The Author, The Bishop and Faust

Douglas Murray is a very bright light in the very dark labyrinth that is 2017 journalism. He is the founder of The Centre for Social Cohesion and is currently the associate director of The Henry Jackson Society. A columnist for both The Spectator and Standpoint, he frequently contributes to The Sunday Times and The Wall Street Journal. In his second year at Oxford, (at the ripe old age of nineteen) he penned a biography of Lord Alfred Douglas, which was later described (by none less than Christopher Hitchens) thus:

"In the year 2000, I was invited to review a new book about Lord Alfred Douglas, who had been Oscar Wilde’s toxic and eventually fatal choice of boyfriend.

I was simultaneously impressed and depressed by the assignment, because the work turned out to be (a) masterly and (b) written by someone who turned out to be only a few years older than my son. (Mr. Murray was born in 1979, which meant that he had finished the biography while he was still at college.)

There are not many occasions when a grizzled hack like myself can mark the emergence of a fresh new author who bears watching, but this was indubitably one of them."

Murray and Hitchens later became fast friends, despite their very different political dispositions (Hitchens usually occupying a foxhole well to the left of Mr Murray's). 

With the release his latest book, The Strange Death of Europe, Douglas Murray has been vigorously pounding the interview trail to promote it. I found this dialogue with Sam Harris particularly edifying:

Richard Holloway was the Bishop of Edinburgh from 1986 until 2000. He is quite a controversial figure, leaning increasingly towards agnosticism and self describing as an "after-religionist".

Holloway is well known for support of gay and lesbian causes and is a patron of LGBT Youth Scotland. He is the the author of more than 20 books exploring sexuality, drugs and bioethics and their relationship with modern religion. Holloway also writes for The Times, The Guardian, The Independent, Sunday Herald and The Scotsman. 

Richard Holloway recently interviewed Douglas Murray and while I found the interview itself interesting, what really caught my attention was Murray's choice of music. He begins with the ethereal, hauntingly beautiful and extraordinarily complex Spem in Alium by Thomas Tallis. I shall allow Douglas to elaborate:

Hollowyay: Why this one?

Murray: Well, I was asked if I could choose two pieces of music and you may as well go straight for the best.

The Chorus Mysticus, the denouement of Mahler's Symphony No. 8, begins almost imperceptibly in E♭ major. Mahler's notation here was Wie ein Hauch, "like a breath". It follows the narrative of the final scenes of Goethe's Faust; the journey of Faust's soul, rescued from the clutches of Mephistopheles, on to its ascent into heaven. Faust did indeed make it to heaven in the end, angels declaring: He who strives on and lives to strive, can earn redemption still. Later paraphrased in Finding Nemo as "just keep swimming".  

This performance of Chorus Mysticus, Cologne Philharmonic Hall, June 2009, conducted by Heinz Walter Florin, is magnificent: 

"it's one of the great expressions of the human spirit" Indeed it is Mr Murray, indeed it is. The zenith of Western culture perhaps?

William Crampton

Is Populism the New Punk?

               An idea proposed by conservative commentator  Paul Joseph Watson . Let's hear what Mr Lydon has to say about it.

              An idea proposed by conservative commentator Paul Joseph Watson. Let's hear what Mr Lydon has to say about it.

Data analysis by market research company The Guild shows that the attitudes of those born after 1995, Generation Z, are the most socially, politically and economically conservative since 1945. They largely reject established political parties while staunchly supporting personal freedoms, which sounds a lot like Libertarianism to me. Libertarianism is, essentially, Anarchy-Lite.

   Statism is the belief that the state should control either economic or social policy, or both. It is the opposite of Anarchism.    Anarchism advocates societies based on voluntary institutions & holds the state to be undesirable, unnecessary, and harmful.

  Statism is the belief that the state should control either economic or social policy, or both. It is the opposite of Anarchism.

  Anarchism advocates societies based on voluntary institutions & holds the state to be undesirable, unnecessary, and harmful.

With instant access to unsanitised information via new media formats; like P. J. Watson and his right wing cadre perhaps, but predominantly more evenhanded Podcasters, Vloggers and Youtubers (I only wrote that to see if my spell check would correct it; it didn't) such as Joe RoganDave Rubin and Carl Benjamin, many are meritocratic individualists. Rebelling against the political correctness and identity politics of the preceding generation, Generation Z is more impressed by challenge, debate and pragmatism than "Safe Spaces" and "Micro Aggressions". 

There is a rising tide of anger amongst Generation Z. Often accused of Wrong Think by easily offended Millennial Snowflakes, left with massive government debt by previous generations, unable to afford housing because the Baby Boomers and Gen X have been living it up on the profits on their real estate, then told they are expected to pay for the pensions of their predecessors, who could blame them? But as a wise man once said, "anger is an energy". For those of us who grew up in the 70's, the parallels are uncanny. Yes, it's elementary my dear PJ Watson, Populism is the new Punk. Just ask Johnny Rotten.

William Crampton  



Caledonia: Going home.

Caledonia is the name the Romans gave to the land to the north of their province of Britannia. Tacitus and other historians described Caledonia as the area north of Hadrian's Wall, home of the large central Pictish tribe, the Caledonii. Today, the name is applied to Scotland as a whole, a romantic reminder of a fiercely tribal and independant past.

Once upon a time, my family lived near what is now the English border. A castle there still bears my family name (I must go kick the usurpers out some time). My ancestors did actually secede from both England and Scotland; they made their own laws, raised their own taxes and dispensed their own justice. This wonderful state of affairs lasted for a surprisingly long while; until the surrounding powers noticed, resulting in a hasty departure to the colony of New south Wales.

For me, returning to Scotland is going home. The culture, the people, the landscape are all so familiar, so comfortable. 

Scotland can claim many a National Treasure. One of them is Dougie MacLean. Caledonia, from his first album, is regarded by many as Scotland's unofficial national anthem. Oft covered, Caledonia still belongs to Dougie MacLean.

Which, inevitably, brings us to Scotland's national poet, the Bard of Ayrshire, Rabbie Burns. An inspiration to both Libertarians and Socialists, a pioneer of the Romantic movement, an icon bordering on cult leader to the Scottish diaspora and general all round Wilde-style tart, Burns secured immortality in the mere 37 years he spent on this Earth. Like many who come to understand the nature of things, he slipped into depression and disillusionment in the final years of his short life. Burns' funeral took place on Monday 25 July 1796; the day his son Maxwell was born.  

 Rabbie Burns. This picture shamelessly recycled from the  Whisky Pages .

Rabbie Burns. This picture shamelessly recycled from the Whisky Pages.


Eddi Reader, former vocalist of Fairground Attraction, is perhaps now best known for her long solo career and a fondness for the works of Robert Burns. 

The first time I heard Gaelic spoken in conversation was in the village of Sanna, an idyllic hamlet on the far western tip of the Ardnamurchan Peninsula. A small collection of crofts and white stone houses aside pristine white sandy beaches, Sanna was the setting of Alasdair Maclean's autobiographical book Night Falls on Ardnamurchan. In an odd twist of fate, I was there with Maclean's niece; a raven haired, azure eyed beauty from the nearby Isle of Skye, but that is very much another story. What struck me about that wonderful, beautiful, language, was how lyrical and melodious it was. I had no idea of the content of that conversation, but listening to it was sheer joy. 

 Sanna Bay

Sanna Bay

Julie Fowlis grew up in a Gaelic-speaking community on North Uist, an island in the Outer Hebrides. After university, she moved to the Isle of Skye to attended the Sabhal Mòr Ostaig Gaelic language college and study traditional Scottish music. She has released five albums and has a continuing broadcasting career. This Celtic song tells the story of a girl taken by an Each-uisge; a shape-shifting water horse. In its human form it is said to appear as a handsome man, only recognisable as the Each-uisge by the weeds or sand in its hair. Because of this, people in the Highlands were often wary of lone animals and strangers by the sea and sea lochs, where the Each-uisge was reputed to live. Not to be confused with the Water Kelpie, a water horse inhabiting the fresh water lochs and pools of Scotland. The Kelpie can not disguise its hooves when in human form, leading to its association with Satan by Robert Burns in his 1786 poem "Address to the Deil". Hmm..explains why my father never took his boots off. 

William Crampton

Blue Venus

Blue Man Group is the result of a collaboration between New Yorkers Chris Wink, Matt Goldman and Phil Stanton. The performance art group started as glorified buskers and have grown into masters of stage and street production. Their performances are incredibly intricate trips down the rabbit hole in pursuit of three big blue bunnies. All of whom seem to be wearing Go-Pros. Improvising orchestration from anything they can lay their ultramarine paws on, the Blue Men are almost as entertaining for their originality and creativity as they are for the delicious anticipation of what they may do next. And next, you can watch them playing Bridge. The Brooklyn Bridge:


Venus Hum, (from Nashville, Tennessee) released their first, self titled, album in 2001. Vocalist Annette Strean and instrumentalists Kip Kubin and Tony Miracle took the band's name from the rare heart condition suffered by Tony Miracle; Venous Hum. He perpetually hears his own heartbeat. 2003 saw the release of their second album, Big Beautiful Sky and a tour with Blue Man Group. The Complex Rock Tour saw Blue Man Group rendering a number of covers, one of the best of which is this collaboration with Venus Hum. If you like Annette's dress, you may buy one here, if it's not to subtle for you.  

The painted marionettes' performances are a rollercoaster ride of comedy, tragedy, chaos and rapture. In this rendition of The Who's Baba O'riley the Blue Men once again display their fondness for creative plumbing and production:


Blue Man Group continue to experiment, innovate and evolve. I will leave you with this track, Giacometti, from their new album, Three.

William Crampton




Build a fire, light a match & watch the whole thing burn....

Alabama 3 aren't a trio and they aren't from Alabama. The band formed in Brixton, London in 1995 when vocalists Larry Love (Rob Spragg) and Dr. D. Wayne Love (Jake Black) decided to create a band around a fusion of country music and acid house. As A3, as they are known in the US, (to avoid a lawsuit from the band Alabama) grew in number they exploited rock, blues, country, gospel, spoken word, parody and satire. Although A3 seemed like an overnight success when their track Woke Up This Morning (inspired by the case of Sara Thornton, who murdered her husband after years of abuse) became the theme song of The Sopranos, success was had been a long time coming for the band's founders, then in their forties. A3 garnered some airplay in Australia with You Don't Dance To Techno Anymore (later released as an acoustic version in the first 10,000 copies of the album Power in the Blood) but remain largely unknown here. 

While Woke Up This Morning is A3's best known track I think it is far from their best. This song, Too Sick To Prey, (from the album La Peste) was used in the BBC series Being Human.

As was one of my favorites, Sad Eyed Lady of the Lowlife.

Alabama 3 have produced so many songs that are so fun, so engaging, so witty and so inciteful, I had a hard time deciding what to share with you. Ironically, were they actually American, they wouldn't have the vice-like grasp on irony and satire that these London lads and ladies do. A3 (also a paper size) are magnificent, mischievous and unmissable live. Here they are backstage at The Wicker Man Festival in Scotland, 2014:

I recommend you start with Exile on Coldharbour Lane and La Peste. Power in the Blood will appeal to fewer comrades but is still worth the price of admission. There is a lot more to Alabama 3. They describe themselves as "a pop band, a punk rock, blues and country techno situationist crypto-Marxist-Leninist electro band".They go on: "We spent half of our advance from Geffen on various contraband items and with the rest we made an over-produced, brilliant situationist masterpiece called Exile on Coldharbour Lane"

I will leave you with a favorite and a rarity; an acoustic version of Mansion on the Hill from Acoustic Power.

William Crampton


Homemade Wine

Penelope Swales is in hiding. She must be; otherwise, she would be a household name by now. Or maybe her music just hits home a little hard and true for the masses. Penelope is a funny, fearless and inciteful lyricist. She is a talented musician with a characterful voice. Her music portrays her passions, her humour, her honesty and her integrity. I first became aware of Penelope's work when this album received some airplay on its release in 1997.


Homemade Wine is Penelope's third album. The engineering and production deserve a mention here as both are flawless and really let the music itself take centre stage. A treat from start to finish, it was hard to choose only a few songs to share but the opening track, Swallow, struck a chord with me. A song about the search for a place and a person to call home and the frustration of being unable to do so as time and youth pass. The "storm tossed swallow" analogy fits the narrative perfectly.

"And y’know, I just wanna go home
But I have no such destination, 
Just a vague location in mind
I’m tired and I can feel it’s time
I’ve still so far to go til I can make it mine "

The song is beautiful lyrically and musically and, like much of Penelope's work, evokes joy and solemn contemplation in equal measure.

"And y’know darlin’ I’m longin’ to see your face
Not just for a festival or a weekend
But to be having you all ‘round the place
I long to be sitting strong and stable
At my very own kitchen table
And watchin’ you walking in
Singin’ hello darlin’, how ya been? 

But for now, I’ll just rest in the sun like a storm-tossed swallow
I’m still so far away, and my migration path sways
But I’ll get there, one of these tomorrows
I’ll rest in a stranger’s house like a storm-tossed swallow
While inside me the need and the urgency grow."

I Thought Judge Dredd Was A Cartoon Character is a commentary on police restraint. We all know that our police forces attract only the best and brightest. This is nowhere more true than in Victoria where police rarely resort to the use of firearms even when confronted with such serious offences as Fare Evasion, Hesitation With Intent To Loiter and Failure To Stock The Glove Box With Gloves. Here Penelope's dry humour takes a darker turn; mockery is an effective weapon too.

A few years ago I found myself having to drive from New England to Brisbane then Sydney in one day (don't ask). I'd picked up Homemade Wine from the post office a couple of days before (Penelope kindly ran me off a copy after my young daughter accidentally destroyed the original; thanks P!). So it just happened to be the only CD in the car for that long trip and I still had it on repeat a week later. That's the kind of music Penelope creates.

Almond Eyes pulls the listener into a dark lament that highlights Penelope's versatility and ability to emotionally captivate her audience. She writes with such feeling, no more so it seems than when from experience. 

Penelope Swales' music is available on iTunes, Bandcamp,, or email Penelope directly: If you ever get a chance to see Penelope live, don't miss it. 

William Crampton




Never mind the Pistols, Here's our Lemmy.


Unless you are Amish, you will already be familiar with Motörhead classics like Ace of SpadesKilled By Death, OverkillOrgasmatron and We Are The Road Crew (Lemmy was a roadie for the Jimi Hendrix Experience). While everyone from Metallica to Sepultura have covered Motörhead, the band themselves have done their fair share of covers, most recently The Rolling Stones' Sympathy for the Devil. Lemmy owns Metallica's Enter Sandman with his growling, gravel-pit vocal. In my view, one of those rare occasions that the cover eclipses the original:

Then there is this almost comic rendition of God Save The Queen. Motörhead playing atop an open top London bus and a cameo by HRH herself is priceless. We don't need a monarch or a god when we have Lemmy doin' Lydon:

Ian "Lemmy" Kilmister died on the 28th of December 2015.

At Lemmy's funeral, Dave Grohl recalled the first time they met, 20 years ago at a Las Vegas strip club: 

"I looked to my left and I saw Lemmy by himself in the corner on a video game. And it blew my mind. I knew that I couldn’t just go say something because he was on his own in the corner. On the way out I thought, I have to say something. He’s my hero. He’s the one true rock’n’roller that bridged my love of AC/DC and Sabbath and Zeppelin with my love of GBH and the Ramones and Black Flag."

"Death is an inevitability, isn’t it? You become more aware of that when you get to my age. I don’t worry about it. I’m ready for it. When I go, I want to go doing what I do best. If I died tomorrow, I couldn’t complain. It’s been good."



William Crampton

Florence ex Machina

It's good to see that eccentricity and quirkiness are not dead in Britain. London indie rock band Florence and the Machine (as in Florence Welch and Isabella "Machine" Summers) formed in London in 2007. The powerful vocals of Florence Welch are backed by Isabella Summers on keyboards. Robert Ackroyd plays lead guitar.Chris Hayden's drums and Mark Saunders' bass pound out the strong rhythms that hold the band's distinctive sound together.The harp of Tom Monger and other collaborating artists add another layer of goodness. The band have enjoyed considerable commercial and critical success and are currently touring Australia, although, if you don't already have a ticket, you're screwed. 

This performance at the Royal Albert Hall certainly isn't the band's usual style but the marriage of Florence and the Royal Philharmonic Orchestra is so sublime I just had to share it; enjoy!

Addendum: All you vocalists I've told off time and again about your total lack of mic technique for the last thirty years look at a professional  doing it properly. And learn. Please. 

Speaking of quirky, Bat For Lashes (stage name of Natasha Khan) also recently performed in Australia and I was fortunate enough to see her in Sydney. Natasha has produced some achingly beautiful songs; mostly deep, dark and haunting (like Natasha). Sleep Alone is one of my favorites.

William Crampton