Richard Dawson (raucous experimental UK folk racket w/ intense picaresque realness vox)

Seems that this all comes from his own youngblood experiences (incl. listening to his records and himself), more than wearing influences on his sleeve. Though still working on his own unmistakable sound, own voice, as writers say.

It sounds like a stream of consciousness, both musically and lyrically. In many ways its a truer and more difficult form of alternative/outsider music than any noise or deliberately anti-melody record, because there are tunes and melodies here, they just seem all wrong - the notes, the chords, the progressions all seem wrong. Like a folk Beefheart.

Description sounds like Kevin Coyne, in KC's more out there moments. But he doesn't sound like Kevin Coyne, more like Roy Harper gone weird.

Yeah, Coyne and Beefheart are in the same associative family tree, but actual sound closer to young Harper.

Seriously one of the year's best records

i liked the first track on glass trunk with the letter so much but have cooled on him since then

Oh yeah this is pretty cool. Like the guitar playing a lot.

listening judas iscariot right now

good, but as a couple others pointed out VERY bill orcutt almost to the point of distraction for me sometimes

I'm liking "Nothing Important" quite a bit.

huh ok now the next song is L@@K RARE OOP PRIVATE PRESS UK PROGRESSIVE WITCH FOLK VG++ ONLY 200 COPIES WERE PRESSED

this song is awesome

also the first song was good, i shouldn't be backhanded, it was more "put together" than orcutt usually is and it's not like recalling bill orcutt is an easy task either way

Richard Dawson 'The Vile Stuff' (Karen Gwyer Remix)

Listen to Karen Gwyer's hypnotic version of the song https://soundcloud.com/weirdworldrecordco/richard-dawson-the-vile-stuff-karen-gwyer-remix

"Nothing Important is driven by an ongoing conflict between entropic impulsiveness and an almost classical sense of beauty and order...Dawson's most ambitious and affecting composition to date." 7.8 - Pitchfork

"The 33-year-old Newcastle avant-troubadour has made one of the most unique singer-songwriter records in recent memory with the abrasive, vivid Nothing Important.” - Rolling Stone

The sinister lament that is ‘The Vile Stuff’ shows Dawson as a master of the minutiae of British storytelling as he charts the downfall of a group of students on a school trip, “downing Asda’s own-brand stubbies in the lad’s bogs” before succumbing to all sorts of transgression and calamity – fracturing skulls and cheekbones, stabbing screwdrivers through their hands and hopping into bed with their teachers. It’s a song as surreal as it is strangely relatable in its pitch-black humour and effortless conjuring of grizzly adolescent fantasy.

In her remix, Gwyer takes the song's ominous instrumental loop and tones it up into a muscular, sinister alien-club track reminiscent of her releases for No Pain In Pop.

Read a recent interview with Richard Dawson via BOMB Magazine (conversation w Cian Nugent):http://bombmagazine.org/article/2000044/richard-dawson/

That's from dominorecordco.com, so's this

http://i2.cmail1.com/ei/d/36/889/699/csimport/RichardDawson-CROPPEDFORPR.151153.jpeg

oh my fucking god this remix

just found myself listening to this dude earlier today cuz he is supporting the ex next week. definitely pro him

listened to him for the first time yesterday, siked to have a new person to listen to whose work I think is amazing

to me, this has some similarities to akron/family back in the day when they were really on top of what I believed to be an extremely compelling sound

listening to the back half of nothing important and oh man this guy

maybe I need to go to both days of the the ex thing

aah, i used to kind of know this guy from when he worked at alt vinyl in newcastle years ago, pleased to see him making a name for himself (or is it just on ilm . i saw him play loads of times about 5 or 6 years ago and he was always great but never got round to hearing any of his albums somehow (will rectify this). i remember being being quite taken aback when i first heard him singing, him being such a mild mannered, softly spoken chap.

i`ll admit my memories of that time in the north east are getting pretty hazy, but i remember wondering at the time htf maximo park and the futureheads blew up when field music and richard dawson were sooo much better

gosh how did a band whose calling card was a novelty 80s cover make a deeper impression on the public than this guy with his sixteen minute song about school kids getting drunk on 4x and stabbing themselves with screwdrivers

ha! well it was back when i actually gave a fuck about such things.

five or six years ago RD's music was much more quote-unquote accessible straight-bat folk-rock kinda stuff; afaik no-one took much notice until he started to get ~weird~

So what a couple of bits I've heard reminds me of (so far) is some Harsh 70s..-era Dead C 'heavy' strumming. After five mins I can't be arsed.

I dreamt about Richard Dawson last night.

In the dream the mainstream had decided to try and co-opt him and so he had been invited on TV wanker-fest Sunday Brunch with Tim Lovejoy and The Other One. It was a special summer edition which was outside and the invited "too old for Hoxton but we're going to pretend anyway" middle class twunt target market were having a picnic. To try and make him more palatable they had given him a completely inappropriate backing band and they started a version of The Brisk Lad that sounded a bit like Take That. Richard tried to destabilise things by picking up a saxophone (which he clearly couldn't play) and tunelessly honking over them after the first verse. The producers responded by turning up the backing to try and restore order. Richard then walked off the stage in amongst the picnickers and started ad-lining verses, but when he said he would split the stolen sheep "from maw to cunt" it got a bit much for the producers and it went to a black screen.

:D

someone not on phone pls repost to striking imagery thread asap

That should have been "ad-libbing" near the end, but autocorrect obvs.

AAAAAAHHHH

Just interviewed him. Lovely man.

Spoke to him after the gig and can corroborate this

this is great! how did i not hear it till now?

This should be right up my alley but I've never managed to get past the first couple tracks.

there are only 4 tracks

I've listened to this about 4 times in the last 24 hours. Such expressive guitar playing. It makes me wonder what his guitar method is. He said in a Wire interview that when it comes to different tunings, he forgets what they are, but it definitely sounds like he's throwing in some interesting tunings in there all the same.

also everyone likes a guy who posts his posts to multiple threads

imo it is nothing short of the finest pastoralia the north of england has produced, its folk stylings tempered with something utterly seaborne & untameable. 'nothing important' is a preternaturally brilliant folk-prog exegesis on mortality for god's sake, yet it also feels…slightly improvised?

glad to have you on board, i really think this stuff is the most interesting & emotionally affecting music coming out of this country at the moment

― London's Left-Wing Utopian Non-League Ultras Are Reclaiming Football (imago), Wednesday, January 7, 2015 2:26 PM (11 seconds ago) Bookmark Flag Post Permalink

if nothing else, "utterly seaborne" has me downloading this atm

this fucking guy... the lyrical swing between the mundane and the fantastical... All in a weird semi-tonal bloodchant:

Year 7s on a school trip to Featherstone Castle
And some wee scallywag's brung
A Coca-Cola bottle containing a spirit
Poor Peter Hepplethwaite cracks open his head
On a shiny brass doorknob
And has to be rushed by helicopter amublance
To Haltwhistle Hospital

Si Shovell fills a Reebok pump
With the pulp from his belly
Then sets off a fire extinguisher
In the girl's dormitory
And finally clambers into bed with Miss Bartholomew
Much to the chagrin of the deputy headmaster
Whose scarlet skull is firmly wedged between her thighs

I only drank a few little droplets
I only took a tiny draught of the vile stuff

Downing Asda's own-brand stubbies in the lad's bogs
I listen to the dull reflection of a carillon in the toilet bowl
My A-levels drifting away from me
Matthew Mooney's hockle in my hair
Smells like menthol tabs

Outside the chip shop Thaddeus Wagstaff fractures my cheekbone;
3 empty cans of Castlemaine XXXX
Go rolling down my trouser leg
Blood, snot and curry coalesce in the corners of my nails
My friends drifting away from me

I only drank a few little droplets
I only took a tiny draught of the vile stuff

Attempting to penetrate a coconut husk with a Philips-head screwdriver
I pierce a hole straight through my hand into the laminate worktop
It's a major operation to repair a damaged tendon;
I come around with the tube still down my throat
The milk of amnesia fills my cup and back into the hole I go

Snoring like a pan of broth, I arouse the ire
Of my fellow patients
Wagging their ladles in the dark

My neighbour Andrew lost two fingers to a Staffie-cross
Whilst jogging over Cow Hill with a Pepperami in his bum-bag
He's a junior partner at James & James no-win-no-fee solicitor
Thinking of relocating to a Buddhist monastery in Halifax

He reckons I should try meditation
He reckons it could benefit my peace of mind

My bedroom walls are papered with the stripes of Newcastle United
Between which I perceive the presence of a horse-headed figure
Holding aloft a flaming quiver of bramble silhouettes
He is the King of Children
Singing like a boiler: 'Tomorrow is on its way'

I haven't had a wink of sleep and now the sun is in my porridge
I'm starting a BTEC in Engineering at Tynemouth College
My thermos flask leaks parsnip soup on the metro
Clogging up the keys of my MacBook

Carrot pennies steam amidst a pyre of pencils
Ruck-sack dripping up the steps of WH Smith's
To buy a fresh pad of paper

I only drank a few little droplets
I only took a tiny draught of the vile stuff

Nothing Important is even better, maybe?

I am born by Caesarian section at 9:30 AM
in Princess Mary's Maternity Hospital
on the 24th May, forty years ago today,
dangled by the ankle, smacked across the bum,
swaddled in a blanket howling like a wheel.
My big brother on his tip-toes hisses 'I don't like him'.
He's Maradona, I'm Peter Beardsley, chasing a ball through the mud
followed by the kitchen window, bellowing through the fern:
'Boys! Dinner's ready!'
Dad is tuning in the telly beyond a heaving mountain of spaghetti hoops.

I am nothing
You are nothing
Nothing important
Death within a dream

Petrified on the back of a pedalo in the Balearic Sea off Alcudia
I can see the ghost of my uncle Derek waving to us from the beach,
gently drifting out of reach,
the telephone receiver swinging by its cord,
a glass of broken beer expanding on the lino.
My mam slips into the coffin
a polaroid of his sweetheart
Clutching Good-Luck Bear I peer gingerly over the side,
press my nose up to the tide,
and there behold a barracuda chewing on a chrysanthemum
and a family of clownfish hovering in the corpse's hair.

I am nothing
You are nothing
Nothing important
Death within a dream

In the scullery of the cub-hut my clarinet falls
into a sack of flour - a flurry of pins
squashed into the leather handle
a crescent moon of sleeping fig-wasps.
Drizzling my fingers with The Magic Sponge
Dad says 'we'll probably have to chop them off'.
He collapses like a canvas tent on the floodlit astroturf
rent by a fibula guide-rod poking a hole through his shin
There are teardrops in his moustache
charging a flute of champagne
down the aisle and out for a throw-in
A St.John ambulance careers between the sugary pillars of the wedding cake

I am nothing
You are nothing
Nothing important
Death within a dream

A crystal spoon
A pewter tankard
these words inscribed upon the base:
HAPPY RETIREMENT BEST GRANDDAD IN THE WORLD
A toby jug filled to the brim with curtain hooks
A sheepskin rug discoloured with tobacco smoke
within its braids concealed a rank
of plastic soldiers set to burst underfoot
Berwick in oils: a skiff on the swollen Tweed
cradling a false pearl
a ceramic seraph
with an ashtray for a brain
- and I don't care about these things
Why do they remain so clear while the faces of my loved ones disappear?

A Rington's plate
a forking hairline seam of superglue through the Black Gate
a digital photoframe
frozen on a blurry orange thumb
I don't care about these things
Old karate trophies
I remember these things
Thimbles and pesetas
I remember all these things
A roll of Woolworth's price stickers
I can see all these things but
where have all my people gone?

In the end it wasn't meant to be.
He was the most beautiful thing that I had ever seen.
He survived for seven days
before he slipped away

yeah try not to cry

I like those lyrics. Right now, I just wish he didn't sing them in unison with the guitar lead like Robert Wyatt doing George Benson. But I am trying.

'Nothing Important' > 'The Vile Stuff', though

The Vile Stuff is utterly amazing but yeah it got those votes (compared to NI) on the strength of having a shortened version with a video. Nothing Important is maybe one of the 20 greatest songs I've ever heard. I like that it got 134 points in the EOY poll with 3 votes alone!

Richard Dawson is an interesting one. Yes, there are similarities with other avant garde guitarists like Bill Orcutt and Derek Bailey, but those dudes strike me as being very deliberately deconstructionist to an almost academic degree whereas Dawson's playing style is 100% expressionist and very audibly so. His lyrical approach and the regional, historical and autobiographical references he incorporates into his work are truly unique. Also, the influence of art and world music in his work is as strong as any English folk music. Not to mention the way he amps his nylon string guitar through a Fender, which is considered highly unorthodox but achieves a very particular tone. There's a reason Wire mag has been going crazy over him this year.

― quinoa: how's it spelt? (dog latin), Friday, January 23, 2015 2:43 PM (6 minutes ago) Bookmark Flag Post Permalink

brilliant post that needs to go here, nice one dl

New remix of Judas Iscariot by Basic House (Bish from Drunk In Hell/Opal Tapes).

http://www.factmag.com/2015/01/23/hear-basic-houses-misty-remix-of-newcastle-guitar-bard-richard-dawson/

An over-reliance on locations and names in lyrics is not to my taste. But: Dawson does it so much and so arrogantly I feel he's doing it deliberately to mock American songwriters who have interstates and national parks they'll namedrop without thinking about it. I mean, I think he's "taking the piss"

srsly been struggling with which riverbed tbh

He's basically doing the same stuff that happened in so much early 2000s psych-folk and freak-folk that I loved, not Devendra/Vetiver/Akron Family, but Cerberus Shoal/Big Blood, Eric Chenaux, Deep Dark United. Love this kind of stuff.

xp please LJ don't I come here to relax

sorry

there's something to be said about an overreliance on place names but dawson's use of microscopic detail is a v important part of his aesthetic - see the lyrics to Nothing Important where he compiles a huge list of childhood memories but then REJECTS them all - he has no need for them - it is more the tragic pathos of detail that he is invested in I'd say, less taking the piss (although there is a bit of that; he's very funny)

never heard any of those artists. links would be appreciated :)

or just single-song/single-album recommendations

I'm not so into that piss-taking theory, if only because it seems like a poor payoff for the effort it requires. I think as Dawson does it, it's serious (I don't mean po-faced).

Silly thing to take the piss out of, so, no.

yeah the whole album is excellent

looking forward to "the hermit" winning the eoy poll and annoying everyone - if "jogging" got to #3 there's no reason it can't do better and it is the single

I've not listened to the new one yet - saving it for the weekend.

He was on Adam Buxton's podcast (not listened to this, either): https://play.acast.com/s/adambuxton/ep194-richard-dawson

Okay on the second go around The Hermit is really quite something isn't it

Only listened to The Hermit so far but yeah incredible. The coda (I guess? Bit long for a coda maybe, idk the final 'tiny cobles' section) had me hypnotised.

thermonuclear challop: this album is if anything _backloaded_

I wasn't. The Fool onwards is perfection

or at least, close to it

seems like a big improvement on 2020. which i found much of fairly flat. lyrically, the move toward the ambiguous, disparate and unresolved is the right one. the 'short stories' on 2020 were far too neat, far too precise. glad he's returned the mystery to his work and understood that it would be false to try to communicate transparently something broken.

I was lucky to get a ticket to see The Hermit film screened this week, it was a deeply moving and affecting piece. Afterwards, Richard was deliberately very evasive about explaining or peeling back any layers. Which had the entirely correct result of leaving you to take it away as your own personal and private experience. Hopefully it'll make its way online at some point.

i think the film is being released online on tuesday

really love the way the last section of "museum" reproduces the central trick from "the rip"

^an astute observation that some fella made in the RYM shoutbox yesterday

https://i.ibb.co/MBDZDgT/Screenshot-20221119-075224.jpg

But yeah, this album isn't so much a return to folk as it is a dramatic expansion upon his pop adventures using the grammar of ensemble folk. While it is an improvement on 2020 it couldn't have been made without it

to me this one's an meditative and extensive expansion of peasant - very organically incorporating some of the sounds of 2020 and the hen ogledd albums into his folk. a sort of culmination

still have no real idea what the lyrics on this one are about for the most part (except "museum" is pretty obvious) and there aren't great transcriptions out there yet

there seems to be a lot about virtual reality and simulated existence, synthesised with a sort of primeval external life (and occasionally overlapping) - some heady retrofuturistic brew, utterly brilliant obv

The Fool may be the single most beautiful thing he’s ever written, weeping over here

I got to see a screening of The Hermit last week. Loved it.

On first listens I instinctively agree this album is better than 2020. I've not digested it at all lyrically and am looking forward to getting to know it better.

Just stumbled on a note that Drag City is reissuing the first two Hen Ogledd albums early next year.

Okay, just finished my first listen to "The Hermit", taking a break for a bit, but you guys are telling me the rest of the album is even better?

arguably

I mean, if it even just matches the quality of "The Hermit", it'll still likely be one of my favorite albums of the year.

great album. i love this guy but haven't done a great job of keeping up with all his various releases

This really is great, impressed that it maintained that level of quality throughout. I wouldn't mind more work with Circle too, seems like that might have been more than just a one off. But just happy to have this new one for right now.

Great Aquarium Drunkard interview with him.

his account is protected so i won't bother to link the tweet, but David Flipping Sylvian has just written:

richard dawson will be, if he's not already, a national treasure. with occasional hints of wyatt, there's no one else writing anything like him. this album, less strident than others, is quite breathtaking.

does anyone want a single ticket for the show this thursday 3/30 at union pool in brooklyn? i bought one not realizing i already had tickets for sunset rubdown at the bowery ballroom happening at the same time and so i've had to make a choice.

anyway i guess preference will go to whoever responds soonest who is interested? the ticket is in the DICE app

man I would love to see him, especially on one of these shows he's playing with Pigs x7 (what a combo!), but it's a pretty small tour.

great show tonight. charmingly digressive between songs. hadn't realized this is his first visit to North America.

still giving a ticket away for thursday in brooklyn if anybody is interested which is painful for me but i've committed to the other show damn me!

I've got a ticket, but have a friend who would love to go, if you still have.

If there's anyone on here who's been listening to and thinking about The Ruby Cord all year long, as I have, I'm putting together a small "roundtable" thing that'll mostly be focused on the lyrics. The words on the album are so beautiful, the stories so good, but I've seen hardly any discussion or analysis of actual details of the lyrics -- and what I *have* seen is usually remarkably different from how I understand things myself. I've read about four or five summaries of The Tip of an Arrow and each one has a different take on the ending. I started thinking that it might be fun to gather some Ruby Cord diehards together and use a messaging app to really go in-depth about things. (And at the end I would shape the talks slightly into some kind of "Ruby Cord Roundtable: song by song" series and post it on a tiny, effectively no-readership music site of mine, just so that it doesn't all completely vanish into the aether.) If this sounds like the kind of thing you'd enjoy, send a message!

And another (sort of) Circle collaboration is one the way! Jussi and Tomi from Circle have released two albums as Mahti, where they've teamed up with Hannu Saha, a traditional Finnish folk musician. Both albums are beautiful and well worth checking out, gorgeous cover art too.

Anyway, a third Mahti record is coming soon and they've added Richard to the group, as well as Sally Pilkington.

https://mahtifinland.bandcamp.com/album/musiikki-1

Phenomenal news! Even if the two are joining more as "Bulbils" than as "Dawson & Pilkington, songwriters of Hen Ogledd," that's still one hell of an addition. Obviously. Bulbils rule the world.