In the Club 43 - April 2020

FROM THE TCS & ALL AT THE PPCO STAY STRONG & KEEP ON KEEPING ON!!!

Dear Tuesday Clubbers and Pop Pickers!

Welcome to our massive Spring 2020 edition of ‘In the Club’ Mag as we reach 43 issues & a new decade! WOW what a difference a few weeks have made to the world, this is not the mag I started writing a month ago!

Like many bands we’d been looking forward to a rich seem of shows. Dates like our return to the 02 Islington with Gene Loves Jezebel which for now have been rescheduled, others, we’ll have to see.

Looking back to what seems like months ago, It took until February 20th for the Tuesday Club to finally open our account in this new year, but it was worth the wait as we revisited the Horn in St.Albans and delivered a storming set, this time as main support to current radio 1 darlings The Howlers.

Not only did we debut 2020s gig account, we also debuted our 9th (yes 9th!) drummer and our youngest yet! Please extend a big PPCO welcome to Nat Chapman, apparently he’s 24, but he defo looks half that!

This news of course begs the question, Where’s Blair?! Well... Sadly due to recurrent ankle problems Blair has had to reluctantly hang up his sticks for the near to mid term, possibly long term future. Having gamely soldiered on for the last year or so just doing gigs (No rehearsals) & with a new year upon us he finally decided enough was enough and rather than do himself permanent damage, he had to bow out.

Being the top man we al know he is, he urged us to find a replacement so

This said... however Blair has still made himself available when Nat can’t gig, so you’ll be pleased to hear, you’ll still be seeing plenty of him as Nat appears to have the busiest work/social diary of anyone in the world...ever!

So now you know... HUGE thanks to you, Blair from The TCs and PPCO for all your excellence behind the kit, your help, support, humour and your encouragement over the last 5 years since becoming our quick stand in to full-time sticks man for our dearly loved ‘Super’ Terry in 2015.

You have to remember folks Blair was only due to help out for a few gigs during the Lady Gargar EP release dates... but ended up not only doing that & helping us complete the final EP of the quadrilogy, he then went on to become a major component, as the band split in half in early 2016, only to rise from the ashes into the lean mean fighting machine that produced 2018s Art is Magic Album.

There have been many memorable nights and we will be forever indebted to Blair for keeping the band afloat during a very turbulent time, we are just glad that even in a lesser capacity we will still have the honour of playing live with him again from time to time... sigh....

Away from the TCs we have pleasure in at last reporting the imminent arrival of the long awaited Andreas & the Wolf album - Fountain of Truth, together with an album launch party to boot! As we go to press the date for your diaries is Friday October 9th, the venue is The Barn at The Horn in

St.Albans, it will be ticket only so keep checking your social links for more details, let’s just hope we can all go out by then! While we’re mentioning the album, look out for a new fab review of said ‘wax’ from Pete Ringmaster somewhere around page 21!

And that’s not all from A&W! For despite the restrictions & social distancing measures the dynamic duo have still managed to cobble together a new show, via Facetime, Garageband and wifi! What could go wrong?! Best tune in and find out eh...

Also in this new issue, we are VERY excited to see the return of Andrew Rogue Sector as ace interviewer, this time with our (his) biggest coup to date, none other than industrial, electronic music and avant-garde legend Cosey Fanni Tutti! WOW!

You’ll be pleased to hear that this isn’t the last we’ll see of Andrew in this issue of In the Club, No, it isn’t! For in another exclusive, we can finally report the release of his band Rogue Sector’s long long awaited debut EP - Ministry of Love (all A&W radio fans will be most excited at this news, as the will it won’t it be released saga has gone on almost as long as Fountain of Truth! It’s out on April 24th on Pete Jones’ JAM UK label.

In other news we have a major feature on The Dublin Castle’s RocknRoll Book Club hosted by the mighty Julie Hamill who we met at said Book Club in February when she hosted the aforementioned Pete Jones... more of that to follow within these pages, including some explosive live videos from the night of Pete Jones’ appearance with his all star band (ahem and a little cameo from one AVBD!) performing early PIL numbers (WHAT A BUZZ!)... So taken were we by Julie’s interview skills, we wasted no time turning the tables and invited her to answer our questions for this months ‘In the Club’!

But there’s still more... We also have NEW releases by Scant Regard, She Made Me Do It and Dislocated Flowers, there’s local news from Denise Parsons, Kevee Lynch, A Nub Records Movie, plus a host of interviews & news of the first Manilla PR festival (fingers crossed for July 18th) and their new record label, Black Dog Music

Blimey!!!! But before we bid you delve into this smorgasbord of musical delight we can’t go without saying a few words about the sad passing of four big influences on us a The PPCO since our last mag! The First was Andy Gill from Gang of Four, the 2nd Andrew Weatherall, The 3rd Genesis P-Orridge and finally someone you may not know as well, but who in our world leaves a huge hole. Mark Barton of Losing Day and laterly the Sunday Experience. Mark was the first person to ever review any of our material back in 2004 with his zany, savvy, hugely well informed and unpunctuated unique wonderful style, which he continued to do, right up until his untimely death on 21st Feb. The indie underground has lost a true champion. (We have included some of Marks reviews on the back of this issue by way of tribute). RIP gentlemen.

There’s little else for me to add in these strange times other than, be safe, support your local businesses, love the NHS, be considerate to others, DON’T STOCKPILE, keep on keeping on Pop Co Pickers AND finally... as for most of us there’s a lot more ‘FREE’ time than usual, why not go & stick the kettle on & have a good read, watch & maybe even help a struggling musician with a purchase or two, it’s all here for you in this here Club! Hopefully see you live again soon.

DATE NIGHT 2019

THE TUESDAY CLUB, The Dublin Castle, London

FRI 24 Apr 2020

THE TUESDAY CLUB, West Street Live. Sheffield

THURS 25 June 2020

THE TUESDAY CLUB, 02 Islington Academy

GENE LOVES JEZEBEL SUPPORT - rescheduled

SAT 30 May 2020

SAT 22ND AUGUST

Andreas & The Wolf The Barn. St.Albans, ALBUM LAUNCH

FRI 9 Oct 2020

THE TUESDAY CLUB, FARMERS BOY. St.Albans, Halloween Special SAt 31 Oct 2020

Thanks to: Design @andy8ecreative Content: Brad Wigglesworth, Andrew Trussler, Denise Parsons, Will Crewdson, David Newbold, Mandy McNeil, Graham O’Brien, Steve Honest, Manilla PR, Stephen Manuel, John Viney, Pete Ringmaster, Karen Lui, Roger Millington, The Minx, Atom Collector Records, Empire Records, Julie Hamill, Kevee Lynch, Grae Wall

Towards the end of 2019 we made a triumphant live return to The Horn in St.Albans with two shows, one a headline the other a support to My Life Story. 2020’s first live action saw us back in support mode at our local, this time in the company of current hotly tipped rockers The Howlers. Not only was it our first date of a new decade, it was also a sterling debut from our 9th drummer in the last 9 years, Nat ‘The Kid’ Chapman. Despite almost 10 years of Tuesday Club action it still somehow feels we have a point to prove at every gig. 20th Feb was no different and once again we were more than motivated to rise to the occasion! As ever our BIGGEST thanks goes to our ever loyal TC crew, whose undying support continues to be the inspiration for us to keep delivering our rip roarer of a show, a special mention also goes to Bill Johnson for his customary superb work with the sound. You guys ROCK! x

2020

V i s i o n s

thanks to DENISE PARSONS for the pics

A Bootleg of My Consciousness from trouserNatspocket

Rock 'n' Roll Book Club

hosted by Julie Hamill

Live at The Dublin Castle 94 Parkway, London, NW1 7AN

The Dublin Castle pub is an iconic venue steeped in musical history with the stains to prove it... there’s no doubt it’s the CBGBs of London.

Introduction

as one of Time Out’s top five unusual book clubs in London both in 2018 and 2019.

Promoter Tony Gleed also hosts the event on occasion.

Rock n Roll Book Club live at The Dublin Castle

The Rock n Roll Book club was established there in September 2017 by two people, author Julie Hamill and promoter Tony Gleed. Julie Hamill is the regular host of the evening. Author of three books, one about Morrissey and two others freckled with music, Julie is an established writer and broadcaster and has appeared on Vintage TV, RT TV, various podcasts and endless radio shows, including her own show on Boogaloo Radio.

94 Parkway, London, NW1 7AN

The format is very simple: authors of music books are invited for a live on stage interview with Julie to talk about and celebrate their writing at this legendary music venue in Camden. An accompanying DJ set by Tony Gleed takes inspiration from the book and provides music from the chosen artist all evening. Audience participation is on tap and there’s never a dull moment as voices call out from the comforting darkness of the venue.

Julie has written three books, one non fiction and two fiction, all published and available. She is a very experienced interviewer in both music and literary fields and you can find out more about her on any of the following websites: atriumtalent.com, juliehamill.com or Wikipedia. You can find her books ’15 Minutes With You’ (Morrissey), ‘Frank’ (novel) and ‘Jackie’ (follow up to Frank) on Amazon. She has a show ‘Hamill Time’ on Boogaloo Radio.

The Rock n roll book club invites authors of music books celebrate their work at a legendary music venue in Camden includes an on stage interview, book signing and DJ set

As the Dublin Castle is set up for live music, guest authors often have bands or even play themselves, as in the case of the wonderful and uplifting recent event with former PiL bassist, Pete Jones.

Julie Hamill in collaboration with Tony Gleed of Bugbear Promotions house promoters. The promoters take care of dates, posters, ticket link and online communication. A date is agreed and doors open at 7.30pm.

The HostJulie Hamill

The author is welcomed and interviewed by resident host Julie Hamill. ‘Hosted with humour’ Julie’s style of ‘chat show’ interviewing has won much critical acclaim. The book club has been featured

'The best Amy Winehouse event we've ever had. It was very emotional and beautifully hosted' (Ruti Arhonne, Amy Winehouse Foundation)

Rock n Roll Book Club live at The Dublin Castle

94 Parkway, London, NW1 7AN

The DJ

Tony ‘Bugbear’ Gleed has been promoting at The Dublin Castle for over twenty-five years and has put on The Libertines, Blur, The Killers, Deaf School and more. He is famed for finding the bands of tomorrow and giving them a break. Tony is also a very experienced interviewer and DJ with shows both on Soho Radio and Boogaloo Radio and he regularly packs the dancefloor at the Dublin with his extensive music collection.

Promotion

The author, book and event receive extensive promotion across Facebook, Twitter and Instagram reaching in excess of 30.000 readers and music fans. The featured author is also invited to join Julie and Tony across different radio shows on Boogaloo Radio (Tales of The Dublin Castle/Hamill Time, Tuesdays 122pm) and Julie often drops in to Free Seed Films on Soho Radio to join the team and give an on-air update of past and future guest happenings. After the event, a report of the evening is splashed and shared across Facebook, Twitter and Instagram with photographs of the night. External film teams and production companies often set up and film for different features such as Globo TV in Brazil and reporters drop by for an article or two.

The Books

‘Simply put, the books just have to be great, then the evening will be entertaining and engaging’, says Julie. ‘In true rock n roll style we have no rules. The book can be old or new, the subject dead or alive… it can be a biography, a novel, a fanzine... as long as it has music in it we don’t care and we’re not snobby about genres either. We’ve had books on The KLF, Suede, The Damned, The Smiths, Amy Winehouse, Elvis Costello, The Fall, Madness, Faith No More, David Bowie, Slade; we’ve had poetry from Penny Pepper and music in politics from George Galloway, as well as many live performances including a beautiful piano set by Clifford Slapper, live sets by Faith No Man, Richard Strange, Bedders (from Madness) and Terry Edwards, Dave Barbarossa and the Pete Jones all star book club band. We’ve even had an ‘original’ preBeatle, Quarryman Rod Davis.’ Julie continues, ‘I’ve had drinks spilled on me on stage, forgot my glasses, someone fall of their chair and I’ve been more heckled than Billy Connolly… nothing live ever goes as planned but it’s always a brilliant night with exactly the right crowd; warm and supportive it’s the audience that have established this night as one of the best in London.’

authors of music books to talk about and Camden. Each author event interview, book signing and DJ set prepared and organised Bugbear Promotions, the inThe promoters take care of dates, posters, ticket link and A date is agreed and doors open at 7.30pm.

Upcoming guests

(Clifford Slapper, Bowie's Piano Man)

Julie tells In The Club enthusiastically, ‘We’re delighted to welcome the likes of Madness, Janet Devlin, Sheila Rock, Angie Bowie and Bobby Elliot from The Hollies to discuss their books in the very near future. However due to Corona virus some of these events have had to be postponed. We are currently looking at other ways to continue to bring people the familiarity and company of rock n roll book club by other means. Watch this space!’

'Run by people who are enthusiastic and encyclopedic about music'

'Great guests, great interviews and an iconic setting.' (Brian Damage, Nuffin)

WHO'S ON THE GUEST LIST?

Previous Book Clubs

Ian Shirley - The KLF

Matt Jacobson – Morrissey

Penny Pepper – Penny Pepper

Chris Difford – Squeeze

David Barnett – Suede

Dave Simpson – The Fall

Jeff Evans – Rock And Pop On TV

Nicky Weller & Barry Cain – The Jam/Punk

Bedders & Terry Edwards – Madness

Sylvain Sylvain – New York Dolls

Kieron Tyler – The Damned

Kevin Cummins – The Smiths

Janis Winehouse – Amy Winehouse

Derek Philpott – Mr Pop Star – various

Bruce Thomas – Elvis Costello & The Attractions

Adrian Harte – Faith No More

Dave Barbarossa – Adam & The Ants/Bow Wow Wow

Dave Randall – Faithless/Sinead O’Connor/power of music in politics

George Galloway – The 1970s: A personal decade

Richard Strange – Richard Strange

David Bedford & Rod Davis – The Beatles/ The Quarrymen

Clifford Slapper – David Bowie

Tony Drayton – Ripped & Torn

Daniel Rachel – Rock Against Racism, Two Tone & Red Wedge

Celeste Bell & Zoe Howe – Poly Styrene

Steve Lamacq – DJing/Birth of Elastica/Blur/Britpop

Nettie Baker – Ginger & Nettie Baker

Clem Cattini – The Tornados

Matt Everitt – Yoko Ono/Johnny Marr/various first times

Will Birch – Nick Lowe

Jordan Mooney – Punk/Jordan/Kings Road/The Ants

Lucy O’Brien – Dusty Springfield/Madonna

Gail Thibert – 80s Punk and Psychic

Wayne Reid – 70s/80s Punk

Julie Hamill – Frank and Jackie/80s music

Wayne Hussey – Sisters Of Mercy/The Mission

Jo Wood – The Rolling Stones

Don Powell – Slade

Mo Foster – British Rock Guitar

Pete Jones – Department S, PiL

Brian James – The Damned/Lords Of The New Church

Where to follow/contact

Twitter: @juliehamill @rorobookclub @BugbearMusic

Facebook: Rock n roll book club

Instagram: @juliehamillofficial @dublincastlecamden

'An absolutely magnificent idea, I loved my interview with Julie and I got to be a rock n roller for the night!' (George Galloway)

'The most interesting & engaging music interview I've heard in a long time' (Marianne, Chrysalis Records on Dave Barbarossa)

Pete Jones biography.auto-“Theycallme…Joyless”

This is the book we’ve all been waiting for. Pete’s autobiography, a life story from birth on a Watford council estate to becoming a rock footnote. A tale full of tears and laughter, life playing for one of the biggest bands on the planet… and other stuff.

Paperback format with over 300 pages, pictures too!

Pete tells of his time on the road with Public Image Limited, Brian Brain, Cowboys International and Department S. No holds barred!

The book will be signed on request with a personal message and orders come with free sticker and two postcards. Just click the link to buy!

“A Compelling read, brutally honest & wonderfully self depricating... Plus A brilliant insight into the ‘true glamour’ of being in a BAND In the 21st Century ... OH & LOADS OF GREAT PIL INFO TOO!” Perfect Pop Co-Op

PETE JONES, ROck N Roll BOOK CLUB

SPECIAL, AT THE DUBLIN CASTLE

- INTERVIEW BY JULIE HAMILL

Ex Public Image bass player Pete Jones put together an all-star band for a special one off performance at the Rock N Roll Bookclub event at the Dublin Castle. Hosted by Julie Hamill, it was a riotous night with a few surprises, featuring members of Ruts DC, Spizzenergi and Department S.

Band Members:

Pete Jones - Bass, Alan Galaxy - Drums, Leigh Heggarty - Guitar, Andreas Vanderbraindrain - Vocals. Guests: Luca Commencini-guitar, Spizzenergi - Vocals, Eddie Roxy - Vocals

BoogalooRadio/hamill-time-with-juliehamill-ep-35-home-phones-with-petejones-tony-gleed

This is the inaugural public performance from Southdown Laundry Club. Never to be repeated? Irvine Hunter, Pete Jones and Andrew Trussler dish up the dark.

Hear more from Julie and Pete on Julie’s Hamill Time radio show, also featuring Dublin Castle promoter and go to guy, Tony Gleed

by Pete Jones

Perfect Pop Co Op Radio is back: mixcloud.com/perfectpopcoop now hosted by Andreas and the Wolf, just click, follow and enjoy! Lots of exclusives, oldies and rarities and that’s the music not the band!

style, if you love Indie, indie dance, new wave, post punk, old school punk, vinyl and discovering new music, this has to be the show for you! This is not just an excuse to plunder their own musical heritage though, oh no, this eclectic show comes interspersed with both tracks that have influenced

Follow us!

@andreasandtwolf

instagram.com/andreasandthewolf andreasandthewolf.co.uk

This show was recorded remotely for the first time due to our enforced isolation... we hope that this doesn’t detract from your listening experience... Have no fear, we can guarantee at least as any mistakes as usual!

From the heavy riffs and kinetic new wave sensibility of Love’s Demise to their incredible take on The Cure’s Three Imaginary Boys to the dark, dense and heavy pounding of Poison Aura, this EP is a rollercoaster trip inside the band’s hook-laden psyche.

She Made Me Do It are: Shaheena Dax (Rachel Stamp) - Vocals, Bass, Keys and Will Crewdson (Rachel Stamp, Adam Ant band) Guitar, Vocals, Keyboards.

Check

1. Love’s Demise 02:40

2. Fun and Games 03:11

3. Three Imaginary Boys 03:25

4. Poison Aura 04:29

5. Fatal Confidante 03:51

Produced by Will Crewdson

Tracks 1, 3, 4, 5 Mixed by Nathanial Chan at Kangaroo Moon Recordings

Track 2 Mixed by John Fryer

Recorded at Unit 2 and Plastic Sound Studios

Drums by Joe Holweger

Mastered by Harvey Birrell

Artwork by Jeff Conway @ Pushingnormal

She Made Me Do It is Shaheena Dax / Will Crewdson

P & © 2020 Catranstic Records

shemademedoit.bandcamp.com/album/scorched-e-p

Ulterior Motives -3:21

You Know The Drill - 3:56

No More - 3:17

Projectile Comet - 3:29

Calamity’s Creation - 3:51

Nevertheless - 2:51

A Process of Illumination - 4:11

Charmed I’m Sure - 2:55

Rogue Prototype - 3:20

Heart Torn Blood Ratio - 5:10

NEW ALBUM

Scant Regard - You Know The Drill OUT NOW on CD, iTunes, Bandcamp, Spotify etc...

Full on surf guitar intertwined with fat electro beats to elegantly mash your psyched up frontal lobe.

Scant Regard’s 6th album, You Know The Drill embarks on a sci-fi tinged mission to bombard your senses with Will’s trademark frenetic twanging guitar placed deftly on an electronic bed of beats. From the sarcastic knowingness of Ulterior Motives to the brooding mournful soundscape of Heart Torn Blood Ratio, You Know The Drill is all banger, no clanger. scantregard.com/store

"A Sci-fi tinged mission to bombard your senses"

Andreas & The Wolf have been partners in crime for many full moons, both as musicians, djs & label owners (Perfect Pop Co-Op). Their cult radio show is now in it’s 2nd year mixcloud.com/perfectpopcoop but they’ve been in bands longer: The Scratch, The Dodo, The Bleeed, Reverse Family & finally The Tuesday Club, (Where these personas were honed) and now as their own fully fledged ‘Alt Electronica’ duo.

As the world has slept, wept and bickeried about gawd knows what, Andreas & The Wolf have been hard at work on their debut LP. Fountain of Truth. An album born in the 80’s, conceived in the last decade, but born for NOW… they have been waiting in the shadows, but now their time has come.

The debut EP Fashion Wheel; Evil Breeze, One Little Dream is released on Monday 27th April through Perfect Pop Co-op & Blackdogmusic.net

The 9 Track album - Fountain of Truth: will be released in home town St.Albans at an exclusive party on Friday 9th of October at The Barn (The Horn), Victoria Street, St.Albans, AL1 3TE

BUY THE DEBUT EP HERE!!!!

EP available from all digital stores

27th April 2020

FASHION WHEEL, EVIL BREEZE, ONE LITTLE DREAM...

andreasandthewolf.bandcamp.com/ fashion-wheel-ep

andreasandthewolf.co.uk

See the video: FASHION WHEEL

Great BIG thanks to the mighty Pete Ringmaster for this our first review of the forthcoming album. We’ve printed it from his website and also here’s a link via his facebook page...

As DJ’s for the past two years or so, through their radio show Andreas and the Wolf has fed ears a rich diet of the very best DIY escapades within and outside of the Perfect Pop Co-Op family. Before and during that time they have also teased and excited with a collection of their own tracks; alternative electronica bred songs which have caught and inflamed the imagination into its own shenanigans. Now a highly anticipated debut album is poised to present the band’s full body of enterprise and...

RINGMASTERREVIEWINTRODUCES.

WORDPRESS.COM/2020/03/16/ANDREASAND-THE-WOLF-FOUNTAIN-OF-TRUTH

In the club

JULIE HAMILL

This month we are delighted to welcome Author, Broadcaster and all round top pop interview superstar Julie Hamill to ‘The club!’ As you will have read earlier in the mag we met Julie for the first time in February at The Dublin Castle in Camden for The Pete Jones book Experience & ‘Nailed together band Soiree!’

Having experienced her passionate, forthright and incisive technique on the mic we are very excited to have turned the tables on Julie today by getting her to be the interviewee for a change :-) Julie’s Rock’n’Roll Book Club is already gaining legendary/must see status in the gritty world of Rock’n’Roll, so we’re very glad to have caught her, just before she blasts into the ‘MegaGlobalRockaHoola’ Stratosphere!

Hi Julie a very warm welcome to ‘The Club’

OK firstly, we are sitting in the cyber pub doing this interview, and it’s our round. What do you want to drink?

Big fat bloody Mary with everything in it including an olive and a stick of celery. If they don’t have the celery just get me an iced water please. If they don’t have iced water I’ll take a nice soft glass of red please.

What was the last thing you heard/ watched that was so good you had to tell someone about it?

Hunt For The Wilderpeople. Rikki Baker! Ahhh Rikki Baker! Ahh Rikki Baker! youtube.com/watch?v=oqWhQHImHGE

Hunt for the Wilderpeople - Ricky’s Birthday Song. Get it now on iTunes: itunes.apple.com/us/movie/hunt-for-thewilderpeople/id1116813714

www.youtube.com

What four items would you put in a time capsule? My three books and a hula hoop

What does Punk mean to you? A right good punch in the ear

If there had only ever been one, which and why. The Clash or The Sex Pistols? Well. Let’s see, As The Clash is an overblown, overrated sloganistic manband with one good song, it has to be The Pistols: working class, cheeky, filthy little boat riders. For me, the two kings of punk are The Damned and The Stranglers.

If football is the current ‘rock &’roll (in terms of Superstar status), what do you think could or should be the next big thing?

Anything new in football should be put in a cannon and fired into the sun along with the rest of football. SNORE! Bored of footballers, superstar DJs, celebrity chefs... it’s time to put AUTHORS in a rock n roll seat. Authors ROCK. (except for the quieter ones, who rock quietly).

If you could be any character in a film, what film and who would it be?

I’d be Superman in Superman II. I’d follow General Zod around asking if I could be his pal. I’d copy his outift, his walk, his powers and everything. He’d willingly put himself back into the seethrough triangle. Then I’D BE ZOD.

You are now In The Club, but what club do you actually wish it was?

The Star and Garter in Manchester. Hot sweaty scenes in the CBGBs of the North.

Who’d be in your four-piece fantasy band? Me, my pal Gillian and our mums on bvs.

If you had a time machine and could go back to any year in music, what would it be and why?

1984. I had a paper round and would rewind The Smiths album to learn the words. I hated that paper round in the freezing winter, but I cracked puddles to the beat - and I finished it quicker when ‘Miserable Lie’ got faster: ‘I know I... Need hardly say...’ Then I dumped the bag and ran up to school with fingers covered in news print, telling everybody that Morrissey is BRILLIANT; the little freak that I was (am).

What question haven’t we asked you that you wish we had? None, I think you’ve covered the absolute essentials.

Where’s the best place to find you on the internet?

Facebook and Twitter @juliehamill and @juliehamill

Instagram @juliehamillofficial

And for more info & bookings...

atriumtalent.com/talent/julie-hamill

"It's time to put AUTHORS in a rock n roll seat. Authors ROCK. (except for the quieter ones, who rock quietly)."

THE MINX DIARY

pics by Stephen Manuel

The Minx is back in the Club. Minx have missed cowbell too much. Was time to come back in new disguise and spy more on Club of Tuesday. This also involve changing some minions and auditioning new. Minx has now upgraded to select few of best minions. Continue quest for rid world of disgust shoe and have survived summer of much flip-flop.

MONDAY

Things change in England daily. In UK daily. In world daily. Am scare of media more than Covid-19. Covid-19 sound like band of small boys who not attractive or able to dance good enough to be boy band. Still manage by Simon Cowbell but lie about it as not cool for image.

They dress in black with rip knee jean and wallet chain but no wallet (not old enough to have credit cars and no money to call their own anyway). They wear white baseball boot like 80’s hair rock band like Iron Maiden and having bass player call Steve.

There is the ‘fat one’ who have bleach hair to make him funky – but he have to be in band as can actually write song (along with 8 other people squeeze into room that is call writing studio). He has try grow beard to be ‘hip’ but had give up when too difficult to bleach beard to match hair.

They will have pics in fairground being delightful on roller coaster (‘We are fun!”), on ghost train (“We are scary!”) and then galloping horses (“We appeal to Grannies too!”). Photographer will have field day making pop rock puppets do ‘crazy’ things.

They pretend to live in big house together like The Monkees and The Beatles and other animal type bands, but they actually still live with their mums.

Two are from Essex, one is from Brighton and one token from ‘Up North’. He is cheeky chappy from band. The two Essex boy pretend they are from East End and talk like Cockney. Original member (who made it through auditions and record first album but then have argument with Simon Cowbell can got sack for being too feisty i.e. difficult) was from Birmingham. Everyone secretly glad he gone as accent hard to hide. They try tell him to pretend be from Wolverhampton as is ‘grittier’ but he shake head vigorously. He also have moustache like Nigel Mansell the F1 driver and everyone afraid people think he their Dad. He very bitter about being sack and has sold

serialisation in national red top newspaper about his time in band. He about to take Simon Cowbell to court over bass line he say is iconic to song, ‘Lock Down’. In real life he actually nick from song, ‘Under Pressure’. His Mum too kind to tell him and friends have no interest in Queen so he still think he got away with thief. Simon Cowbell stroke his white cat and say if ‘Wolfy’ person with claim, he will counter sue, or tip off Brian May who will go bananas if he know someone who nick his bass line ….. что?! … (Minion say something) … I knew that, John Deacon! Yes, Brian May will go bananas at John Deacon. что теперь?! … (minion say something else) Yes, yes, I knew that too. Anyway, basic, Queen countersue for loss of bass line if Simon Cowbell tip them off.

Band were in Eurovision one time. Despite having 5 number one everyone hate them and their song, ‘Be Careful’, and they get nil points. They very bitter about that and blame on video made by Eurovision bosses that show them making cheese on a mountain. They say is not cool and probably offended a lot of vegans who their fans.

Simon Cowbell keep tell them that UK cannot vote for own band but band do not listen. In protest they no longer shop in Selfridges Food Hall (pretend like normal household shop, top off paparazzi) as they say offend cheese sold there. They even fire studio engineer on last record who dare to bring in mini Babybel into studio. They sack him live on Instagram. They also try to sack Simon Cowbell’s PA when she bring in cheesecake for boys as gift, but then forgive temporarily when realise it have caramel biscuit for base (this does not make Instagram feed).

Deep down they nice boys but have been made into twits by media and believing own story. Simon Cowbell make them out to be nice bad boys now they are bad nice boys. Is crazy.

I get sidetrack by fake band! Fake news, fake band. It feel like whole world on hold. Not able to go to toilet apart from select few – Pooveau Riche who have 20% of all WTR (WTR - world toilet roll – like GDP but new commodity). Or maybe they building houses with it – or insulating door and window so virus cannot get in. Do people think they can eat if world go into lockdown? Can assure them that toilet roll do not taste nice (long story).

TUESDAY STAY IN WEDNESDAY STAY IN THURSDAY STAY IN FRIDAY STAY IN SATURDAY STAY IN SUNDAY STAY IN

LET THE KIDS RUN THE COUNTRY

SOD Brexit & all the dischord & infighting! An anthem to re-unite the land! Available on limited Edition 7” Vinyl!

#letthekidsrunthecountry

theperfectpopco-op.bandcamp.com/album/let-the-kids-run-the-country

UPDATE!!!

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Music, Event, Live and Sports Media PR since 2005

Drawing on the knowledge and contacts built up over two decades in the music industry, Manilla Public Relations can offer you the professionalism, work rate and results to meet the demands of all musical styles. Over the years we have handled all manner of campaigns and events from acoustic to punk and we deal with hundreds and hundreds of media contacts from regional radio to flagship national radio and TV shows.

This month our mates at Manilla PR have got on the interviewing bandwagon with us and fired some quickfire questions to some of their current roster...

WINACHITRIBE

What are you listening to right now?

Faith No More

Who was the first musician you paid to see?

Massive Attack at the Manchester Apollo, it was during their ‘Mezzanine’ tour...I was 14

What have you been reading lately?

Tricky’s new autobiograhpy ‘Hell Is Round The Corner’

Who is the most influential person in your life?

My son Dylan

Which song do you wish you had written?

This changes all the time...at the moment it’d be ‘The Real Thing’ by Faith No More

We’re at the bar. What are you drinking?

Jack Daniels on the rocks

Who would you dread getting stuck in a lift with?

Jesus

What did you want to be when you grew up? A musician...A rock star...

What would your older self tell your 16 year old self?

Brace yourself, this might make your eyes water

When can we see you live?

We’re heading to Europe first in the spring...our first U.K date is 21st May at ‘Night & Day Cafe’ Manchester followed by 22nd May at ‘Broadcast’ Glasgow.

How can we find out more about you?

Via our social media

facebook.com/thewinachitribe

@winachitribe (instagram)

@winachitribe (twitter)

What would your older self tell your 16 year old self?

Brace yourself, this might make your eyes water

BUTTERFLY

What are you listening to right now?

I’ve been listening to Neil Young’s “Rust never sleeps”

Live album from 1979. I really like how Neil and his backing band Crazy Horse interpret the songs live, they sound quite different from the original recordings on his albums, which is what I like about it the most, more of a raucous rock show. I think most bands sound heavier live these days anyway.

Who was the first musician you paid to see?

I went to see a great band from Birmingham called Superfood. They were on a short tour before releasing their debut album, and happened to be playing in a small local venue near where me and my twin brother Ollie live. To this day one of the best gigs I’ve ever been too.

What have you been reading lately?

Cant Stand Up For Falling Down by Allan Jones. It’s all about Jones’s journalistic encounters with some of the worlds most famous music stars. He wrote for likes of Melody Maker and Uncut. I have only just started reading it so I have plenty more interesting stories to read. So far have encountered Leonard Cohen, Tony Iommi and Van Morrison, but lots more to come.

Who is the most influential person in your life?

I would say mine and my brothers Dad, Phil. He’s brought us up on lots of great, interesting music, and always full of good advice. A very level headed and kind hearted man, with an exceptionally brilliant sense of humour.

Which song do you wish you had written?

I wish I had written Solid Air by John Martyn. My Dad Phil introduced me to him last summer. I listened to John Martyn’s album Solid Air almost every day for about 3 months. Solid Air is the title track and I love the “open tuning” he uses on guitar here. We’re at the bar. What are you drinking?

Mine’s a Black Velvet… and probably Ollie’s too. Goes well with our jackets.

Who would you dread getting stuck in a lift with?

Tim Martin - Owner of Wetherspoons. Don’t get me wrong everyone likes a cheap pint, but this man is a selfish oaf.

What did you want to be when you grew up?

I wanted to be a drummer or a chef. I always loved cooking at home for my family, and helping my parents in the kitchen. I still love cooking. Coming from an artistic family, my twin Ollie and I played music together from a very early age and it seemed not impossible to believe in a career in music.

What would your older self tell your 16 year old self? I would probably tell myself to start growing my hair sooner.

When can we see you live?

We had planned to do an EP Launch Show and quite a few other gigs this year but due to the current COVID-19 Situation we have been forced to reschedule most of our shows. Hopefully we can play some shows in late summer or nearer the end of this year when this crisis has settled a bit.

How can we find out more about you?

You can check out our website here: butterflyband.co.uk

STEPFORD WIVES

What are you listening to right now?

Niklos - The Mysterines Love’s Not Enough

Rowan – The Pixies Surfa Rosa

Dom – Idles

Jarrod - Gojira

Who was the first musician you paid to see?

Niklos – New Order in Manchester

Rowan – the Blinders

Dom – Metallica

Jarrod – Bowling for Soup

What have you been reading lately?

Niklos – Albert Camus The Outsider, William S

Burroughs Junky

Rowan – the news

Dom – Celeste Ng Everything I Never Told You

Jarrod – n/a

Who is the most influential person in your life?

Niklos – myself. Probably the wrong choice.

Rowan – my sister

Dom – no idea

Jarrod – my father

Which song do you wish you had written?

Niklos – David Bowie Five Years

Rowan – David Bowie Heroes

Dom – Alice in Chains – Down in a Hole

Jarrod – Periphery The Gods Must be Crazy

We’re at the bar. What are you drinking?

Niklos – a pint of vimto

Rowan – Guinness

Dom – diet coke

Jarrod – vodka

Who would you dread getting stuck in a lift with?

Niklos -John McClane, yippee-ki-yay.

Rowan – Simon Cowell

Dom – Lewis Hamilton

Jarrod - Niklos

What did you want to be when you grew up?

Niklos – a reclusive artist living on a small island in the Pacific Ocean. I still do.

Rowan – film score composer

Dom – a guitarist

Jarrod – a pro drummer

What would your older self tell your 16 year old self?

Niklos – don’t be scared

Rowan – stop pissing about so much you idiot

Dom – get a fresh trim

Jarrod – don’t smoke

When can we see you live?

May 2nd we headline the Eagle in Manchester. We are now adding dates all over the country.

How can we find out more about you?

facebook.com/stepfordwivesband

Niklos Vocals guitar, Rowan Vocals bass

Dom Vocals lead guitar, Jarrod drums

COSEY FANNI TUTTI

INTERVIEW

Performance artist, musician, sound manipulator and writer, Cosey Fanni Tutti has led a fascinating life, often in the face of adversity. It’s all chronicled in her autobiography, Art Sex Music, published in 2017. Rogue Sector’s Andrew Trussler catches up with the industrious artist.

Cosey Fanni Tutti (born Christine Newby in 1951) grew up on a council estate in Hull, the daughter of a controlling, emotionally distant father and a loving mother.

By the late 1960s she’d been thrown out of the family home, joined a commune, met Genesis P-Orridge (with whom she was to have a turbulent and increasingly abusive relationship) and become a founder member of subversive art collective, COUM Transmissions.

After being run out of Hull by agitated neighbours, skinheads and the police, Cosey and P-Orridge moved to London. She began working as a model in pornographic films and magazines, using the photos this produced in further COUM artworks. By this time, Peter ‘Sleazy’ Christopherson had joined the collective, the ‘actions’ and performances becoming darker and more controversial.

In 1976, COUM’s Prostitution exhibition at the ICA created a furore in the tabloid press and parliament, prompting Tory MP Nicholas Fairbairn to brand them as the ‘wreckers of civilisation’, and Cosey’s parents to disown her.

The ICA show also saw the official launch of Throbbing Gristle (Cosey, P-Orridge, electronics expert Chris Carter – with whom Cosey was now in a secret relationship – and Sleazy). Even in the punk era, TG’s work was provocative and confrontational. Their ‘throbbing’ sound and lyrics which included references to serial killers, fascism, and death, led to

further conflict with the police, government and art establishment.

Typically, Cosey’s take on TG’s intentions was far more clear-eyed: ‘We wanted to short-circuit people’s notion of what music could be... so that emotions were stirred and questions were asked within, rather

than a superficial Saturday night dance... We wanted to give some life back to music, and some meaning’.

After TG split up, Chris and Cosey (now openly together) moved from London to a converted Victorian school in Norfolk, where they’ve lived since 1984.

There they built a home studio, recording many albums as Chris & Cosey, and where they still work to this day.

The turn of the century saw Chris & Cosey become Carter Tutti and, in 2004, the reformation of Throbbing Gristle after a 23-year hiatus. They

"We wanted to short-circuit people's notion of what music could be... so that emotions were stirred and questions were asked within, rather than a superficial Saturday night dance... We wanted to give some life back to music, and some meaning".

Cosey Fanni Tutti

recorded three studio albums and toured Europe and the United States.

However, old tensions resurfaced and P-Orridge walked out in the middle of a tour in 2010, leaving Cosey, Chris and Sleazy to finish the remaining dates as X-TG. Under this moniker the trio began work on an ambitious project, suggested by Sleazy: to record a cover version of an entire album, Nico’s Desertshore.

After Sleazy’s death in November 2010, Chris and Cosey completed the project, with an array of guest vocalists, and Desertshore was finally released in 2012, to critical acclaim. Their collaboration with Nik Void, Carter Tutti Void, was also very well received.

In recent years, Cosey’s art has been widely exhibited, bought by the Tate and shown at the ICA. Throbbing Gristle are often namechecked as the ‘cult band of all cult bands’ and the music she and Chris Carter subsequently made has been cited as a significant influence on electronic music.

The following interview took place just before the announcement that a biopic of Cosey’s life, based on her autobiography, is to be directed by Andrew Hulme.

It’s three years since the publication of your memoir, Art Sex Music. Looking back, what’s the most valuable insight you’ve gained from writing the book?

Not sure if it counts as an insight or not, but the most prominent thing has been the many interviews and talks I’ve done. I’ve been asked questions that I would never have asked myself. That’s revealed a lot about me and the situations I described in the book.

Growing up in post-war Hull, you had an emotionally distant, authoritarian father and an empathetic mother. How did that dynamic shape you and how you developed as an artist?

Thankfully, the kindness and love of my mother countered a lot of the negativity my father heaped on me, and home freedom, particularly his constant holding me back and limiting my activities.

By 1969, you were living with Genesis P-Orridge in a commune in Hull and working as part of the COUM Transmissions art collective. Initially, COUM were like Dadaist pranksters, making spontaneous and playful interventions in Hull city centre, in keeping with the countercultural scene of the time. But after you and Genesis moved to London, COUM became increasingly confrontational, subversive and sexually explicit. What had happened in the intervening years to so radically change the tone of COUM’s output?

So much happened that led up to the move from pranksters to the darker side of life, and more blunt and brutal form of public self expression. There was no one

thing that I can say was why that change came about. It was a mixture of location [and] personal experiences, both physical and psychological.

The infamous Prostitution show took place at the ICA in 1976 and included several of your porn magazine photos, along with maggot-infested sanitary products. This caused a huge furore in the tabloids, provoked questions in parliament and destroyed the relationship with your parents. To cap it all, you were still in an abusive relationship with Genesis but had fallen in love with Chris. How did you cope with all of this, what got you through it?

It was very difficult at times. I handled bad situations when they arose and got on with my life. I coped as I had done with my father. There were similar control issues as well as other coercive and violent behaviour to deal with. You develop a coping mechanism to neutralise the impact as much as possible. Refusing to surrender, and anger at the way I was treated, gave me strength. I had no doubt (and fully intended) that I would be free to be with Chris. No

Early Coum action in Hull

doubt at all. That’s how I coped. I got out, like I had with my father.

You played guitar in Throbbing Gristle and you’ve cited Jimi Hendrix as an early influence. Was it tracks like The Star Spangled Banner, where he’s using the guitar to create the sounds of missile strikes and B-52s that particularly caught your attention?

I was unaware that was what he was doing, actually. What really got me about his guitar playing was his physical relationship with the instrument - getting it to ‘talk’ and express his feelings. Sound created from a melding of emotional outpouring.

Jimi Hendrix, The Star Spangled Banner: youtube.com/watch?v=TKAwPA14Ni4

One thing Art Sex Music makes clear is how important Chris was in getting the TG sound to coalesce. What was missing before Chris’s involvement and what did he bring to the table that had such a catalysing effect?

Technical knowledge and ability was missing before Chris got involved. Also an attitude of discipline. He would never give up (and still doesn’t). If something goes awry he wants to know why and that’s how he’s discovered so much; by not accepting failure or expecting anyone else to do things for him. Yes, his disciplined approach and relentless search for new technology definitely had a part in inspiring the Industrial ethic. That work ethic was not there before he was with us.

Throbbing Gristle, Slug Bait (Live at the ICA), [from The Second Annual Report]: youtube.com/

The first two TG albums, The Second Annual Report and D.O.A., were harsh and uncompromising, but well received in some quarters. The third album, 20 Jazz Funk Greats, was quite a departure. It’s also the first TG album to feature songs with you on lead vocals. Around this time you were using disco music in some of your work as a stripper. How much did that inform Hot on the Heels of Love? Was disco another raw material that TG could subvert and transmute?

The records I used for stripping had an influence on TG’s Hot On The Heels Of Love, and our interest in that genre of cheesy electro disco music. Especially Donna Summer, Giorgio Moroder etc. I was listening to all that material every day and some evenings when I was working.

Throbbing Gristle, Hot On The Heels Of Love

[from 20 Jazz Funk Greats]: youtube.com/ watch?v=fpIJgSLgI2Q

Throbbing Gristle 1976, L-R: Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson

TG’s technical expert and alchemist, Chris Carter (1980)

"Technical knowledge and ability was missing before Chris got involved. Also an attitude of discipline. He would never give up (and still doesn't)."

I always liked the vocals you and Sleazy did together on Still Walking. It’s like two separate conversations, or incantations, that resonate with each other. You did it again with Still Talking, on the Heathen Earth album. Sleazy said that, on an unconscious level, you and he were good at this kind of ‘intuitive’ joint vocal. How did you first discover this talent?

We were both open to vocally expressing our feelings at that time and responding sensitively to one another, without taking anything away from each other’s vocal contribution. That also happened when we did COUM actions together.

Throbbing Gristle, Still Talking [from Heathen Earth]: youtube.com/watch?v=qeFNPV3Ut54

Of all the TG gigs, the one at Oundle School has to be one of the most notorious. On Mother’s Day, Sunday 16th March 1980, you played to an audience of public schoolboys and a few teachers, and it was all documented on video. 40 minutes into the gig, the boys in the audience start singing Jerusalem at the top of their voices. How did you get this gig and what was it like being on the receiving end of all that pent-up energy? Were there any complaints from the teachers afterwards?

Playing with perception, the cover for TG’s 20 Jazz Funk Greats

"The records I used for stripping had an influence on TG's Hot On The Heels Of Love, and our interest in that genre of cheesy electro disco music. Especially Donna Summer, Gior- gio Moroder etc. I was listening to all that material every day and some evenings when I was working."

The gig came about by one of the school boys’ writing to us and inviting us to play there. He’d got permission to approach us from the music teacher by saying we were like John Cage. I don’t recall us personally getting any complaints from the teachers. It was a very special gig.

Throbbing Gristle, live at Oundle School, 1980: youtube.com/ watch?v=pkf9yUMluDE

Chris & Cosey, early 1980s

elements. A crossing over from dark to light, a definitive stepping forward.

Chris & Cosey, Put Yourself In Los Angeles [from Heartbeat]: youtube.com/watch?v=1vvhwKLe0Ww

Throbbing Gristle disbanded in 1981, by which time you and Chris had already started working on the first Chris & Cosey album, Heartbeat. There’s a palpable sense of hope and forward motion on that album. How much did that reflect your state of mind at the time?

Heartbeat, our first Chris & Cosey album, most certainly reflected our mood, our sense of joy and excitement at openly being together, free to move away from what had become a rather toxic situation. It was celebratory, cathartic too, in there being residual TG

The subsequent Chris & Cosey albums, Songs Of Love and Lust and Techno Primitiv seem to anticipate a lot of dance culture that was to emerge some years later. When you were making these albums, were you aware of what was going on in the wider culture or just following your instincts?

We were doing what we like most, experimenting and working in new ways with rhythms, melodies and vocals. We had no idea that our work would be seen as preceding dance culture, because we weren’t connected to the mainstream or interested in emulating or seeking a career in the commercial music scene.

Chris & Cosey, Driving Blind [from Songs of Love & Lust]: youtube.com/ watch?v=by-fZiJLvzI

Around the turn of the century, Chris & Cosey became Carter Tutti. Did the new moniker reflect a change in your working methods?

The name change to Carter Tutti was a deliberate sign to let people know we had moved away from the ‘Chris & Cosey’ sound to something new, whether solo, together or as collaborations, to signal the distinction between the past and the new direction we were pursuing with new techniques, equipment and ideas.

Carter Tutti, Uncanny [from Cabal]: youtube.com/ watch?v=Fi2v83VRsPA

Throbbing Gristle reformed in 2004, releasing three new studio albums and playing live dates across Europe and the U.S. It’s clear from reading your book that the

TG reformed. L-R: Cosey Fanni Tutti, Chris Carter, Sleazy, Genesis Breyer P-Orridge

old tensions between Gen and the rest of the group were still there, culminating in his leaving the band midway through a tour in 2010. What would you say was the most positive thing to come out of the TG re-grouping?

Working with Sleazy again, seeing the response of the audiences and all the opportunities that Paul Smith [TG manager] brought our way. Despite all the difficulties we had to deal with, it was amazing to witness the positive effect TG had had and continued to have. I cherish that connection we made with people.

Throbbing Gristle, Hamburger Lady (live in Turin 29/06/2005): youtube.com/watch?v=UuG6dLhBZM4

After Gen’s sudden departure, you, Chris and Sleazy played some live shows as X-TG, which were well received. Are there plans to release any of these performances in some form?

Yes, plans are afoot.

X-TG,

What He Said [from Final Report]:

youtube.com/watch?v=KoLoUxcj7FA

Sleazy died in November 2010. You say in your book that from the moment you first met him, he was ‘family’ to you. What do you miss most about him, creatively and personally?

I just miss Sleazy for who he was to me as a friend and his mad rushing into clusters of ideas (that didn’t always make sense and were not always good). His humour and enthusiasm was infectious and I miss the brainstorming me, Chris and him would have together. It’s what TG was all about, the collective third mind.

In 2012, X-TG released Desertshore / The Final Report. The idea to cover an entire album, Nico’s Desertshore, had come from Sleazy, and you took over the project after his death. I know you like Nico’s work, but Chris doesn’t! How did you get him onboard and what other challenges did you face when pulling this album together?

Yes, Chris never liked Nico or Leonard Cohen, two of my all time favourites. But, like I said earlier, Chris never gave up on anything if he recognised its potential, and he was up for the challenge (which proved more challenging than we’d expected with the sudden passing of Sleazy and associated difficulties of accessing his Desertshore files, as well as other obstacles). But those who contributed were truly wonderful and happy to participate in paying tribute to Sleazy, collaborating with us to complete his project.

Nico, Afraid [from Desertshore, 1970]: youtube.com/watch?v=UeNnknXL63A

Nico’s original album was very sparse. To what extent did that help you when you were putting the X-TG version together?

It wasn’t the simplicity of the tracks so much as the mood. It was that which dictated the sounds and the arrangements. Nico was all about emotion and mood.

X-TG, Afraid [from Desertshore, 2012]: youtube.com/watch?v=Y0QCUtBOH48

X-TG, 2010. L-R: Cosey Fanni Tutti, Sleazy, Chris Carter

Desertshore featured a number of guest vocalists and you’ve worked with a diverse array of people over the years: Eurythmics, John Lacey, Monte Cazazza, Erasure, Robert Wyatt, to name just a few. What do you look for in a potential collaborator? How do you negotiate the process, especially when you’re working with a more traditional, ‘trained’ musician?

With collaborations it’s usually just a coincidence that we connect and there’s something we all want to work on together. Sometimes people approach us out of the blue, but even then it more often than not seems serendipitously appropriate to what we’ve been working on or are interested in at the time. Some collaborations are meant to be. That’s how they should be. As far as trained or untrained musicians, it’s about the sound. Sure, some issues arise when keys and time signatures get mentioned but that’s an area I don’t want to get involved with, especially as a starting point. If it sounds and feels good that’s all I’m wanting to happen. If that turns out to be because of a particular key or time signature, or shifts from one to another, then so be it.

CTI (with Monte Cazazza), Futureshock [from Core]: youtube.com/watch?v=lyaPPHP9uHo

Peter ‘Sleazy’ Christopherson

His humour and enthusiasm was infectious and I miss the brainstorming me, Chris and him would have together. It's what TG was all about, the collective third mind.

Carter Tutti Void, your collaboration with Nik Void, has been a very fruitful partnership. Last August, you released the third and final CTV album, Triumvirate. What made this collaboration so successful and why are you calling time on it?

I have absolutely no idea why CTV worked so well. That was an unforeseen bonus to what all three of us thought would be a one-off, adventurous, experimental ‘get together’. Maybe it was the energy we generated during the process of being ‘tied’ in to each other’s sounds as we improvised. I know when we played live, and even in the studio, we all zoned out. At gigs the audience really hooked into that and drove the music along. We called time on CTV due to practicalities. We had problems scheduling our get-togethers because of our individual commitments. For me, my art projects, book and music (solo, Carter Tutti, CTI and TG) meant that there was little time for anything else.

Carter Tutti Void, L-R: Chris Carter, Cosey Fanni Tutti, Nik Void

Carter Tutti Void, 3.1 [from Triumvirate]: youtube.com/watch?v=hJK_Y9YrOOk

Last year, you released a solo album, TUTTI; a collection of dark, instrumental pieces. To what extent did the ideas for this album emerge from Art Sex Music?

I suppose TUTTI has elements of Art Sex Music, simply because the sounds draw from my life and the book is autobiographical. The album is an audio self-portrait that was originally played live to a film I made of my life in Hull. The music reflected the different phases of my life. Then, when I decided to release it, I re-recorded some elements and moved the tracks around so they worked as an album.

Cosey Fanni Tutti, En [From TUTTI]: youtube.com/watch?v=krpR_TS-Oao

In her memoir, Clothes, Clothes, Clothes.., Viv Albertine laments the lack of a contemporary counterculture, an alternative culture that goes against consumerism and the corporate establishment. Similarly, you’ve said that people seem so passive these days, compared to the 1970s. What do you think is behind this lack of engagement, what’s driving it?

Well, because of the worldwide crisis concerning politics and the planet, I think people are having to engage. Passivity is no longer an option if we’re all to survive what could be a global catastrophe. I’d agree we need an alternative culture to consumerism, and the corporate establishment, that’s driven by a level of blatant corruption, lies and greed that I’ve never witnessed before.

A return to a caring humanitarian culture is desperately needed. If that’s a counterculture then it should become the norm, which of course doesn’t make it a counterculture any more. But I’d prefer that instead of what we have now, which is all about power, money, corruption and all its associated prejudices and violence.

Your public profile is probably higher now than it’s ever been. You were part of Hull’s City of Culture in 2017 with a retrospective COUM exhibition, you’ve even appeared on Woman’s Hour, leading some people to claim that you’ve gone from being a ‘wrecker of civilisation’ to a feminist icon. Do you think that polite society still keeps you and your work at arm’s length?

I have no idea. I don’t analyse my life or like to define myself as a ‘type’. I’m just a person living my life, sharing, giving and communicating with others.

And finally: what’s next?

Ha! You’ll have to wait and see. Some very special things.

As far as trained or untrained musicians, it's about the sound. Sure, some issues arise when keys and time signatures get mentioned but that's an area I don't want to get involved with, especially as a starting point. If it sounds and feels good that's all I'm wanting to happen. If that turns out to be because of a particular key or time signature, or shifts from one to another, then so be it.

COVID-19 - UDATE - STORE TEMPORARILY CLOSED

we are now closed until further notice. We are currently not able to offer any mail order or

Following the Prime Minister’s speech this evening,

allowed to post out again. All paid-up orders received before this post was sent will be posted tomorrow (Tuesday 24th March).

delivery services, but will inform you as soon as we are

If you want to support us, our website is still up and

Website: empirestalbans.com

same applies to our Discogs page.

running, feel free to purchase anything you see there

and we’ll hold it for you until we can get it to you! The

Discogs: discogs.com/user/EmpireStAlbans

We thank you for your continued support, hopefully we’ll

be back to normal soon.

MARK BARTON RIP

For almost 20 years here at PPCO HQ & previously Ponyland Records, Mark Barton’s ‘Joyous spike topped, day-glo verbiage’ lit up our inboxes, then faces as he proceeded to dechipher, expound and enlighten us and all who read his fantastical streams of consciousness.

He delighted particuarly in the hand written scraps we scrawled, posted, got lost and re-sent in the hope he’d have time in his helter skelter schedule to fit in a few lines of sonic insight and ‘hope’, in defence of our latest release.

Here a few weeks after his untimely passing, we remember some of the highlights he bestowed on our work with his unering majesty. RIP Mark, a true one off and a true believer in the power of music for your soul. x

THE SCRATCH - I RELAX TO SPIRAL SCRATCH/TRIGGER FINGER

Debut single from The Scratch, and the first release on Ponyland Records. Released in 2001 as 7 inch vinyl only.

REVIEW:

Another record that’s nearly be worn out through constant play is this smarting debut from The Scratch for whom everyday would be locked into 1977 is they had their own way. A homage to the Buzzcocks stupendous debut ‘Spiral Scratch’ as done by Magazine, okay a bit unfair but you get a sense of where this lot are coming from, all gritty retro fun, rumbling bass lines and set to stun three chord shocks, impossible to stay still to for any given period, a razor sharp gem of a release. Flip the disc for the stripped down holler of the frenzied mutant garage punk / disco groove of ‘Trigger finger’ which recalls the New York Dolls / Black Halos sleaze and lays it all to dust with a serious boot shaking foundation, call it a scuzzier bad assed half cousin to Radio 4 / Lomax, essential in case you needed telling.[www.losingtoday.com]

DESTROYED BY THE LOOK OF LOVE, FLICKER, NYF (Live demo)

The Scratch: REVIEW:

The Scratch should need no introductions in these pages, pardoning the French but they literally piss melodies so razor sharp, acutely addictive and drilled in threads of a vintage golden era new wave flavour that we here suspect them of having access to a time travelling device.

‘Destroyed by the look of love’ is frankly worth the entrance fee on its own. This babe is primed and charged with the kind of wickedly audacious exuberance not heard around these parts since Supergrass started re-branding old Buzzcocks ditties as they?re own. And

talking of the Buzzcocks the Shelley / Diggle et al reference markers aren?t lost on us here because ‘Destroyed by the look of love’ has a definite ‘love bites’ edge to it albeit subtly smoked in the irrefutable shade adorned soft psyche hue of 60’s fuzz shakers the Shadows of Knight while cut pristinely with one of the most drop dead chorus? this side of a garage beat pop styled Sundazed re-issue.

‘Flicker’ should rightly see itself garnering something of a thumbs up and some admiring glances from the psychedelic community draped as it is in softly warping lysergic tonalities that we here are thinking reveals someone in the ranks spending their spare time genning up on the finest kookily kaleidoscopic moments to be had from the Elephant 6 Collective back catalogue and decided to observe those off kilter wonky west coast moulds through a vintage viewfinder and tender the emitting refractions with essences procured of a quintessentially English eccentricity that suggests Pete Shelley leading out a magic mushroom munching Syd loving collective made up of members of the Soft Boys, the Freed Unit and XTC in their Dukes guise. Trippy stuff.

Not to be outdone ‘Not your friend’ lands a considerable jaw dropped punch, an unrepentant slab of searing, sneering, snot nosed spite replete with nasal drawls and a warring armoury of wilfully frantic spiked and sparring insurgent three chord hip hugging accoutrements that we here are suspecting has been born of some impish soul cross matching the DNA?s of the Godfathers with those of the Dead Boys.

No prizes for guessing that you need this in your life sharpish.

LosingToday.com

Losing today - Review of X-RAY EYES - Monday, April 19, 2010

The Scratch ‘x-ray eyes’ (pony land). Frankly too cool for their own good. Much loved and obsessed at the losing today record shed are the Scratch that we actually foolishly forgot to actually review this blighter given we were having so much of a wheeze dancing around the kitchen CD player and neatly exhibiting our prowling and preening panache of the foot shuffle to all and sundry - in fact there have been press reports and we hear - much hoo-ha at the hastily convened impromptu ad hoc midnight committee meetings at the funny hand shakes are us local council (tabled no doubt after the under dimmed lights submission of expense receipts and some nifty double entry reconciliations). Ah well I digress - the Scratch - from St Albans - as you should all know - have graced these pages much over the years - informed by a late 70’s new wave long since passed and blessed with a knowing knack for kicking out day-glow dinked three minute killer cuts en masse the band have now retrained their sights on their recorded past and decided to polish, re-master and re-release their teasingly limited debut full length ’diy’ (streuth and gadzooks even we don’t have a copy of that one - a pox upon your houses sire or some such foolish nonsense). as a taster for said event they sent out this nifty number entitled ‘x-ray eyes’ on a reconnaissance mission. Ah be it the dog bollocks I say - originally commented upon way back at missive 35 wherein we described said funky bug as - ‘X-Ray eyes’ sees them cocking a snook at the dance floor crowd, an unrelenting beauty that channels the grittier elements of the Gang of Four’s trademark grind and marries it to the dub / disco crossover that Strummer and Co aimed for on the often overlooked

emitting refractions with essences procured of a quintessentially English eccentricity that suggests Pete Shelley leading out a magic mushroom munching Syd loving collective made up of members of the Soft Boys, the Freed Unit and XTC in their Dukes guise. Trippy stuff.

‘Sandinista’ throw in for good measure Big Audio Dynamite, a taster of Pigbag a few sly Ry Cooder sliding hooks and you have something of a dirty disco assassin that Bobby Gillespie you’d imagine would be happy to be caught in the line of fire of.’

Wise words and still they hold true given its exactly the same track on the player right now playing as I write (okay copy n’ paste) mind you we neglected to mention the seriously loose limbed and mooching R L Burnside blues blissed side winds and the tightly drilled cornucopia of hot n’ horny early 80’s NY dance floor vibe - oh yea and add in A Certain Ratio factor to proceedings. Limited to just 100 copies - can I have one please. A video of them….

http://ponylandrecords.blogspot.com/2010/04/ great-losing-today-review-of-x-ray-eyes.html

THE SUNDAY EXPERIENCE 365 REVIEW - REVERSE FAMILY

Posted on September 27, 2017 by marklosingtoday

Might take a bit of explaining this next one. Started off with a curiously intriguing exchange of emails with the Reverse Family, seems these dudes are shortly, well next week to be a bit more precise, about to embark on a seriously ambitious release schedule, in fact I’ll tell you what, best if I let Andy himself take up the baton and explain in person…. this set of releases starts on October 2nd and sees me (Reverse Family) putting out a 7-track ep every Monday for a year. 52 eps in all – 365 songs (one ep will have 8 tracks so it all adds up and that’s it. It will be available through our perfect pop co-op label and all of the Usual digital places. There will also be a monthly sampler on nub records (a bite size ‘best of’) to people afford a purchase. I intend to do a physical release at some point but it will be expensive so need to get interest in it first, this will include diary entries for the year too!’.. indeed, at that point, I too had to re-read just to make sure my eyes weren’t playing up. I’m thinking like you probably, that this either the mindset of someone bitten by the creative bug or taken a knock to the head which once the bruising has relented, will no doubt wonder what the hell he’s let himself in for. Anyway, during the course of those email exchanges, we were suddenly asked, what’s your favourite number, us being awkward plumbed for four – 6, 11, 23 and 29 in case you ask. Okay then, the response came, I’ll burn those tracks to a CD and get it off to you post haste. Days later a CD arrives, handwritten note an all, with not three but ten tracks peeled from the Reverse Family sonic draw pot. In a former life, with the Scratch, we’d always suspected that Andy had wiled away the days fully versed in the ways of the Buzzcocks and Magazine (in fact that same dayglo dalliance is still ever present, not least on the sharply acute power pop burn of the effervescently teased bubble grooved ‘was I a good man?’). Seems similar tropes come to play here, albeit suspiciously subtled by the impish appearance of Syd Barrett to the prickly palette, as curiously evidenced on the loosely dippy ‘we got it – supreme positivity’ here as though channelled through the viewfinder of Adam Ant c. ‘dirks wears white sox’. As said 10 tracks, a sampler therein plucked from a choice peppering taken from the first handful of planned EP’s. Very much reminiscent of AB Leonard’s mammoth ‘Octopus’ schedule from a few years ago and similarly toned. ‘no reason to run’ opens the proceedings, a track whose snakish garage haloed soft psych tilt is bleached with a distant nod to a certain Mr Hitchcock c. Soft Boys’ ‘underwater moonlight’ and something that finds itself somewhat contrasted by the drift like mellowing kaleidoscopia that peels from the deceptively warmly smoking ‘summer thunder’

which by these ears certainly has something of an Elephant 6 crookedness about its wares. Talking of kookiness or was it crookedness, simple kid is instantly called to mind with the arrival of the playfully minimalist ‘filth and lame’ while elsewhere there’s the insular dark heart ‘7pm’ which you feel, adored with weeping string arrangements might shine it with a Rialto like mastery, that’s not to say this doesn’t sting as it stands, cowered as it is by a heart heavy introspection. Superbly threaded with prowling pulsars, there’s a seductive wiring chic flavouring ‘sunshade city’ that had us of a mind to go rooting out our prized Wolfmen stash while the darkly weaving shadow torn cabaret that is ‘the bigger picture’, in truth the best thing here, slowly picks away at the scabs ushering in a chokingly edgy psychosis which had we not known better, might have hazarded a guess had fallen from the flip side of an early Bauhaus b-side. Glam draped reverbs drip from the ghostly Bolanesque ‘the test’ while grooving amid the psychotropic purr of ‘the sun’s rays are like birthdays’ are spectral echoes of a youthful Psychic TV. So in answer to our opening question, obviously the creative bug option is afoot here, here’s to the next 355 tracks.

reversefamily.co.uk

REVERSE FAMILY - WE ARE THE TEAM

POSTED ON JUNE 6, 2018 BY MARKLOSINGTODAY World Cup songs, what’s the general consensus.

Me personally, I hate them with a passion, three lions, that New Order tosh and that’s before we even scratch a little deeper and go all Waddle and Hoddle on you.

Hard as it is to imagine but they’ve often proved more embarrassing than the national team we put up every few years and entrust with the nations hopes, the payback being that an early doors exit is always on cards and that your gut feeling, another chalk up for the Germans, ends up taking the prize while the Football Association shuffle to fumble some vague excuse as to a work in progress. A fifty-year work in progress not ‘arf but what do you expect from a country that excels at mediocrity and no we won’t mention Brexit, what a cock up that’s proving to be. All said, I’m quite buoyant about this year’s world cup, I’ve accepted we won’t win it, I’ve faith in the manager and the squad, the goalkeeper situation irks me a bit but hey ho if the ten in front of him do what they are meant to do, he should have a relatively easy run. Quarter Finals and I’ll be happy.

So why am I wittering about the World Cup, only that Dermot from the Reverse Family has been in touch with details of a video showcasing a forthcoming download only single, a kittle World Cup baiting that’s what we need in our life right now and to stuff it is. The animated video pretty much portraying everything you need to know about Leeds United in the early 70’s – I swear we spotted Giles and Hunter in there.

The sounds, well as some wit once said, it’s a game of two halves in so far as yes, disappointingly it’s a football song, but secondly and more importantly, it’s a good ‘un, for ‘we are the team’ is wonderfully scuzzy, no kid pop sing-a-longs here, just pure unadulterated post punk edginess birthed of a parentage of Public Image LTD and Magazine types all soldered to an austere blank generation spiky sparseness that’s both wirily chilled and somewhat gouged in a superbly subliminal acuteness.

youtu.be/pcI6_1QOGmI

To read more of Marks magic visit his site.... RIP marklosingtoday.wordpress.com

"they literally piss melodies so razor sharp, acutely addictive and drilled in threads of a vintage golden era new wave flavour that we here suspect them of having access to a time travelling device."

GOING ROGUE

With the imminent release of their debut 4-track EP, The Ministry Of Love, Rogue Sector’s Paul Freegard and Andrew Trussler lock horns with self-appointed interrogator and bullshit detector, George Spiggott. The interview took place in the band’s Black Factory studio, where they discuss working methods, music as a necessary evil and Ronnie Corbett.

You’re billed as an electronic trio, yet I only see two of you before me. Where’s Ellie Jones?

Paul: She lives in Manchester, so it’s not always possible for her to put in an appearance.

Andrew: She has her own project called Kintsuku. She’s a busy lady, so you’ll have to make do with us two Herberts.

[Gesturing at the studio]: So this is where it all happens…

Paul: This is our rumpus room.

Andrew: Our nerve centre.

You’ve got a couple of synths in here, but there’s also a bass guitar… Andrew: Yes, I played slide bass guitar on The Ministry Of Love, to give it a bit of menace.

Paul: It’s another sound source, it keeps things interesting. We’re

not purists!

Where did the band name come from?

Andrew: It was soon after we’d started messing about in the studio together. Paul said we needed a band name and I found ‘Rogue Sector’ written in my notebook. Job done.

You describe your sound as ‘stark electronics’. Can you elaborate?

Andrew: Well, it’s something to hang a hat on. We use electronic equipment and we try to keep the tracks spare and spacious. We don’t over-egg the arrangements. That’s the long and short of it.

Paul: Keeping space in a song is important. We’re always trying to bring things down to the bare bones if we can.

Andrew: Forcing yourself to keep things simple, gives you something to brace yourself against, makes you work harder.

Paul: For where there is choice there is misery.

Andrew: And limiting your options can help in cutting to the chase, like a deadline.

You like deadlines?

Andrew: Yeah, deadlines focus the mind and prevent a lot of faffing about. Leonard Bernstein said that to achieve anything you need two things: a plan, and not quite enough time.

Paul: And what’s good enough for the master is good enough for the man.

Rogue Sector Interview

Rogue Sector, L-R: Paul Freegard, Ellie Jones, Andrew Trussler.

George Spiggott

The title track, what’s the story behind it? In short, it's John, Paul, George & Orwell

Paul Freegard

Let’s talk about your forthcoming EP, The Ministry Of Love. The title track, what’s the story behind it?

Andrew: I had a dream where the Beatles were inmates in Guantanamo. They were wearing matching orange jumpsuits and singing an angry, unrecognisable version of All You Need Is Love to the other detainees. It struck me that John Lennon would have had something to say about a lawless and grotesque place like Guantanamo, the so-called ‘war on terror’, the slow-motion assassination of Julian Assange, and many other things that pass for normal these days.

Paul: In short, it’s John, Paul, George and Orwell.

Andrew: Although the kind of total surveillance we have now, goes way beyond what Orwell envisaged. Anyway, that was the trigger for the track.

Paul: And maybe the entire EP.

Interesting… So you’re a concept band?

Andrew: No way! We’re not a prog rock group!

Paul: It’s more instinctive than that.

Andrew: The tracks evolve out of loosely held ideas, rather than us forcing the music to conform to a hard-and-fast, preordained concept.

Paul: He means we throw things at the wall and see what sticks. [laughter]

Andrew: I’m always hoping a track will get a life of its own, stand up and walk out the door of its own accord. That’s what I’m after.

The EP makes for uneasy listening, due to its subject matter. What attracts you to the dark?

Paul: I don’t know that we’re particularly attracted to the dark.

Andrew: No, the darkness is out there already. The corporate coup d’état that’s afflicted politics and the media, climate catastrophe, you name it. We’re merely commenting on it.

But one of the tracks on the EP is even called Now It’s Dark.

Paul: Yes, but it’s a celebration of the witching hour!

Rogue Sector, L-R: Andrew Trussler, Paul Freegard.

"One track's called The Dream Where Ronnie Screams, based on a recurring nightmare I have about Ronnie Corbett."Andrew Trussler

Andrew: I nicked the phrase from David Lynch’s Blue Velvet. It’s something that Frank Booth (Dennis Hopper) says throughout the Rogue Sector, The Ministry Of Love video [teaser]

film. But the track is a sinuous, sultry number. ‘Sexy’ is another word for it.

Paul: Our friend Lee Gould plays some great guitar on it too. I’ve known Lee for years, he’s an expert at getting interesting noises and atmospheres out of his guitar.

Rogue Sector, Now It’s Dark [from The Ministry Of Love EP]: soundcloud.com/user-878024709/now_its_dark/s-ojtx7

Interesting. So what’s your definition of music?

Andrew: Oh, George… Come on, really?!

Paul: You’re asking the wrong people!

Let me clarify: is music just organised sound?

Andrew: [Laughter] That’s reductive, like all glib definitions. As soon as you try and define music as organised sound, organised tarmac, manna from heaven or whatever, someone else comes along with a different glib definition and you’re into a pointless philosophical squabble that no one ever wins.

John Lennon had the best answer to this line of questioning. During the Beatles’ first tour of the U.S., some pedantic journalist asked them, “Is it true your music has unresolved leading tones, a false modal frame, ending up as a diatonic..?”

Lennon’s response was priceless: “We’re seeing a doctor about that.” [laughter]

You obviously like the Beatles. What other bands would you cite as an influence?

Andrew: Cabaret Voltaire, Clock DVA, Throbbing Gristle, The Velvet Underground, Scott Walker, 23 Skidoo, Einsturzende Neubauten, Eric Random, the early Human League. It’s the spirit of what they did, the way they expanded the idea of what music is and the kind of subject matter you could put in a song, their pioneering use of sound and rhythm to construct movies for the mind.

Talking of ‘movies for the mind’, I really like your videos. How do you go about making them?

Paul: Much the same as we make music, throw things at the wall and hope for the best.

Andrew: Bob’s your uncle and Fanny’s your aunt. Put up a black sheet, stand in front of it and roll the camera, make it work. Andrew Bourton directed our Ministry Of Love video and came up with a lot of good ideas too.

Pete Jones, Psycho Drill video (Rogue Sector Remix): youtube.com/watch?v=BA5cFSFIacE

You’ve done a few remixes for Department S and Pete Jones. What draws you to remixing and how does it compare to working on your own songs?

Paul: Remixing can be a nice break from working on our own stuff. There’s something thrilling about reaching into someone else’s song and pulling out the essentials, or giving a track a completely different slant. It’s like doing a cover version.

Department S, Age Of Control (Rogue Sector Remix): youtube.com/watch?v=tT8MT093ag4

How well do you get on together in the studio?

Andrew: We get on fine, considering we’re both hotheads. We have one blazing row a year, which isn’t bad!

Paul: That’s better than most marriages! [laughter]

Andrew: For the most part, we’re a great team. There’s a division of labour: I’ll bash away on a keyboard part, while Paul sits at the desk, manipulating what I’m doing on the fly. It means we’re both engaged in the moment and stops us falling into the clickand-drag mode of working, which I find quite tedious.

Are you hard workers?

Andrew: Well, we don’t fuck around, we’re pretty focused. We don’t spend a lot of time gazing at our sandals. For me, making music isn’t a cosy take-it-orleave-it hobby, it’s a necessary evil.

A necessary evil?

Andrew: In that I’m passionate about it, entranced by it, and if I wasn’t doing it I’d probably be setting fire to strangers or sitting in some concrete corridor, feverishly totting up my Nectar points.

Paul: Look at what happened to Orpheus. He gave up music, became a glass cutter and lost his mind.

What’s next for Rogue Sector?

Paul: We’re looking into setting up our own label at some point. It’s currently at the research stage.

Andrew: We’re working on a follow-up EP too. We’ve got four tracks on the go, all at various stages of development.

Similar in style to the Ministry Of Love EP?

Paul: Similar in some ways, different in others.

Andrew: One track’s called The Dream Where Ronnie Screams, based on a recurring nightmare I have about Ronnie Corbett.

Are you taking the piss?

Paul: He’s not! [laughter]

Andrew: Look, we haven’t set the Four Candles sketch to music. This is a nightmare version of Corbett, where he’s a harbinger of doom.

Paul: And the music for this track is like an electronic version of what you might hear in a burlesque strip club.

Well, I thought I’d heard it all, but this takes the biscuit. I’m needed back on earth, so it’s goodnight from me.

Paul: And it’s goodnight from him.

ROGUE SECTOR

Rogue Sector release their debut EP, The Ministry Of Love, on 24 April (available on all digital platforms).

twitter.com/roguesector

twitter.com/roguesector

instagram.com/roguesector

instagram.com/roguesector

"As soon as you try and define music as organised sound, organised tarmac, manna from heaven or whatever,someone else comes along with a different glib definition and you're into a pointless philosophical squabble that no one ever wins."

Andrew Trussler

'Those who do not learn history are doomed to repeat it'

The new decade see’s the consolidation of fascism in the US and UK with Authoritarianism across the Globe spreading its negative tentacles while less get more and more get less.

Trumpism in the US and Brexitism in the UK is a historical Back to the Future moment replicating the 1920’s and the slow march that led to the horror of the 1930’s and its inevitable crucible of 1939-45.

More pertinently the UK Election last December was the mirror image of Thatcher’s ascendency in 1979.

Never has the apocryphal quote, ‘Those who do not learn history are doomed to repeat it’ been so apt.

The UK Electorate decided that the vision of the immediate future is to be one of nostalgia for a past in which very few profited, many suffered and lived in appalling conditions, deference to those with wealth and power is expected, tugging the forelock a must and fear, ignorance and hatred of ‘others’ is to be celebrated.

The fact that a card-carrying member of the National Front during the 1970’s has been the political darling of the media and a ‘hero’ to the confused and angry for the last few years illustrates how far society has plummeted.

Thatcher’s infamous maxim that ‘There is no such thing as society’ has fuelled the rise of her Etonian disciples and their avaricious backers.

The culmination of which is the atrocity exhibition of a government led by a ruthless Pennywise and his psychotic Mephistopheles that we will have to endure for the foreseeable future.

The only way I can channel my absolute horror and anger at this outcome is through music.

To that end there will be a Dislocated Flowers release each month for this year.

A well-known rotter once said ‘Anger is an Energy’ never was he more correct than now.

The Parsons Knows

music

RVparsonsknows

Hello everyone. Firstly, I hope you and your families are well and safe. Strange times indeed and for me nothing stranger than not having any gigs or radio shows for the foreseeable future...

But life and music still go on and it has been truly inspiring to see the ways people are coping and getting their music and creativity out there. Maybe I can start some watch parties or something but, in the meantime...

If you’ve not come across this little group of dedicated open mic’ers then please go and checkout The Socially Distant Open Mic – You can perform, watch and interact with other musicians in lockdown. Fantastic idea that’s really keeping people connected and performing. With over 1000 members in just a week I think this will grow and grow...

facebook.com/groups/3211495235567848/

Other musicians are setting up regular online gigs too... So be sure to follow your favourites, stay engaged with them, stream their

Denise Parsons – Music Promoter – St.Albans and Radio Verulam DJ

music, watch their videos and if you are sofa surfing then how about supporting them on social media with a few shares. One thing is for sure, there are going to be some big parties at the end of all this...and lots of hugging! New music will be released too I am sure so don’t spend all your time binge watching Netflix! Music is far better for your mental health... Dancing is good too – everyone should dance around their living rooms to some very loud music on a regular basis.

Anyone wishing to get more creative during lockdown can join –Isolation Arts Café - which again is a fabulous way to keep connecting with creative people and find virtual classes... created by St Albans Arts Team I am sure this will be very popular too.

facebook.com/groups/831355164015722/

Kevee Lynch New Album New Beginnings!

It has been all change since last we spoke guys.

Where to start? Last year things were going great, then not so great, then finished musically an all time high for me.

Sko-mads, were landing some great gigs Skamouth being a high light. A twice yearly festival in Gt.Yarmouth with some of the best past and present Ska bands. We had an early slot but went down well for a band playing ska and punk in our own style. We even shifted cd’s tee shirts and got asked to sign them.

Five in a band can be hard with people not available or pulling out of gigs and I was struggling with the pressure being a person not wanting to let anyone down. We played a gig in Coventry and I had to double up singing with playing guitar, it went well but a week and a half to learn the set was difficult with work. About the same time I had an email about my radio show asking me what other slots I would be able to do other than my early Saturday morning slot!

My other band Terminal Twist had reformed (I played drums) the year before and we were gigging as well. We had added a brilliant new guitarist and keyboard player. This was fantastic but we were changing from what we originally were 27 years earlier. I was busy at work and had just released a second solo single trying to help my mates struggling with mental health issues!

Looking back I was taking on too much, worrying myself silly and it resulted in a few dizzy spells, which ended up after a lot of tests as being stress related.

My family was worrying about me, being a person who just loved life, never stopped and was always on a permanent high. Things had to change.

Lucky for me Mark at Nub had been a great supporter of what ever I had done. Signing Sko-mads, me as a solo artist and TT. We had become good friends and he was up for me doing a solo album. Having someone as talented as Mark and label manager Guy rooting for you certainly gives you a buzz.

So it was time to call it a day with Sko-mads, the band I loved having put it together. We had a great time, the guys wanted to start writing and go a bit more traditional ska and go for more festivals, which was fair enough but not really the direction I wanted the band to go. They have formed a new band

At times like this it’s good to take stock of what’s important, so look after yourself, your family and your neighbours, don’t eat too much chocolate (maybe that’s just me?) and stay safe.

See you on the other side at a big party somewhere...

theparsonsknows.com

soundcloud.com/denise-parsons-1

facebook.com/theparsonsknows

twitter.com/RVparsonsknows

radioverulam.com

with a new front man and will be heading your way soon and I wish them luck with the new project.

My radio show, Wake Up With Kevee, was next to go. Four years of great fun playing basically what I wanted on a Saturday morning. I met so many wonderful people at Radio Verulam including Denise Parsons who had reignited my love of music whilst assisting on her local music show. Everything comes to an end and I miss the social interaction at the radio. We had built up a good core of tweeters. Facebookers and instagram friends who got up every Saturday at 7am to listen to the show. It was a very sad day for me the day I left Radio Verulam. I get asked often why I left and if I’ll go back or go elsewhere, I honestly don’t think so.

Am I ever going to get to the album?

I started to record the album. I had written a song for my son, he always said I’d written songs about all manner of things and people apart from him. Hence the title, ‘Can You Write A Song For Me’

Denise suggested getting a band together for a charity gig for the wonderful people at Kick Off at 3 (check them out) So I got Jiri Frisco Fries in on drums, Andy Mariner and Rob Le Plar of TT on bass and lead guitar.

Couple of rehearsals in then a gig! It kind of clicked, my daughter Becky joined for a duet as well.

GOT A BAND? NEED A WEBSITE?

Websites themed for your band, includes: Design, build, domain purchase (or transfer if required)

- includes hosting.

email: andy@8ecreative.co.uk

The Album (at last)

1. Rock N Roller, a story of gigs in London, drinking, riding Route 66 and back gigging in London, old style rock music a bit different for me.

2. Runaway, rock punk! Unity is the way forward

3. Refugee, Lets not let people die in boats upon the sea. Reggae.

4 Can You Write A Song For Me? Ska-punk

5. Talkin Bout You, Mod, power pop. First song I ever wrote. Wrote it for my then girlfriend now my wife and best friend Sandra, updated the lyrics.

6. Masturbate, 60’s garage, pyschobilly, teenage wanking!

7. Hospitals, St Albans A&E saved my life, they shut it down, political punk.

8. Poverty, people are dying on the streets they don’t want to sell your drugs or their bodies they just want somewhere to live! Ska-punk

9. Burn, alright I was upset when I wrote this, I got over it but the lyrics still haunt me, rock, rap.

10. Better Than The Rest, I care about my mates just not very good at telling them sometimes.

11. Leave Me Alone, Indie. Sometimes you need to escape negativity and self believe, I’m not perfect but I try my best.

Next thing Denise had added us to her Balstock stage the slot before headliners The Tuesday Club and following 50ft Woman, how cool was that. It really was cool.

This was followed by a festival in a church for Empty Events, I ended up in the pulpit preaching the Gospel according to Kevee. Lucky Brad Wigglesworth, as always, was about to take photos. Then a gig at The Social in London.

The single got released at Christmas and got picked up on 2 official Spotify playlists. I was pretty chuffed to say the least nothing like that happens to me.

I’d been recording the album, it was becoming apparent that it was like my radio show not genre specific at all. A mish mash of songs recently written songs from years gone by re-written and I was having a laugh under the watchful eye of Dolly (Dave Doll) at Farm Factory Studios.

It went from a solo album to not so solo. Jiri is a better drummer than me so he came to lay 4 tracks down but ended up doing six, two songs I just played in the studio and he had never heard them but it clicked. Andy just does his thing on the bass, comes in so laid back and just done the job on 4 tracks.

Becky added lead and backing vocals on a couple of tracks, it certainly brings the songs to life.

Rob had decided to concentrate on TT and other projects live, so I decided to try and do guitar myself. Dolly adding a few bits as we went along, plus bongos, a bit of synth and weird sounds, almost wank like guitar on ‘Masturbate’ at the end. We laughed so much I don’t know how he recorded it.

It’s almost like a life story this album. Like I say it’s all over the place like my radio show was. Jumping from this style to that style, old to new, frantic to probably more frantic.

The

Wake Up With Kevee

I see it as an extension of that playing any type of music I really like. I hope people like it. It was a pleasure to record it, Dolly is always so enthusiastic in the studio, a taskmaster but I need that.

I decided to leave Terminal Twist along with Andy, we rekindled our youth for a bit but we’ve all changed after 27 years and moved in different directions.

The other big news I got to guest vocal for The Pocket Gods on Deep Fake, that was such an honour and has given me a real boost ahead of the album.

A gig booked at The 100 Club, probably won’t happen in the current climate but we need to rehearse anyway.

I would like to thank Nub, Dolly, Jiri, Andy, Casey, Bex, Sandra, Denise and Brad for photos. Even a solo artist needs a team and what a team we are!!!

Album out April

I view life like a book, it can have many chapters some good some not so good and some you want to go on forever. This chapter although only starting has got me gripped. I’m hoping its like one of the books I’ve written and ends on a high!

Cheers for reading and thanks Andy for your support with the mag as always.

Hope I haven’t bored you to much, as in the words to Leave Me Alone, I try my best but I know I’m not perfect. Take a ride with me because it might be worth it!

Stay Safe, Kevee

Only title I could give it was my radio show one.