One of the genuinely complicated and conflicting things about writing, especially writing non-fiction, is this: what to do with a blackguard.
Writing my book in a vaguely linear fashion, this week I embarked on my first chapter: looking at music that anticipates, inspires, and generally provides the context for [post-rock] to develop.
John Martyn was a pioneer of delay; and ‘Small Hours’, from 1977’s One World album, features his Echoplex heavily. It also contains a subtle dub influence (recording followed a trip to Jamaica, during which Martyn jammed ‘n’ nattered with Lee ‘Scratch’ Perry, Burning Spear, and Max Romeo). ‘Small Hours’ is lengthy and ambient, recorded on a farm under the influence of opium, with sounds of the lake swirling and geese rambling. It is an immense thing, with many sonic elements that prove important later on.