Crime melodrama about two sailors in London, an American open to theft and smuggling and an honest Jamaican, and the crooks and girls they know. A jewel theft goes wrong and those involved must decide whether to try to get away or to do the right thing. Superb photography of postwar central London when almost empty of people on a Sunday.
From the Archives Vol. 6 is a release from The Future Sound of London's From the Archives series. As with the rest of the series, the music within covers their unreleased 1990s experiments and songs that never made it to the albums released at the time. This particular volume begins with earlier material based around the band's acid techno years, and moves into more abstract and experimental work further into the album. Following the popularity of the previous two volumes, volume 6 is segued from start to finish, with no gaps between tracks.
FSOL's contribution to Record Storey Day 2017 is a triple-LP set called Archived : Environmental : Views. One can guess that the first LP will be tracks from the archives, the second LP will be pieces recorded as part of the Environments series, and third will be 'Viewed from' tracks.
You may remember a film from the early 1970s called Henry VIII & his Six Wives, starring Keith Mitchell, Donald Pleasance, and Charlotte Rampling; it was notable for its score, which not only featured authentic music of the period (nearly unheard-of at the time), but also was, according to David Munrow, “the first historical film in which the music has been scored entirely for historical instruments.” Munrow also added a few numbers of his own to satisfy the needs of the movie, patterned after 16th-century style and form. Although these days such attention to authenticity is common, even expected, Munrow was one of the pioneers in bringing musicological research and the more immediate practicalities of really old, original instruments and stylistic practice to the level of popular culture. Of course, also in these early days was planted the impression that period instruments must necessarily be somewhat clunky and (to varying degrees) not quite ideally in tune–and in some cases, just plain annoyingly squawky and prone to obnoxious buzzing noises. While this generally fine issue from Testament offers many reminders of those times, when musicians were still finding their way in unfamiliar territory (and often using very user-unfriendly instruments), this release will prove mostly a delight for early music fans–and will be a real treat for those who own the original LPs from which these tracks were drawn.