kenny Wheeler) and contemporary classical players like Barry Guy gathered. With various versions of Stevens' Spontaneous Music Ensemble, Oxley's sextet, the Music Improvisation Company (electronics, percussion and Parker's sax) and the trio Iskra 1903 (with trombonist Rutherford and bassist Guy), Bailey began to build a completely new vocabulary for the guitar.

Though he never abandoned the conventional instrument, he was mixing warped chordal ideas, serialism's lateral melodies, Cage's elevation of silence, pedal-operated electronics and a brittle attack borrowed from percussionists. From 1970, he also ran the Incus Records label, first with Oxley and Parker, then with his partner (and later third wife) Karen Brookman - their Hackney flat is still the Incus HQ.

Bailey's Diaghilev qualities came to the fore in 1976, when he began his Company project, an improvisers' festival that involved 400 players each year up to 1994 in Britain, the US and Japan, with Zorn, Lee Konitz, saxist Steve Lacy, classical violinist Alexander Balanescu, bassoonist Lindsey Cooper and composer/saxist Anthony Braxton among those taking part. He also invited dancers, performance-artists, electronica-specialists and avant-rockers to join in, with the artists deciding who would improvise with who.

He likened improvisation to spontaneous relationships and conversation - full of accidental harmonies, misunderstandings, passion and indifference. Though a sophisticated instrumentalist himself, he did not mind playing with people who had comparatively few skills; something interesting might always happen. He worked with bassist Bill Laswell and drummer Tony Williams in the trio Arcana in 1995, and collaborated with Pat Metheny and two percussionists on The Sign Of Four in 1996.

He described that encounter to me thus: "The equipment I use I bought in Canal Street 15 years ago. Pat's sitting in the middle of what looks like the console of a 747, with four guitars and a distortion unit that could be used for dispersing mobs. There were two guys with huge percussion kits, and I'm making a lot of noise, and then he switches this thing on, and it's like there's three dogs playing around a little, and suddenly an elephant lands on top of them."

Yet for all that raw-noise energy, Bailey continued to be a delicate acoustic improviser, often unaccompanied or in duets. Just in time, he was caught by the ideal biographer, Ben Watson, in the book Derek Bailey and the Story of Free Improvisation. And, though his combativeness never left him, he seemed to take heart from the musical eclecticism and dissolution of idiomatic differences he had done so much to encourage.

"The kids don't mind whatever it is these days," he told me once. "Maybe there's a lot of stuff out there now that is by its nature odd. But they seem to be able to take anything. Which is great to somebody like me. I find it very comfortable. In an uncomfortable sort of way." Karen survives him, as does Simon, the son of his second marriage.

Richard Williams writes: The least typical recording Derek Bailey ever made also turned out (not that he would have appreciated the compliment) to be one of the great jazz recordings of the last 40 years. Titled simply Ballads, and recorded in 2002 for John Zorn's Tzadik label, it consisted of solo guitar meditations on 14 songs from the standard repertoire, including Laura, Body and Soul, What's New, Stella by Starlight and You Go to My Head.

Although this was the last project one might have expected from a professed enemy of composed music, it was no surprise to discover that in these songs - their musical and emotional contours long since flattened by overuse - Bailey found brand new angles and meanings, thanks to the application of his highly personal imagination and unique instrumental language. Extraordinary renditions, indeed, and utterly spellbinding.

By the time he recorded another solo CD for Tzadik, entitled Carpal Tunnel, three years later, his refined technique had all but disappeared. No longer able to grasp a plectrum with his right hand, he adapted by striking the strings with his thumb. The album's title came from the condition, carpal tunnel syndrome, that was said by doctors to explain his reduced dexterity. In fact, it marked the onset of the motor neurone disease from which he died.

In these pieces, the spiky elegance of Ballads is replaced by a halting delicacy reminiscent both of Japanese koto music and of the last paintings of Willem de Kooning, when illness had robbed the great abstract expressionist of the power to do anything other than trace a haunting shadow of the shapes and colours that had once burst from the canvas.

· Derek Bailey, improvising guitarist, born January 29 1930; died December 25 2005

Guardian Unlimited © Guardian Newspapers Limited 2005

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Tuesday, December 20th, 2005
2:22 am - myspace


sat 10 dec: KL.
sat 17 dec: newloud
sun 18 dec: MFG 'astrogal' w/ nick. substn: lucy / TWKUA.

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Sunday, October 30th, 2005
11:58 pm - I'm In The Mood For Love

Sung by Bob Dylan four times during 1988 and 1989

The D7 in the bridge can very well be played (and I think that's what Dylan does) x54530

Intro (and basic melody, as well as chords for the verses. The swift upward sweep in line 2 can be replaced with a sustained G)

C Dm' g Dm EmF G F G C Em7 D#m7Dm7
: . . . . . . . : . . .

Dm7 G C
: . . .

C Dm
I'm In The Mood For Love
Simply because you're near me
Em7 D#m7 Dm7
Funny, but when you're near me
G/f C
I'm in the mood for love.

| , . , . , . ,

Heaven is in your eyes
True as the stars we're under
Is it any wonder
I'm in the mood for love?

Dm C
Why stop to think of whether
Dm C
This little dream might fade?
Em Am
We've put our hearts together
Now we are one,
G(sus4) G
I'm not afraid!

If there's a cloud above
If it should rain we'll let it
But for tonight, forget it!
I'm in the mood for love.

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11:10 pm - looking good


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11:54 pm - POW

says here : http://pow.com.sg/calendar/200511.php

The Jerms will showcase their catchy indie-pop tunes from their upcoming album. Their continuous focus is on light-hearted melodies and snappy lyrics that speak of youthful zest and the fun of carefree observers in singapore's plastic society. see www.thejerms.com

Praised by members of Blur, Foo Fighters, Fugazi and Sonic Youth, Etc continue to defy poverty, immigration and categorisation with their own brand of bittersweet psychopop. Having gained a place on the BBC's "Global Top 10", and touted by The Straits Times as the most literate band playing in Singapore, Etc continue to follow their gut instinct to stay true the most primal urges and spontaneity at the heart of the purest rock & roll. And they like it when you dance. http://etcmusic.blogspot.com/

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11:51 pm

Interesting information about your work or group (Information that will interest the press.)

Etc is currently Ben Harrison (guitars, vocals, etc) and Harvey Chamberlain (drums, drums, etc). Their myspace page is _here_ and you can hear and download more at their Last.FM page and hear AND see more at Etc on Reverbnation. Choices.

___ Etc 2006 ___

Etc 2006: Adrian (guitar); Ben (guitar, vocals); Lennat (drums); Vinita (bass).

Etc’s ‘Adolesce’ was chosen for the BBC’s ‘Global Top 10’ website. The song rated in the Straits Times Top 5 singles of 1997: “One of the finest tracks on any single CD this year, definitely the strongest lyrical offering, Etc’s “Adolesce” is a most literate piece of garage pop. A treat…”

Etc are configured to play in a number of line-ups, depending on the occasion or who can make it. 2005 saw Etc perform as a quartet; trio; a duo featuring drums, guitar & vocals; solo acoustic … even performing ‘his’n’hers’ duets with a special mystery guest.

The members of Etc all first met at various concerts in Singapore: Having seen Adrian around on his skateboard, the first time Ben remembers speaking to him was at Henry Rollins infamous early ‘90s Singapore gig; Ben met bass & violinist Vinita Bukit Batok C.C. when Fugazi played their legendary first Singapore concert there in 1993; Ben first met drummer Lennat when they were both working as stage crew at a Tsunami Relief Benefit Fundraising Concert 2005.

Adrian is also the sole official member of Rocket Scientist who have recorded a number of as-yet-unreleased albums.

Lennat’s biggest inspiration is The White Stripes.

International musicians who have given Etc their approval include members of Blur, Fugazi, Sonic Youth, Pearl Jam and the Foo Fighters. Ben was surprised when his visiting parents enjoyed an Etc set at the Esplanade in 2005.

Over the years, Ben has amassed literally stacks of lyric books, but he deliberately tries to avoid writing because “songs are too much of responsibility – because once they’re born, I have to look after them and make sure they’re doing ok.”

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11:48 pm - kkk

guess the lecturer for the following: MUSIC - EXISTENZ – SOUL Anticipating the Giant - the impact of music in the realms of the social

A: Kelvin Tan

And one day there will be an a cappella group that doesn't make ref to their singing in their name - voiceout; vocfabulary; tony tonsiltones; the faggoty faces while we sing collective

suzieju: you're funny

"My writing mirrors the trauma of not so much being Singaporean, but being a human caught between different voices and narratives”
so true
i feel trauma

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11:43 pm - Windows is shutting down

are are are


Windows is Shutting Down by Clive James

Clive James
Saturday April 30, 2005
The Guardian

Windows is shutting down, and grammar are
On their last leg. So what am we to do?
A letter of complaint go just so far,
Proving the only one in step are you.
Better, perhaps, to simply let it goes.
A sentence have to be screwed pretty bad
Before they gets to where you doesnt knows
The meaning what it must of meant to had.
The meteor have hit. Extinction spread,
But evolution do not stop for that.
A mutant languages rise from the dead
And all them rules is suddenly old hat.
Too bad for we, us what has had so long
The best seat from the only game in town.
But there it am, and whom can say its wrong?
Those are the break. Windows is shutting down.

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11:42 pm - dad farts

I think of Dad often because when I break wind it has taken on an amazing new volume and resonance. And then I realised it was physiological. I fart like my Dad. And I think like Mum. O if it was the other way round I might be able to pull of being more respectable. I NEVER heard Mum fart.

It’s horribly hot here. I’ve been putting up Ikea shelves. Yes there’s a nail that refuses to go in. The shame of it.

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11:42 pm - miss chan

I don’t understand miss chan at all
Said she’s been bad (yes I read that)
But I thought that’s usual
Just business as usual
Like she’s not bothered – doesn’t give a damn about other people
She shows but I don’t know what she does those things for
She’s got new clothes – the new clothes of an emperor
Aww, sure she’s beautiful – and what she did w/ the Stones
But I hope it’s not just ego.
Turn up your marshall.

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11:41 pm - virgosis

so you wish you could get to know
a load of northern virgos

northern like yorkshire, northern like scottish
virgo like jarvo, virgo like jarvis
well don't worry luv, i'm an expert in this
and i suffer from extreme virgosis

aw yeah - virgo like liz frazer
from the cocteau twins
or virgo like jarvo ... well i know
i'm not him
but i hope i'll do
because i can be the virgo for you
virgo like a starcruise
virgo like stu
virgo like me
and i like you

and you like sweet bluddy jarvis
jesus, and don't you know what this
is like
lthis virgosis

it's me birthday soon
come on - gizza kiss

'you've stung me once / you're always on the attack... so why then do i keep coming ... coming back?
could be because you're just so
good in the sack"
"i am meant to be shy ... but so am i meant to be imaginative ... would you like to see what i can do with this? would you like to know imagined? and then what happened ... after that ... how i had to clean up the stains and take a bath
my, my, my, my....
: (it's getting very she's a lady) in my mind

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11:39 pm - why can't we do what we used to?

why can't we do what we used to?
why can't we?
"why can't you?"
o aye, that'd take some getting used to

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11:37 pm - mata hari met houdini



Mata Hari, well she squinted at Lazarus and said, “Over here dear – I’m practically dead. So, Lazzy Babe – any advice you might like to share with us (besides your old standard of course – the old ‘Just lie back & think of Jesus’)? Tell us Lazarus – what have you got for us? I’m a star, but I have trouble getting up. It’s difficult. Difficult for us in the secret service. So? Any tips beyond 'Lie back and wait for Jesus'?"

Harry Houdini was on the scene and he heard all this. He knew she was a spy; that she dealt in secrets. And it made him nervous. Besides, she’d been giving him the eye as he'd tried to hide his box of tricks –his tools of the trade– for this tricky business, as he organised his stuff for another day at the circus. Another well-paid special appearance. And then disappearance. And then reappearance.

“You got a problem boy?” went Mati Hari, all very loudly and all of a-suddenly looking down at Harry Houdini because she didn’t like the look he was giving her.

“No M’am, no” he replied. “But I’ll be blunt here. Not only are you putting your smokes out in my dinner, but you’ve been talking to no-one... shouting into thin air. There’s no-one there. If you look you’ll see that there’s nobody. Least of all Lazarus – he’s long gone. Yes, he was raised from the dead, but you didn’t really expect him to live forever did you Baby? No-one gets to escape death. No? Yes? That's why they call it the Great Leveller I guess”

Mati Hari blinked and suddenly she saw a fresh lock, fit for the picking. She saw a new boy whose cock needed a-licking. Never mind it had got around that love did not hound Harry Houdini. He was all about In & Out. He was a master at escapology.

If love is a force of nature – is there no escape from love?
If there’s no escape from love – then how does love escape us?
How does love escape us – if there’s no escape from love?

Do we have any choice in it?
Mata Hari – stealing secrets – tell me this: How you get away with it? Is it your special trick? What’s your secret?

How can we trust you Mata Hari? How can I? How do you trust a spy?

“Say what you like – I’m a spy Harry, I can’t deny it. Yes, I am a spy, and I know you’re an illusionist. That as maybe. But this… this is love. And there’s no escape from it. Only denial. Only denial of it. Take it from me, from a spy to an escapologist.”

If love is a force of nature – is there no escape from love?
If there’s no escape from love – then how does love escape us?
How does love escape us – if there’s no escape from love?

"I know you’re all about secrets and sabotage. And for me, escape is what counts. For you, I’m just another lock for the picking
And you’ll do – another lush talking too much for me to stick my dick in

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11:35 pm - i lost her to the theatre


i lost her to the theatre
and now i tread the boards
thankful for my script
being at this loss for words

they tend to hate me
the flower girls meant to attend me
how can they understand
i snub them for their own safety

our type win followers who try to collar us at the stage door
and when they don't get us
there's still no let up
it only makes them want us more

would it be worse still
if they knew what we're players for?
they wait outside, starry-eyed in love
not with us, but our stage-stalking enigmas

i lost her in the theatre
so now i tread the boards

the actor ... dying to get at her

Her.....to the dying actor
You lost in the first act and now I am free
The flowergirls who hate you,tends to me
for they understood I love them but only forkeeping me company

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11:34 pm - park

will i be walking my daughter
in the park when i meet yr
10 / 20 years from today

we'll take a seat for a bit
let her go off and play
in the sand pit

so great to see yr
we exchange numbers


yr place or mine?
i'm a cheeky bugger
and i want to get at yr

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