The whole thing resembles a recurring Grimm brothers fable in which terrified peasants have to concoct a dish to placate a bespectacled ogre and his keeper.
Ah sweet! I’m adding that to my listening queue :)
Working on a two-plane ‘visual music’ AV piece for a conference in June. (No demo sounds… top secret etc.)
Memotone: Goldair (live on the National Gallery roof, Prague)
Thanks I guess.
New track by Kieren Hebden (a.k.a. Four Tet) which he is releasing under the alias Percussions. Out on his Text label.
Op-art titan Bridget Riley has redecorated St Mary’s Hospital.
Me too, there are some spectacular moments in the series, but I do think that quite a lot of it suffered from having had to’ve been compacted to fit the half-hour slot. I remember some routines being much funnier on stage, because the length added to their absurdity — in particular, the theoretical linguistic objection to the idea of a word without context seemed robbed of its surreal bliss. I do understand he was rushed for a lot of the material — perhaps any pitfalls are best attributed to ‘third album syndrome’. (Said pitfalls are relative to Stew’s standard: SLCV’s still superior to all other comedy available).
I think Morris’s deadpan is better than Iannucci’s was, and the interrogations seem much more personal than the last series. I do hope though that he’s got all the CRW full-on misery out of his system. I think it’s getting tired. There were moments of razor sharp wit and glorious awkwardness in this series (respectively e.g. the UKIP routine, and the phone calls in 3.1) that really make me want to see him return to his pre‑Milder combination of scathing satire and quasi–silent comedy.