Journal
Paris and Épernay
Photos from a few days in Paris and a short stay in Épernay: great food and fine fizz, record shop cats, showcase sumo, la Coupe du monde on the TV, and stifling heat.
The Major Oak is dead
Last summer, in response to this press release about the Major Oak’s concerning condition (which we’d just seen first-hand) I felt the need to alert others, and posted on Bluesky and Mastodon:
The Major Oak means a lot to us in Notts, and it was upsetting to see such poor leaf coverage (due largely to extreme heat and drought) earlier this month. Huge gratitude to the people working hard to relieve its stress and protect what’s left of Sherwood Forest.
Unfortunately, and as feared, our tree has been declared dead after 1,000 years. Old age, yes—but too many hot, dry summers accelerated its demise, despite huge efforts by many good people. As a kid in the 70s and 80s, that direct link to Robin Hood was so exciting. I always loved the Major Oak.
It’s good to see notices in The Guardian and BBC News, but it’s a little sad to feel that too few people seem to care.
David Hockney
David Hockney died last week. We were away, and I’m finally catching up with the tributes. I learned so much from him over the years, most notably about colour, scale, landscape, ways of seeing, identity and attitude.
I connected with his paintings at an early age, and discovered the true breadth of his work while at art school. I never missed a TV programme about him, and I especially love David Hockney on Photography and Other Matters—a BBC film that’s currently on YouTube. I was lucky to see several exhibitions, including the show that launched Nottingham Contemporary, and a more recent display of his playful iPad stuff at the RA. I also recall unexpectedly seeing his A Closer Grand Canyon at the Louisiana, and losing ourselves in all eight metres of it.
Above all, he was a Brit to be proud of: a sensational artist, a fashion icon, proudly gay when it was still illegal, and refreshingly blunt in the way Yorkshire folk seem to relish.
People would mock my accent. I’d look at their artworks and I’d think, well, if I drew like that, I’d keep my mouth shut.
Kraftwerk
The Man-Machine delivers a captivating audio-visual, retro-futurist ode to a connected Europe. Deep techno, joyous melodies, and a touching tribute to Ryuichi Sakamoto.
You retreat in time and space
Heaven and hell. Prophecy and revelation. Longing and love. If you’ve ever found comfort in the uneasy warmth of a Boards of Canada record, you’ll be hypnotised by this dizzying transmission.
Promoted
A rare moment of joy for us long-suffering Notts County supporters: outplaying the Beckham-owned Salford City FC at Wembley yesterday to earn promotion to League One. I just braved the heatwave to enjoy the celebrations. You Pies!
It’s always been culture
Culture is the moat. It’s not craft and it’s not aesthetic. It’s always been culture — lived, relational, contextual. The ability to decode what’s happening right now, to encapsulate it, to communicate it through deep experience. Culture can give birth to something that hasn’t been seen, hasn’t been appropriated, hasn’t been followed to death.
This perfect paragraph from Craft Is Not Culture, by Naz, stopped me in my tracks.
Early swifts
Three soaring above at 7pm today, 30th April—much earlier than usual. Previously: 2025, 9th May (but I’d been away for the preceding week); 2024, 7th; 2023, 7th; 2022, 11th; 2021, 16th; 2020, 5th; 2019, 9th; 2018, 7th; 2017, 11th.
A week on the moors
I’ve just spent a week in a beautiful converted barn on the edge of Saddleworth. Nothing restores my positivity quite like being alone on the wild Pennine moors.
Happy 15th, Beyond Tellerrand!
My favourite conference is celebrating its 15th year right now in Düsseldorf. I’ve attended several times, both on my own and with Geri, and it’s an event that means a lot to us and many other creative people. I couldn’t be there in person this year, but I was honoured that Marc Thiele invited me and a few others to appear briefly and celebrate with the audience. Alles Gute zum Geburtstag, liebes Beyond Tellerrand!
England 0-1 Japan
I’ve been to Wembley Arena many times for gigs, but I’d never been inside the iconic Wembley Stadium next door. On Tuesday evening we went to see the England vs Japan friendly, and while the game itself was rubbish, we really enjoyed the overall experience.
We’ll be cheering for both teams at the World Cup and wish them luck (especially England, because they’ll need it).
Recent gigs and talks
John Newling at Beam, 19th February. I’ve known renowned artist John for many years and find his ecological sensitivity very interesting. I loved his note about embedding material—additional layers, text, and so on—into the work that most (or all) won’t see, but which is of great importance to the artist, and how it increases the possibility that the results will resonate with people.
E.R. Thorpe and Richard Warren at The Grove, 7th March. Emma’s a fantastic singer songwriter, recently championed by 6 Music. She’s also one third of The Low Drift. Richard’s best known for The Hybrids in the ’90s, his solo work as Echoboy, and for playing bass with Spiritualized in the 2000s. It was a treat to see both play acoustic sets in an intimate space a short walk from home.
Torn Sail at Squire PAC, 26th March. A rare full-band line-up with Huw Costin on lead vocal and acoustic guitar, Henry Claude on guitar and backing vocals, John Thompson on bass, Jim Baron on keys, synth and backing vocals, and Jeff Davenport on drums. It was such a treat to see Huw, Jim, and Brown Fang play together in one exceptionally tight band, and I think everyone in attendance was a long-time supporter. Highlights included a mesmeric Mud People and every moment of Nutshell. E.R. Thorpe was a late addition as support, the night before her new album, Human Love, was released. Brilliant stuff.
As I’ve noted previously, I enjoy attending these local events as they’re an opportunity to hang out with friends—all of us united by the wonderful work several small labels and individuals do for local art and community.
Return to Tokyo, Part 3
Days 11 to 15. We celebrated a retirement, caught beans for good fortune, and spent three Perfect Days ticking off favourite places and stores.
Return to Tokyo, Part 2
Days 6 to 10 brought several trip highlights, including an outstanding café, trippy outdoor bathing in Karuizawa, and a perfect few hours at Sakamoto Library.
Return to Tokyo, Part 1
I’ve split my summary across three posts, and this roundup details the first five days. Highlights included lots of sumo, a studio session, and getting to know Ryōgoku.
Weird switches
Another time-consuming but deeply rewarding home repair. I love my 43-year-old Technics SU-Z15 amplifier far too much to replace it, and I’ve no excuse when there’s a detailed YouTube video of a Turkish chap repairing the very same amp. I came close to despair with the weird as hell input switches, but I bloody did it.
For anyone interested, oxidised contacts were causing crackling when adjusting the volume and input selection, often resulting in intermittent stereo, with one channel frequently dropping out. I had to do a partial breakdown, completely disassemble the switches and faders, remove dirt and oxides with DeoxIT D5 and a razor blade, then lubricate with FaderLube F5. Frustrating at times, but often strangely calming.
Tokyo music haul
I’ve just returned from my third trip to Japan — my first in almost eight years. I have some general notes and photos to post when time allows. In the meantime, here’s the music haul.
I focused on my fave 70s/80s city pop artists and YMO/Sakamoto, but couldn’t resist the 1978 Japan pressing of The Kick Inside, a 1985 Hounds of Love tape, and that Kid A obi variant.
Group 1: Non-Japanese artists, clockwise: Japan, Tin Drum; David Sylvian, Brilliant Trees; Rockin’ On, Radiohead cover; Fleet Foxes, Crack-Up; Kate Bush, Hounds of Love; Kate Bush, The Kick Inside, 1978 Japan pressing; Radiohead, Kid A with obi.
Group 2: City Pop: Toshiki Kadomatsu, Touch & Go; Tatsuro Yamashita, Ride on Time; Mariya Takeuchi, Request; Akiko Yano, Oh Hisse Oh Hisse; Akiko Yano, Ai Ga Nakuchane; Shigeru Suzuki, Band Wagon; Tatsuro Yamashita, Circus Town.
Group 3: Ryuichi Sakamoto, L-R: Thousand Knives of, Async, Opus 4 x LP box set, 2024 Japanese edition; two magazine specials.
Group 4: Yellow Magic Orchestra, L-R: debut album, Japanese edition; Solid State Survivor; Public Pressure.
I visited Coconuts Disk, Ella Records, Flash Disk Ranch, Siam Time, Waltz and Tower Vinyl. I skipped Disk Union and Kankyo this time because I’d already exceeded my packing (and spending) limit.
2025 in music
Here’s my 22nd annual roundup: sixty short reviews across five categories, plus shows, stats and playlists. It gets more ridiculous every year, but I do it to myself, I do.
Small plates and beautiful bowls
For this year’s office party (the two of us going for a posh meal), we returned to London’s Session Arts Club, having loved our lunch there in spring. We consumed lots of sharing plates and fine wine, and Geri looked stunning.
The next morning, we enjoyed the Hyakkō 100+ Makers at Japan House. I’ve long been drawn to Japanese craft aesthetics, and the display showcased many things I particularly love: modest ceramics, simple homeware and urushi lacquerware. I’m as moved by the precise duplication of stacked wooden plates or nested lacquer bowls as I am by an asymmetrical, irregular Bizen ware pot.
Sometimes a humble object is so steeped in skill, patience, place, nature, respect, history, function and unassuming beauty that I get a bit emotional. Often the maker invites the owner to continue the process by adding character through repeated use, and it kills me that I can’t hold these pieces or follow them through time.
Clockwise from top-left: Geri at Session Arts Club, earthenware by Kumagai Yukiharu, lacquerware by Tokeshi Ai and woodwork by Tokeshi Hiroyuki, crockery by Matsumoto Yuki, wooden plates by Tomii Takashi, lacquer nested bowls by Ninjō Ikkei, ceramic pots by Samejima Minami, leather forms by Jōji Yoshimichi.
Akiko Yano & Kosuke Mine
I never expected to see Akiko Yano play live, let alone meet her and get an album signed. In case you don’t know, she’s “the Japanese Kate Bush” who predates Kate Bush. She released her debut in 1976, toured the world with Yellow Magic Orchestra, and married Ryuichi Sakamoto. She’s a legend.
It was our good fortune to discover that the closing night of the London Jazz Festival was happening at The Barbican the day after the Radiohead gig, so we extended our stay in London.
My two fave Akiko Yano studio albums are Ai Ga Nakuchane (recorded in London with the band Japan) and Iroha Ni Kompeito. I also adore her joyous 1979 live album 7 O’Clock in Tokyo, recorded with an all-star band including all three members of YMO and City Pop king Tatsuro Yamashita. It perfectly encapsulates the togetherness of the late 1970s Japanese music scene.
Akiko shuffled her Barbican setlist around, starting with YMO’s Tong Poo and also playing Harusaki Kobeni, Rose Garden, Gohan Ga Dekitayo, Hitotsudake and How Can I Be Sure. I occasionally closed my eyes and listened to her sing and play, and with the auditorium reverb it felt almost like being transported back in time to the 7 O’Clock shows.
Her set was followed by a fierce headline quintet made up of tenor sax legend Kosuke Mine, pianist Fumio Itabashi, drummer Takeo Moriyama, bassist Takashi Sugawa and the alto sax of Miyuki Moriya. We bought the reissue of Kosuke Mine’s First a few years ago, and it was exciting to hear a couple of tracks from that alongside other raucous jazz freakouts. Top night.
