Matching Mole

[GuitarGeek]

You probably don't care but I"m listening to the first Matching Mole for the very first time (or more accurately, Im' listening to one of the bonus tracks, as the original album has already played out and I'm listening to the big 20 minute track at the end of disc one).

I've had Little Red Record on cassette since circa 1994, my penpal from that time sent me a tape with that on side one and Khan Space Shanty on the other side (probably because I told him I was a big Steve Hillage fan), so I've listened to it periodically over the years, but I never did get the first album. Until now. When I order the Muffins boxset, I decided to throw both of them into the order as well.

Anyway, this is a great record, I love the quirky mix of pop song, intricate instrumental composition and improvisation. And I love Robert's Mellotron coda to side two. Some fine stuff. It's been quite some time since I listened to Little Red Record, so I'm looking forward to that too.

[rcarlberg]

"Smoke Signals" is also worth having.

[Dave (in MA)]

And "March" and "On The Radio", too.

[GuitarGeek]

"Smoke Signals" is also worth having.

Yeah, I have that, got it years ago, I think from the Wayside table at NEARfest one year. March I don't have, and I'm not sure I ever knew On The Radio existed.

[chalkpie]

Love the Mole.

[moecurlythanu]

Wonderful band. Especially the s/t.

[aith01]

Yeah, that first MM record might be my favorite overall from the Canterbury scene. But that’s a tough call…

At any rate, it’s brilliant.

[Enidi]

Enjoy both Matching Mole albums. Back in the days of Weird N.J. Gloria Gloom was a good choice when exploring abandoned mental hospitals.

[pb2015]

Never have been crazy about the second album because Phil Miller is so subdued (rumored to be intimidated by Robert Fripp) and the comedy voice stuff doesn't push my button. It is one of those albums I keep around thinking maybe it will click someday.

Smoke Signals is great. I'd guess March is too but I haven't tracked it down yet.

[GuitarGeek]

Listening to Little Red Record now. I said, I have this on a cassette that my old penpal gave me back in the mid 90's, so I'm slightly familiar with the music here. There's some good stuff here. Looking forward to the BBC session on disc two.

BTW, speaking of the BBC stuff, most, but not all of it appears on these remasters. From what I can see on Discogs, there's only three tracks on On The Radio (specifically tracks 2, 3 and 4) that aren't on the Esoteric remasters. Anyone want to comment on whether it's worth getting just for those three numbers?

[Zeph]

Love the Mole.

[veteranof1000psychicwars]

Every home should have a Matching Mole album in it, and l certainly do care that you have heard their S/T album for the first time!
And if you care about where they got their name, "Soft Machine" in French is "Machine Molle"...slur it a bit and there you are!

[rcarlberg]

And if you care about where they got their name, "Soft Machine" in French is "Machine Molle"...slur it a bit and there you are!

That's why I always pronounce it "Mashing Molé" as in the traditional Mexican brown sauce.

[Scrotum Scissor]

I like the first album, but I -love- the second.

"Starting In the Middle of the Day, We Can Drink Our Politics Away" is one of my fave opening tracks of all time. So cynically sarcastic yet somehow still so gorgeously assembled and devout to melody as skinless emotion.

Production isn't all too good in places; some upper frequencies of descant edge on the Rhodes, although I suspect this was intended for effect and flair - and Wyatt's decision to use the dry snaresound exclusively (which he'd obviously already exhibited a habit of doing back in his Soft days) was arguably not the best one for all material here.

But it contributes so well to rawness and devices of "authenticity" in live/studio captions, soundwise. Overall it's an extremely direct and blunt album.

[pb2015]

Wyatt's decision to use the dry snaresound exclusively (which he'd obviously already exhibited a habit of doing back in his Soft days)

I remember Wyatt mentioned in one later interview that for Little Red Record he played the snare drum with snares switched off for the whole record. "Slightly All The Time" (beginning section) is one prominent example of that from the Softs days.

[aith01]

I like the first album, but I -love- the second.

"Starting In the Middle of the Day, We Can Drink Our Politics Away" is one of my fave opening tracks of all time. So cynically sarcastic yet somehow still so gorgeously assembled and devout to melody as skinless emotion.

Production isn't all too good in places; some upper frequencies of descant edge on the Rhodes, although I suspect this was intended for effect and flair - and Wyatt's decision to use the dry snaresound exclusively (which he'd obviously already exhibited a habit of doing back in his Soft days) was arguably not the best one for all material here.

But it contributes so well to rawness and devices of "authenticity" in live/studio captions, soundwise. Overall it's an extremely direct and blunt album.

Richard —

I’ve tried many times, but I still don’t love Little Red Record as much as the first MM album. Don’t get me wrong, I still enjoy it and think it’s got some excellent stuff on it. For whatever reason it hasn’t gelled with me the same way, and I don’t know what it is that’s holding me back from fully grasping all it has to offer.

Please, help me. I want to understand what I’m missing and to delve further into this one. Would being inebriated help in any way? Sometimes a good drink (or two) can help me to lower my guard and experience music more “in the moment” than if I was sober.

[Enidi]

I appreciate Matching Mole a bit more during a Canterbury listening binge. I might start out the day with National Health and Caravan...eventually playing some of the more obscure bands like Egg, Gilgamesh, and Softheap. Then feels like the right time to play a Matching Mole album. Alongside some of the more obscure Canterbury bands they fit like a glove.

[Zeuhlmate]

I appreciate Matching Mole a bit more during a Canterbury listening binge. I might start out the day with National Health and Caravan...eventually playing some of the more obscure bands like Egg, Gilgamesh, and Softheap. Then feels like the right time to play a Matching Mole album. Alongside some of the more obscure Canterbury bands they fit like a glove.

For reasons I can't explain Matching Mole never was my thing, but a correct listening procedure could be the way to go.

[Quantum Cat]

I like the first album, but I -love- the second.

"Starting In the Middle of the Day, We Can Drink Our Politics Away" is one of my fave opening tracks of all time. So cynically sarcastic yet somehow still so gorgeously assembled and devout to melody as skinless emotion...

Absolutely agree. Now more than ever. Such expression in the context of “rock” is a vanishingly rare commodity.

[Scrotum Scissor]

I’ve tried many times, but I still don’t love Little Red Record as much as the first MM album. [...] For whatever reason it hasn’t gelled with me the same way, and I don’t know what it is that’s holding me back from fully grasping all it has to offer. [...] Please, help me. [...] Would being inebriated help in any way?

Hm. While there's certainly often been a whiff of inebriation on my part while enjoying LRR - or Wyatt as a whole for that matter, as he himself used to love a sip or few when stating his case - I wouldn't exactly point to remedies.

This album is a pretty different thing altogether from the debut, seeing as the latter was apparently assembled through songs, snippets and bits that already existed whereas LRR by and large bears the hallmark of a planned direction while still retaining an attemptive spontaneity as construct. Consequently it lacks some impressions of impulsive "authenticity" so remarkable to the first album, more or less substituting this for a sense of raunchy rawness in the sound and execution itself. Wyatt obviously wanted MM to mimic a sort of rock comparison to the direct deliveries of free-jazz aesthetics, in which attack and charge between various chemistries of ensemble allow for reparations of finesse or fervor as a basic outcome. Ironically, instrumental arrangements on LRR come across as much more intricately woven than on the debut, keeping a level of constant steam more or less throughout and leaving little to imagination or alternative.

Also, there's something of a cynical or even slightly sinister realization of mood here. "Nan True's Hole" is not as amusing as it's nasty, whereas the above mentioned "We Can Drink Our Politics Away" places scorn or contempt over release, something grittily contracted in "God Song". To conclude, LRR was never going to be the romantic calling of the debut. In the end I guess that drawing on the cover says it all - and so the kicks soar.

[Trane]

This album is a pretty different thing altogether from the debut, seeing as the latter was apparently assembled through songs, snippets and bits that already existed whereas LRR by and large bears the hallmark of a planned direction while still retaining an attemptive spontaneity as construct. Consequently it lacks some impressions of impulsive "authenticity" so remarkable to the first album, more or less substituting this for a sense of raunchy rawness in the sound and execution itself. Wyatt obviously wanted MM to mimic a sort of rock comparison to the direct deliveries of free-jazz aesthetics, in which attack and charge between various chemistries of ensemble allow for reparations of finesse or fervor as a basic outcome. Ironically, instrumental arrangements on LRR come across as much more intricately woven than on the debut, keeping a level of constant steam more or less throughout and leaving little to imagination or alternative.

Indeed, the debut is almost schizophrenic or bi-polar with its shorter songs and its longer instrumental tracks being very different facets.

I doubt Caroline, Pussy, Curtain, Kitten were very much to the taste of the non-Wyatt part of the band.



During the 90's, I remember using on my cassette answering machine Instant Pussy as an outgoing message, to examply the frustrations of the callers simply because I was never there to answer myself .... Very bad idea, I not only angered them but the track didn't pass well over the phonelines.
I quickly went back to using U2's Mysterious Ways (about reaching me).

[Kcrimso]

I just listened the debut yesterday and yet I have always liked it I have never enjoyed it as much as this time around. Something clicked and it just sounded amazing! I need to re-listen Little Red Record soon also.

[soundsweird]

I have the 2CD remasters; listened to both albums the other night (saved the bonus tracks for some other time due to time constraints, I've listened to them before). I guess I like the first a bit more, but they're both great.

[pb2015]

I seem to recall reading that Wyatt and the group weren't happy about the 2CD releases, but I've heard bits of them that are interesting. The improv with the original lineup on the first album does make it clear to me that they needed to add Dave MacRae on keyboards.

[Beebfader]

Listening to Little Red Record now. I said, I have this on a cassette that my old penpal gave me back in the mid 90's, so I'm slightly familiar with the music here. There's some good stuff here. Looking forward to the BBC session on disc two.

BTW, speaking of the BBC stuff, most, but not all of it appears on these remasters. From what I can see on Discogs, there's only three tracks on On The Radio (specifically tracks 2, 3 and 4) that aren't on the Esoteric remasters. Anyone want to comment on whether it's worth getting just for those three numbers?

Yes I'd say `On The Radio' is essential, and those three tracks represent 22 mins or so of very valuable material, especially `No`Alf Measures' which isn't on either official album.
As a standalone collection it's absolutely worth getting.