From The Desk Of Martin Carr: Maschine

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing all week.

Carr: Native Instruments’ Maschine (I have version two) is the first piece of hardware I had bought in years, and it’s completely changed the way I approach music. Freed from the limitations of my technique, I enjoy creating new things more than ever. I find the pad liberating, and it feeds creative periods. I think every home should have one or more (cheaper version obviously). Everybody has music within themselves, music that is unique to them, but most of it goes unheard because most people don’t play a musical instrument. Somebody who can’t move their fingers in the right way or hold their breath for long enough or keep a steady beat should still be able to express themselves through music; it shouldn’t be about technical proficiency. Listening to somebody play the instrument that they’ve dedicated their lives to is a wonderful thing, but everybody should have the chance to make music. The world would be a much better place. Don’t play it to me, though. I don’t want to hear it.