Ian Fish, U.K. Heir

post perestroika

Ian Fish, U.K. Heir.

We foreclose on reality prematurely, Karim. Our minds are richer and wilder than we ever imagine.

Kureishi, The Buddha of Suburbia.

In a field/I am the absence/of field.
This is/always the case.
Wherever I am/I am what is missing.

Mark Strand, “Keeping Things Whole.”

It’s six minutes, twenty nine seconds long. Its first minute is a slow fade-in of sounds that remain faded. What seems like a woman’s voice but isn’t appears, mixed so low that it’s merely a faint suggestion of a voice, as if you hear someone singing in another apartment. In the right channel, there’s a string (or synth) loop that repeats a croaking phrase every four bars, if there are such things as bars in such an inchoate song. There’s static. The static is a tangible thing: a smear of crackling, buzzing sound, which swathes all of the other ghost sounds in a loose blanket. A trickle of piano, quickly silenced. Deep in the mix there’s a ceaseless two-note noise, like the sound of a phone left off the hook, or a signal barely picked up from a radio conning tower.

About 1:15 in, an acoustic guitar appears. Its player toys with the “Buddha of Suburbia” melody (especially around 2:50), but even this proves to be too much ambition. The guitar plays a few notes, some sounded on the high E string, some consonant twangs of the G and B strings; a lonely arpeggio or two; nothing to constitute a melody. Just a note here, another there, succeeded by others, all decaying quickly. Nothing resolves, nothing builds. This is a genetic soup of music; it’s all potential. All you hear are only notes, little impositions of sound, a thumb and a forefinger plucking a taut string. A twitch of a wrist muscle, a whim that hopes the hollow body of the guitar will make something of it.

Nothing much else. Around 2:45, a synthesizer grows more distinct, sounding a bass note, trying to give the track a sense of depth. The piano returns, plays a few trilling notes. A few little synthetic chirps, like automaton birdsong. As the track ends, having never really begun, the background static gains presence. You realize the static has carried a little rhythm all along, a slight chugging 4/4. The voice grows more distinct at last: you can almost make it out. But you can’t. Closing static.

“Ian Fish, U.K. Heir” is, in David Buckley’s words, “intriguingly unlistenable.” It is difficult to concentrate on “Ian Fish” for its entire length: I had to will myself to pay full attention, wearing my headphones and telling the dog to leave the room. When played on speakers, its sounds soon blend into the grumbles and sighs of a house, or get swept away in street noise. It’s meant to blend, to vanish. “Ian Fish” was Bowie playing on the idea of Eno’s “ambient music.” Eno had proposed a music that didn’t “matter,” that had nothing to draw attention to it: music that could be played to lower a room’s temperature or as background music for airports or theaters.

This was a tall order for Bowie, who even at his most abstract still felt compelled to offer melodies and hooks. “Ian Fish” feels like work, a man determined to deny his instincts. It’s Bowie offering nothing but fragments, a few scattered sound pieces that you could try to fashion into a song, but there’s not quite enough to make it work. Bowie had made Buddha of Suburbia out of scraps, taking motifs that he’d written for the BBC serial and dragging them out, slowing them down, reversing them, poking holes in them, filling the holes with other sounds that he’d scurried up. “Ian Fish” is the space between—it could be a backing track of any other Buddha song; it sounds like a tape that Bowie had not quite erased (I believe there’s bits of “The Mysteries” buried in it), a canvas upon which you can see vague traces of scrapped ideas.

There’s one subtle message: the title “Ian Fish, U.K. Heir” is an anagram of “Hanif Kureishi.” Kureishi, the son of a Pakistani immigrant, Bowie’s successor on the streets of Bromley, is cast as the heir to the country that had spawned David Jones. It’ s a sign that Bowie welcomed the changing face of London, and it echoes Bowie’s long-forgotten “London Bye Ta-Ta,” another London immigrant song from a lifetime before.

Recorded June-July 1993, Mountain Studios, Montreux.

Addendum written after the morning’s news:

Well, so there’s to be a new album after all! I blame Scott Walker for finally getting Bowie back in the ring (though it seems like this record was made ca. 2011-early 2012.) I look forward to hearing it. Feel free to use the comments for reactions to it, though I ask that a) you save some of your powder for the song entries, likely in spring 2014 and b) don’t neglect the actual song being discussed too much.

Top: “Olga S.,” “Living room, Moscow, 1993.”

60 Responses to Ian Fish, U.K. Heir

  1. Brendan O'Lear says:

    I wouldn’t recommend listening to this one while driving.

  2. Mr Tagomi says:

    It’s beautiful in its own way. Surely you go too far by saying there’s nothing to constitute a melody? Aren’t the essentials of the Buddha of Suburbia song all in there in skeletal form? There are even a few chord changes to keep one oriented.

    • col1234 says:

      i was a bit hyperbolic, yes. still, this makes “the Mysteries” seem like a font of melody/harmonic development.

      • Mr Tagomi says:

        It certainly does.

        The track is spoilt for me to some extent by the fact that the totally superfluous Lenny Kravitz incarnation of Buddha of Suburbia suddenly comes on right after it, denying Ian Fish its chance to drift away into oblivion as the album’s closer.

        Surely that was the original intention?

      • Chris, I love your writing, I truly enjoy it, but what is it about your listening relationship with the quieter pieces on this album?

        To my ears, “Ian Fish, U.K. Heir” is about as full as an ambient work can get before exploding into pop music. And I think the answer to our divergent views on this song come from where the acoustic guitar sits in the mix.

        Imagine for a moment that the guitar is not there, then turn the backing tracks way, way up. There’s a lot of information there. The bells at the beginning of the track. The rainy “street” white noise that adds the high frequency information. Not one, but two layers of reversed vocals, one of them with an actual harmony part. Several layers of keyboards, two ambient drones in different octaves along with some slight shimmers. What appears to be a harp-like plucking part at the two minute mark. You can hear best just how many instruments there are at the very end of the song as they all fall apart one by one.

        Then this ambience piece busts into a **gasp** chorus at 2:41 with yet another mid-range keyboard drone chord progression (yes, that is a progression to my music-making ears) and more “harp” plucking.

        As for the guitar, it does indeed play the “Buddha” melody, but it doesn’t “toy” with it, as you suggest, it’s a fairly straight representation of the title track all the way through, just stripped down to basic notation. You can literally sing the words and they fit perfectly… “With great expectation… I change all my clothes… Mustn’t grumble at silver… And gold…”

        Then that lovely, lovely coda arrives and slowly winds its way to the end. “Ian Fish, U.K. Heir” is one of my favorite songs on the album (and I do use that word intentionally, this is a song, not a “piece.”) It has enough activity to it that it functions well for late night walks. Not simply sleeping, as some readers have suggested. As a matter of fact, it has more instrumentation, melody and arrangement to it than the “‘Heroes’” instrumentals! Perhaps put together.

      • Mr Tagomi says:

        Magnus, I take my hat off to you. I really envy you your sharp ears. Chris raised my understanding of this track by several notches and now you’ve raised it several more. A brilliant post.

  3. Mr Tagomi says:

    Actually, while it’s on my mind here’s a technical question for you. Do those harmonic changes in Ian Fish actually qualify as chord changes? Is that low synthy drone a sequence of chords or is it just a slow melody line? My ear is not educated enough to be sure.

    • col1234 says:

      mine’s not great either. the synth definitely moves in some sort of sequence but i wouldn’t call them chord changes as much as providing a series of backdrops for the guitar notes to play against

  4. postpunkmonk says:

    I concur with Mr. Tagomi. The Kravitz version of BOS was best left on the single. It’s appearance on the album as a coda is very disruptive and unwelcome. “Ian Fish U.K. Heir” is very much the most dissolute sound gets while still remaining connected to music. It’s almost like the musical equivalent of phonemes; the building blocks of human speech, only applied to music.

  5. Maj says:

    Nice about the anagram! Always wondered what the title was actually about.

    This piece is again excellent for sleep. Curiously I never had it in my sleep playlist. Have to remember to add it the next time I need a sleep playlist.

  6. Patrick says:

    I wouldn’t say it was “unlistenable”. It’s not exactly “Metal Machine Music. It’s not unpleasant.
    Of course it also perhaps playfully hints back at DB’s own youthful past. Another “Mr Fish” (Michael Fish) ran the famous boutique of that name and designed “dresses” for the most brave of men of the time, Mick Jagger and of course Bowie for the cover of Man Who Sold The World album.

    http://www.vam.ac.uk/content/articles/m/mr-fish/

  7. likeallstars says:

    It seems serendipitously fitting that your post for this gorgeous, formless mobile of drone should coincide with the news of David Bowie’s secret new recordings revealed to an astounded public, especially as the new work would appear to be drenched in the melancholy nostalgia of his Berlin experiences. Bowie quite likely had the lessons of Eno’s ambient thesis – and their joint experiments with impressionistic sound-art they brought about – in mind when he worked on The Buddha of Suburbia album. I don’t think The Buddha… is a satisfying whole work, though it has its moments, and at the time would rather have heard something that sustained this mood of fragmentation and texture of ghostliness – a soundtrack in the sense of a part of a conceptual whole requiring a film – either real or imagined, to complete it.

    I look forward to your discussion of The Next Day in 2014. And all the posts between now and then. Who knows – perhaps a follow-up work will be with us, or nearly so, in 2014, and the culmination of your work on this fascinating website will advance ever onwards to a horizon of the artist’s unexpected, abiding late renaissance.

    • stuartgardner says:

      “Who knows – perhaps a follow-up work will be with us, or nearly so, in 2014, and the culmination of your work on this fascinating website will advance ever onwards to a horizon of the artist’s unexpected, abiding late renaissance.”

      Beautifully put, and devoutly to be wished.

  8. Diamond Duke says:

    Welcome back, David Robert Jones!! And Happy 66th Birthday!! :D :D :D I swear, this is the greatest news I’ve heard since becoming a full-on, hardcore David Bowie fan in the spring of 2011. Wow, that sly ol’ devil’s just been biding his time all along. Everybody’s been wondering or speculating when (or even if) he’d ever come back, while many have pretty much come to the conclusion that he’d retired for good, but all this time the man has kept mum and let the rest of us pontificate and gabble while he just kept on working under the radar! (BTW, that loud thumping sound you just heard was biographer Paul Trynka picking his jaw up off the floor! Better hurry up and get everything up to date for the paperback edition, pal! Ha, ha, ha…) And I’ll definitely get around to listening to the new song as soon as humanly possible! (I guess my dream about the OAR! EP was some kind of psychic flash of sorts. Like, yeah, that’s the ticket…!)

    With regards to Ian Fish, U.K. Heir,
    Well…I really don’t know about this one. Ambient music’s never ever really been my thing. Quite frankly, I’ve always been a little too unreconstructedly rockist (if still eclectically so) to seriously get into that particular style. I’ve always preferred things with more of a sense of forward thrust and drive (what I guess some might call phallic). Don’t get me wrong, I’ve always appreciated Bowie and Eno’s instrumental collaborations from Low and “Heroes”, but Ian Fish, U.K. Heir just simply drifts suspended without making too much of an impact on me. Don’t get me wrong, it’s certainly interesting, as is much of The Buddha Of Suburbia in general, and I love the way it references the title track and pretty much replicates its chord changes for the most part. But like I said before, it’s not really my thing… ;)

    BTW, apropos of absolutely ZILCH
    Like I recently stated in my entry for Bleed Like A Craze, Dad, I’ve always been a huge fan of William Friedkin’s The Exorcist (1973), as well as its two sequels and two prequels – all of which are interesting if flawed. In particular, I’ve always had a soft spot for John Boorman’s vastly underrated Exorcist II: The Heretic (1977), in which the late, great Richard Burton plays Father Philip Lamont, the heir and successor to Max von Sydow’s Father Lankester Merrin in the original film. I always thought that it would be cool to do another sequel which brought back Linda Blair as Regan MacNeil, as a grown adult, who now has to rescue Father Lamont from possession by the evil demon Pazuzu! But of course Richard Burton is now long-deceased, so someone else would have to portray Father Lamont. So how about…our man Bowie?? (And I’ve even got a title. How about…Exorcist V: Omega? This refers of course to Jesuit writer Father Pierre Teilhard de Chardin’s “Omega point” theory…) Oh well, we’ve all got our fantasies… ;)

    • Diamond Duke says:

      Well…I just heard Where Are We Now?. In a word…sweet! A bit on the mellow side, but I more or less assumed that it would be. As I expected, there’s a bit of an ‘hours…/Heathen vibe about this one. One thing’s for sure: I’ll be first in line at the local Best Buy to snatch up my copy of The Next Day on March 12! The Next Day? Here’s to “The Next Chapter,” fellow David Bowie fans! :D

      • Diamond Duke says:

        And BTW, who was that actress appearing alongside Bowie in the video? Kind of looked like Charlotte Rampling…

      • King of Oblivion says:

        I’ve seen people speculate that the woman in the video is everyone from Bjork to Alexandria! It’s actually Jaqueline Humphries, director Tony Oursler’s wife.

  9. Patrick says:

    Part of the the new single reminded of “Fantastic Voyage”.
    I’ll give it a few more listens. It’s not bad , not immediately great.
    Glad he seems healthy enough , despite all the rumours.
    What are the chances downloads etc will give him a number one aged 66?
    “no plans for live dates” doesn’t rule them out.

    At least he finally updated his awful flash based website
    (I can’t believe it won awards even back in 1994 or whenever.)
    And it was a useless place to get news on him previously.

    • Mr Tagomi says:

      I’ve listened to it a few times now. I like it a lot. It gets better each time.

      It reminds me a little bit of a couple of quietly contemplative things on Iggy Pop’s Les Preliminaires.

      And also, strangely enough, of Paul McCartney’s vocal style on parts of Kisses on the Bottom.

      • Patrick says:

        Here’s a short interview with Visconti ) hope it’s ok to post if you may have missed it) apparently the single isn’t typical of the album, which is more “rocky”
        http://www.bbc.co.uk/news/entertainment-arts-20953094

      • col1234 says:

        as i wrote on twitter, there’s a wonderful hipster-brag in that Visconti interview: “I’ve been listening to this [new DB album] on headphones walking the streets of New York for the past 2 years”

        you figure he could play this game all day. “I clean my house listening to ‘Low’ outtakes”; “my answering machine message in the ’90s was the ‘Ashes to Ashes’ demo”

      • Maj says:

        @ Chris Tony was so wonderfully smug in the BBC video, indeed. :) Btw, he looks great for his age. (Or maybe I need glasses? Or stop watching videos on my iPhone?) If someone was rosy-cheeked, it was him. Beaming like the Enterprise transporter.

      • Maj says:

        @ Mr Tagomi: I was gonna say McCartney as soon as I heard it. Definitely agree with this observation. And Preliminaires is a good reference too. Which reminds me I haven’t listened to that Iggy album for ages.

      • RLM says:

        I thought it was beautiful. I think the best of late Bowie shares this wistful quality, it is as though he is writing from the perspective of someone who died in 1981 but is still hanging around. Maybe like one of the angels in a Wim Wenders film. In a way it is probably the truest voice available to him, and still feels meaningful to me.

      • Patrick says:

        The design for the album, if that is what it is, is rather disappointing. It’s a bit too conceptual for me. It harks back to a lot of 1970s photo and text art which no doubt DB would be aware of.
        Scary monsters album cover did regurgitate earlier cover art concepts , he often returns to themes etc as we’ve seen , there is continuity but it is really quite unsettling and disturbing in a way how explicitly he returns to that earlier triumph ie “Heroes”. Decades after. Is he looking at his past career high with some kind of weary irony?
        Or is this “Heroes” vol II?
        Since “The Next Day” artwork partly obscures the “Heroes” image. I wondered with the Berlin connection,etc where there is a reference to “day” etc – “We can be Heroes, just for one day”
        So perhaps this is the next day after that day….or something….
        No more heroes any more…as the Stranglers once sung.

  10. Mike F says:

    Forgive me for not posting about Ian Fish. Will try to post thoughts on it later. I just thought this bit about the new video from an article in the Independent was too juicy to wait.

    “he’s wearing a T-shirt that says Song of Norway on it. Now, in 1969, a woman called Hermione Farthingale, then the great love of Bowie’s life, left him to go and be in a film. It was said he never got over it. That film was called Song of Norway.”

  11. likeallstars says:

    After some gentle googling, I arrive at an answer for Diamond Duke: The lady in question appears to be Jacqueline Humphries, wife of Tony Oursler the director of the video.

    I was wondering earlier, why has the never less than riveting commenter Momus not contributed here today, and now I know. He’s been busy! http://www.youtube.com/watch?v=WF1QQW0LHNQ

    • Momus says:

      Yes, all the excitement has been a bit overwhelming. It’s like you were writing your dissertation on Medieval Romance when suddenly King Arthur himself strode into the library dressed in a suit of armour, waved his sword above his head, and said “Come on, time is pressing and there are dragons to slay!”

      • likeallstars says:

        And you replied, “I’ll just smelt some iron into steel, hammer a suit together, cast me a sword, and I’m right with ya.” Impressive!

      • Mike F says:

        I thought the cover was quite good but the Planet of the Apes video was unfortunate since it could be misinterpreted as making fun of David.

      • Diamond Duke says:

        Well done, Momus! :D

  12. stuartgardner says:

    Ironically, the very fact that this track contains so few and such obscure elements and does so little with them has made it one of the pieces on the album I’ve listened to most frequently and most closely.  It insists that I search until I find something which I never have, so I obey and keep searching.

    In responding to one of your recent posts (I don’t recall which) I quoted Eno’s description of his album Neroli as “on the cusp of music,” which seems fairly applied to Ian Fish, U.K. Heir.  

    And thanks for revealing the title’s anagram, which lends it another link with Eno, as anagrams provide a number of his titles and pseudonyms.

    Finally, the track reminds me of a wonderful Bowie quote from the period of Outside.  I can only paraphrase it and I’ll be grateful if someone can give us the proper, verbatim quote, but it’s something like, “My ambition now is to make music so uncommercial that it leaves me with no audience at all.”

    As for The Next Day and Where Are We Now?, my day has been consumed with listening to the gorgeous song, studying the lyric, watching the video, reading the news, the reviews, the rumors, raves and rants… and I’m too flooded with joy to add to any of it yet.

  13. the David Bowie Memorialist says:

    This is a great Feast… David Jones is back, alive & well !
    “Where are we now?” sounds like “Fantastic Voyage”…beautiful song; it brings me joy listening to a new Bowie tune, i’m hoping again! all that’s great.
    Does anybody knows who are the musicians involved into the new album???????

  14. postpunkmonk says:

    Three cheers for Momus for performing an incredible feat and if you haven’t read his time outline as to when and how he accomplished it on his blog, you are missing a jaw-dropping treat!

    http://mrstsk.tumblr.com/post/40077382336

    • Magnus says:

      I love the fact that there are creative people of all stripes replying to this blog. You’ve attracted quite the collection of followers, Chris. It’s inspiring. If I may be so bold, I hope some of you might be moved to hear the collective of music-makers I work with… Just follow my link down the rabbit hole…

      https://soundcloud.com/mad_genius

  15. BenJ says:

    Doing this blog must be like Godfather 3. “Just when I thought I was out” etc. It’s certainly something to look forward to, and I love the irony of waiting a decade between album releases and calling the result “The Next Day.”

    As to this, “unlistenable” is an interesting choice of words. That adjective is usually applied to unpleasant sounds, musical and otherwise. “Ian Fish” isn’t unpleasant at all. You may, however, find that a minute or two elapses between its end and your realizing that it’s over, at least if you’re me. Very Brian Eno, so it makes sense that he was about to hire One Brain as producer.

  16. humanizingthevacuum says:

    I’m disappointed he didn’t choose to stay gone. The song is dreary and sad and rather unnecessary.

    • King of Oblivion says:

      I find it moving and beautiful and I’m really glad he didn’t choose to stay gone!

    • the David Bowie Memorialist says:

      really????????????
      Bowie is not a museum…, not an icon monster, he’s alive & well;
      he’s a flesh & blood artist & his come back is such a great deal for both of us; i personally missed him for so long!

      • humanizingthevacuum says:

        Disappearing was one of the Duke’s canniest moves, earning my deep admiration. It’s unfair (and impossible) to expect miracles from a 66-year-old recording artist whose most lasting music required jumping from context to context, but I did hope for more than an “hours” knockoff.

  17. Mike says:

    Beautiful song — but the video scares me (really)!

    • Patrick says:

      Those “projections” or a similar effect were used in one of the live tours, can’t recall which one but there are Youtube clips with some tracks.

      • Sky-Possessing Spider says:

        That would be the Earthling tour of ’97. I have a bootleg copy of Bowie’s 50th birthday bash, and the same little puppets are sitting on the side of the stage with distorted and grotesque movies of David’s face projected onto them. During a rather bonkers version of “The Voyeur Of Utter Destruction (As Beauty), he also performs the entire song with his face stuck through a gigantic cardboard cut-out, rather like in the new vid.

      • BenJ says:

        According to the Wikipedia page on Tony Oursler – the director of the video – he also did projections for the Earthling tour, so what Sky-Possessing Spider says fits. He has a reputation for discomfiting images of emotional distress, so this new Bowie video is very much at the accessible edge of his work.

      • gcreptile says:

        It reminded me of the Earthling videos, the work of Floria Sigismondi.

  18. Diamond Duke says:

    If Where Are We Now? and the upcoming release of The Next Day can be described as “the cake”…then here’s a lovely bit of “icing”! :D

    And more than a decade since their last studio release!

  19. Sky-Possessing Spider says:

    Thanks D.D. Do you know whether or not the reformed Suede managed to lure Bernard Butler back on board? That kind of looks like him (though age-ravaged) over Brett Anderson’s shoulder. But it’s hard to tell…

    • Diamond Duke says:

      Nope. it’s the Coming Up lineup, with Richard Oakes on guitar and Neil Codling on keyboards. I think that’s bassist Mat Osman over Brett’s shoulder. From left to right (I think): Oakes, Osman, Anderson, drummer Simon Gilbert and Codling.

  20. Xenophon says:

    “Where are we now?” appears on a computer monitor near the beginning of Duncan Jones’ film “Moon”. Coincidence?

    • gcreptile says:

      Exciting! I DO have the suspicion that this new album consists of songs written all over the last decade. So I wouldn’t rule out the connection. I think that Bowie intentionally waited ten years to make his return. That sounds a bit nuts, but I guess that he recorded every now and then. He just wasn’t sure if he wanted to get back into the business again. But that idea grew in his mind and the tenth anniversary of Reality, his 66th birthday, his son’s wedding, Scott Walker’s release… it all came together.

      • Sky-Possessing Spider says:

        My gut feeling is that it wasn’t a calculated gambit. Maybe the idea of a 10 year hiatus started to appeal to some degree as the years of silence piled up. But I think his heart operation really knocked him on his ass. Either way, it’s just indescribably great to finally have him back.

  21. gcreptile says:

    I think this song was just a method to extend the idea of an EP into a full album. It’s an epilogue that just rehashes already used motifs of the album, even the title of the song! So Bowie gained six extra minutes. Sorry, that’s all I have to say.
    Now, where are we now? I live in Berlin, and Bowie’s new song was nothing short of a revelation to me. The god Bowie speaking to me, if you pardon. And I just want to join the chorus of exhilaration. Our beloved artist has a few more years up his sleeve. And I look at Scott Walker’s output, the latest work of Jon Hassell, there’s no shame in being an old musician, you can still surprise people. The new song made my week, maybe even my month.

  22. Gnomemansland says:

    At gnomemansions we like the new record a lot. We are not quite sure about the Momus cover but the line above ‘ It’s like you were writing your dissertation on Medieval Romance when suddenly King Arthur himself strode into the library dressed in a suit of armour, waved his sword above his head, and said “Come on, time is pressing and there are dragons to slay!”’ is pure genius and….a few days ago walking in the West End for the first time in an age we thought of your song….

    • Momus says:

      The Arthurian thing has always been an obsession of DB’s, of course, but Visconti says the period is a strong theme on the new album: “He’s been obsessed with medieval English history, which, believe it or not, makes great material for a rock song.”

      • Patrick says:

        Let’s hope he’s not going to go all “Rick Wakeman” on us.
        Coming soon ” “The Next Day” and “Ziggy Stardust on Ice”.
        He’s already done The Thin White Duke on Ice
        (and milk & peppers)

  23. On holiday in California, at twilight near a stunningly beautiful lake, four days before my 36th birthday this song came on my mp3 player in the car. It was staggeringly appropriate, the glinting guitar notes and breathy electronics melting into the smell of orange groves and the crazy, dimming light.

    Before it finished my phone beeped as we came back into mobile-signal range (we’d been in the high Sierra Nevada mountains for the previous two days). It was message from my brother informing me that our father had died.

    So there’s that.

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