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[free pack]: Ghost Rider

Ghost Rider [free pack]

Today we’ve released a free sample pack, which features 3 Ableton Live instruments and an effects rack. The instruments are taken from lo-fi samples of a passing car, tuned and manipulated to be playable instruments, while the effects rack is a combination bit crusher, grain distortion and stereo widener – making a gritty, grainy distortion that still mixes in some of the original signal.

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Reviving Coral Reefs with Underwater Speakers

Coral Reef

So nice to see a positive news article about technology helping the environment rather than destroying it… Coral reefs can actually be brought back to life by playing the sounds of healthy coral reefs to the dead and dying reefs (with a combination of habitat restoration and conservation efforts as well, of course) :

Maybe we’ll soon see a Bill and Ted world where music aligns the planets and war and poverty are eradicated:

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Bootsy Collins showing how it’s done

Bootsy Collins

When the backing singers have to grip the microphones because the band’s dancing is making everything bounce around, you know you’re listening to a proper band. Not a single person on that stage is having any kind of bad time – but they’re also all in time and playing with each other, not over each other…

And does anyone still have the style and humour of ’70s and ’80s funkateers like Bootsy or George Clinton?

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Capstick Comes Home

Tony Capstick

For no apparent reason, this song popped back into my head today. Maybe because it contains one of my favourite slang words – “wazzock”…

I actually remember sitting around with my (Yorkshire born) family laughing a lot at this when it came out. It got to number 3 in the UK singles chart in 1981!

It’s a shame that the novelty record doesn’t seem to be a thing any more. The innocent charm of Bernard Cribbins’ ‘Right Said Fred‘ and ‘Hole In The Ground‘, Arthur Askey’s ‘Bee Song‘, or Benny Hill’s oddly touching ‘Ernie (The Fastest Milkman in the West)‘ just don’t have modern equivalents.

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Guitar Jett

Guitar Wolf

There can never be enough Guitar Wolf in the world. Somehow we missed their new album coming out in May. So here – belatedly – is the launch video for the album:

If you don’t know who Guitar Wolf are, go and find a copy of the cult Japanese zombie film Wild Zero immediately, and watch it on a loop until you have it memorised:

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Maggie Holland – two national anthems

Jali House Rock cassette cover

Every now and again I get angry about how overlooked Maggie Holland is. I’ve been a fan of hers for about 25 years, when I heard her song ‘Salt of the Earth’ on an great obscure cassette compilation called ‘Jali House Rock‘ that I’d found in the bargain bin in a record store. This is my own small attempt to draw attention to her work, so I’ve put down as much information as I can for people who may be interested.

She’s a fantastic songwriter and musician, and at least these two songs of hers should be considered as alternative national anthems for England. Although she’s won folk awards and June Tabor’s cover of ‘A Place Called England’ got a lot of radio airplay, her work has not penetrated the national (or international) consciousness as much as it should have.

In my view, with these two songs alone, she should be championed alongside Billy Bragg, Crass, New Model Army, and the Levellers as a particularly English songwriter fighting for the common folk and resisting the greedy and the oppressive with passion and outrage and music. Because she’s seen (or marketed) as folk, she gets pigeonholed like so many other artists. This is a problem that often comes up in folk, where people don’t find out about an artist because they’re somehow stuck in the folk scene – but they don’t really fit the folk scene as they are too aggressive or weird or modern, while rock or punk fans might get much more out of it. (It’s how Croydon prog-folk band Comus languished mostly in obscurity since 1971. They may well have had more success if marketed as prog or rock, as their influence through the weirder end of the underground music scene managed to inspire Opeth, Nurse With Wound, and subsequently many other dark and metal musicians.)

Anyway, rather than rant off topic and blether on about it too much, I’ll let her songs speak for themselves – as they should. Here’s the studio versions of the songs, followed by the lyrics, followed by live versions, which are also superb. Please give them the time and attention they deserve!

Written around 1999, ‘A Place Called England’ is an angry but hopeful and uplifting song, railing against “fat landowners,” inequality and the sad, toxic state of the English landscape. It’s not easy to write something that is both angry and positive, but Maggie Holland manages to make it sound effortless, while avoiding preachiness or any overt political association. It sums up the state of England and most of Britain both then and now. It’s a song of, and for the people – and it’s particularly inclusive and inspiring in who it regards as English people – “whatever the land that gave you birth… as long as you love the English earth”. And it sees hope in the very earth and land itself – something missing from far too many conversations about what makes a country what it is.

‘Salt of the Earth’, from her old band Orchestre Super Moth (aka Tiger Moth and a bunch of other names), is also a song for and of the people. It’s in the style of an African praise song, but rather than being praise for a wealthy patron or a local leader, as African tradition normally would have it, it’s praising the downtrodden ordinary people of a nation. Its power comes in large part from being written in a simple, straightforward style – an open, inclusive intelligence at odds with the smug posturing of so much songwriting. Again, the earth and land itself is where hope survives and grows.

A Place Called England

I rode out on a bright May morning like a hero in a song,
Looking for a place called England, trying to find where I belong.
Couldn't find the old flood meadow or the house that I once knew;
No trace of the little river or the garden where I grew.

I saw town and I saw country, motorway and sink estate;
Rich man in his rolling acres, poor man still outside the gate;
Retail park and burger kingdom, prairie field and factory farm,
Run by men who think that England's only a place to park their car.

But as the train pulled from the station through the wastelands of despair
From the corner of my eye a brightness filled the filthy air.
Someone's grown a patch of sunflowers though the soil is sooty black,
Marigolds and a few tomatoes right beside the railway track.

Down behind the terraced houses, in between the concrete towers,
Compost heaps and scarlet runners, secret gardens full of flowers.
Meeta grows her scented roses right beneath the big jets' path.
Bid a fortune for her garden—Eileen turns away and laughs.

So rise up, George, and wake up, Arthur, time to rouse out from your sleep.
Deck the horse with sea-green ribbons, drag the old sword from the deep.
Hold the line for Dave and Daniel as they tunnel through the clay,
While the oak in all its glory soaks up sun for one more day.

Come all you at home with freedom whatever the land that gave you birth,
There's room for you both root and branch as long as you love the English earth.
Room for vole and room for orchid, room for all to grow and thrive;
Just less room for the fat landowner on his arse in his four-wheel drive.

For England is not flag or Empire, it is not money, it is not blood.
It's limestone gorge and granite fell, it's Wealden clay and Severn mud,
It's blackbird singing from the May tree, lark ascending through the scales,
Robin watching from your spade and English earth beneath your nails.

So here's two cheers for a place called England, sore abused but not yet dead;
A Mr Harding sort of England hanging in there by a thread.
Here's two cheers for the crazy diggers, now their hour shall come around;
We shall plant the seed they saved us, common wealth and common ground.
Salt of the Earth

This isn't a song for your leader
To hear at their victory parade
This isn't for the politicians
They can always sing their own praise

Sometimes they might even glimpse
As the black limousine rides past
Filtered through air conditioning
Their vision distorted by bullet proof glass

Pity your simple leaders
They can only do simple sums
They equate power with money
And estimate strength in numbers of guns

Why don't you lie down and die quietly?
Instead of persistently staying alive
Cluttering up their statistics
When against all the odds you survive

They only see that you have nothing
They cannot see what you are worth
I sing in praise of the scum of the earth

There's not much that I can offer
Here's a song for what it's worth
I sing in praise of the salt of the earth

Woman who goes to bed hungry
So that your children can eat
Boy whose mother is dying
So you beg for her out on the street

You are the wealth of nations
You are the power in the land
You have the strength to move mountains
You carry the earth in the palm of your hand

They only see that you have nothing
They cannot see what you are worth
I sing in praise of the scum of the earth

There's not much that I can offer
Here's a song for what it's worth
I sing in praise of the salt of the earth

I couldn’t find the lyrics for ‘Salt of the Earth’ anywhere else on the web, so I transcribed them myself. That’s how relatively unknown this song is!

And here’s the live version of ‘A Place Called England’, from 2012, with Maggie Holland’s introduction to the song as well:

And finally, here’s the live version of ‘Salt of the Earth’ from the same gig in Antwerp in 2012, also with Maggie Holland’s introduction:

Please visit Maggie Holland on Facebook and on her website.

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Zoogz Rift re-released

Very happy to see Zoogz Rift’s “Murdering Hells’ Happy Cretins” (from 1986) being re-released yesterday, on what would have been his 66th Birthday. Not only a great title, please check it out on Spotify or mega old-school: CD Baby! It was originally released on SST records – not sure what a Mudhoney, Hüsker Dü, or Screaming Trees fan would have made of it…

If you’re thinking (quite reasonably) “who the hell is Zoogz Rift?”, then please read on for my quick overview:

Sadly left in the shadows of even most underground music fan’s interests, Zoogz Rift is just begging to be rediscovered. He’s often thrown in with oddballs and outsiders like The Shaggs, The Residents, Jandek, or Tiny Tim, or turns up with on the fringes with cult or obscure artists like Z’EV or or Ivor Cutler or Sun Ra…

Sound-wise, he’s usually an odd blend of Frank Zappa and Captain Beefheart, with a bit of post-punk Pere Ubu type angular aggression, and the odd touch of synthesizer. He was enough of an influence on Mike Patton for the latter to name his record label after a Zoogz album (Ipecac), and a lot of Mr. Bungle’s work owes something to Zoogz.

Zoogz Rift

But he was also a professional wrestler (for UWF), and, despite having obvious Zappa influences, was definitely walking his own unique path. His album titles are part hilarious, part disturbing (“Island of Living Puke,” “Idiots on the Miniature Golf Course,” “Amputees in Limbo,” etc.), and his album sleeves often have a photo of him showing an emotion somewhere at the intersection of anger, insanity, and outrage.

Island of Living Puke has one of my favourite (very NSFW) album openings of all time:

I originally came across him while looking for ever weirder, more obscure music, all the way back when MySpace was good place to discover music. (Seems like the stone age now). He used to sell his CDs through his MySpace page, which shows how underground he was…

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Randomness FTW

We love randomness at Kaboodle Sound – by embracing the unexpected in field recording or using dice and cards to generate music, for example. Following on from our post last week, there’s a nice, short article in Quanta magazine today about how randomness can also assist mathematicians with solving very complicated or otherwise impossible problems. It’s always exciting for us to see crossovers with mathematics, music and randomness that coincide with our own experiments and research!

This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy, CC0,

Here’s a bonus ’90s classic by Lunatic Calm, who most people probably know from ‘Leave You Far Behind,’ used in the lobby scene in The Matrix :

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Magenta Studio: free AI for Ableton Live

This excellent set of tools for experimentation and generative music came out the other day. It’s completely free to download, and is now in beta, so it’s more than good enough to start playing with.

It comes both as standalone and as a Max for Live device.

It’s really easy to use, and great for generating quick ideas effortlessly, or creating whole tracks with nothing but a handful of simple controls. Goes very well with devices like Coldcut’s Midivolve, that can take the generated results and expand on them further. And it’s really handy for filling in simple drum parts while you concentrate on a melody.

What I like is that it generates usable MIDI clips, rather than hitting the CPU with endless live variations, like a lot of generative devices do.

But can it replace mechanical automata?

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Very happy to be able to add a pair of C-Ducer transducers to our sonic arsenal today! We’ve been searching for these for a while, but they were either too expensive or just hard to get hold of. They have a near-mythical status in some quarters, reviled by some audio engineers, loved by others. They were popular in the 1980s, but seemed to fall out of favour – although nothing else has really replaced them in terms of (literal) flexibility and uniqueness. They were perhaps most famously used on the drums on The Cure’s ‘Seventeen Seconds’ album, by their engineer, Mike Hedges.

We will see how they compare to our own hand built balanced piezos and to Jez Riley French mics, etc. Always good to add another brush to the sonic palette, in any case!