Adventuring Into Basketry #2 by Al Symers

ADVENTURING INTO BA$KETRY

PIGBfiG ..$OIH$AT AHGEL$

THE NAIilGOfiT$ OH$PY AMBULAilOE

2$p

IADVENTURING

INTO

BASKETRYT

ITNRODUCTION

Hi!

trAdventufing Into Basketryrr No.2 has to -ygu courtesy A.Hulme and N.Bumows, two rl€ged lndlviduals intent on makS-rrg your stay mede lts way

Ln Britain a happy and enjoyable one. Pigbag and The Raincoat's were both intenriewed in-Leeds on ZZ/W/il for "yor+r pleasur€r as urere The C omsat Arrgels , only on ZhO/ Sl inste ad.(and not j.n Leeds). e risi)y Ambulance talked at A.HuIme on 22/9/8I in a blg !yay. There are al.so overrriews on funk and etcetera" ttAdventuri-ng Into Basketry rt No .1 ts still available (justl) and features Echo And The Bunnymen, 23 Jewels and the tnrth about Go1den Cockrill: Send I+Op inc. p&p. to "

ADVENTURING

II'ITO BASKBTRY

5 Woodford Road Hucknall Not,tingham NGl5 7In.

If you want t,o"have an art,icle printed., it to us and if we think itts crap it wontt go in, send

byu

' Do not fool about. Do not meddle

with machinery. Frc.

r 19

SUBMERGElt

FUNK ONE ll

tln inspired by that hard rhythm of the rf y oul v€ never experi-ence<l the inevitable enchantment tCos down here in disco-land the 1angFage cool , f uhky mgsig , _ then ygul.tu* never really lioed. is I body talkt with a variety of body exprbsslons more daring and more adventurous than the broadest of inaginati-ons. ?he main idea is to listen with your feet, loosen up your body and Iet that funky rnrsic into your soul. the first vltal rules of the danee-floor are: to check out the beat

to feel the rhYthm to tnove your body

iil"'3Hn'?il"ili Slii: you have learned to The feet ar.e uruListakeably the most important elem€nt because once wlth'tle_hands in a relatlvel-y lmpressive fashlon, then control their movenet"-iii-"onj"nJtion youire-weff on the rtay to masterlng the arb of dance' rThe black manr throughout generations has'contlnued to be, wlthout a doubt, tThe Kool swlft rhythm of JaLz-funk (whlch, ai the name &rrerf of the aoo""-si;oi;;;;;"iJit-6 jazzy th" of fg{r -witL more emphasls on the lnstrumenvetsion nodern, more fasterr a 1s imolles. anateurs or slow movers. recomnended'for not s€r1ct1y is muslc ffri"-a.n6. ili-ifi3t.due to the devoted fanb who have stuck Funkrs contlnuous eristence in Britain 5.s rylnly iilliow--fashlont. Because an lncreasing number tenp-tailoii"-to a1! rdth this music and resj.sted urainwashlng themserves lnto young peopte

"or.ii!3-iii?;aopiaA iiti-ippio."ir-oi-tuci"ssfuliy

hi#. preferencet :li'3i::r*'r*n::*:r" :'li;:**ii$"ff' pcraonal Iii:tjilf aoclety.

*eHixls;,"*hivln'nu"

once- and so foIcel rconqlder toy s.ggeetlons and enJoy J'lfe' After aLJ"' you only llve Getcha! Gonna foogtdtg ths nndcr; r ltOlfJCA BRYCE

Pr{.or to thel.r oetobei at the Bl.erke11er J.n Leeds, glg i, Fpke to Pigbegt g percuss$e hero Roger Freemin and Luiter end eltosaxophonLst tlernes Johnstone, It was the latter who began, on the fubJ"_ct of . the groupr E f6rmatlon t

as always).

tltr s p5_etty complicated,. because we ail cbme f;o;-diif6"ent towns - I conrc from Cheltenham and $lmon and 011i_e come from we were kind-of h3nefuU around in Cheltenham,- ..

Bri.stol. But

Roger: ttAnd someone knew u" *tt separately, ft James : ttYeah and then-""he left -lu;[ pguehs ) . lre started. frlends and lt happened kind of gradually over a F-ew months last _

year, around this tlme. l{e werenl t really that serious, and then we made ii record.. Then we kind of got really serious, had netrrous breakdowns and things like that. rr

Bfg offers?

br€"

tfiffi";":I;sft,

"iltus*I*r"

whlle back. tr Roger: ttl thLnk theyrve glven llP. . tt " James 3 ttTea4, they got the ro€BB_ 399 !ha! *e dldnrt-rEally want... ..ltt s dtf-flcult because- oncb. you :1Sn !g e b{g compeny ilourrC-fn thirrg _this llq^!"elnessvery_ dlffieult to talk-to-.na-fir the " people lnvolved on a personal

Ievel. Irrs difflcult r; L-il*un_ lcate I tt Roger: [And your re to it as weI}, contract.s and tled thet. -W; cen go at- our own pace at the moment. putr, Eney but they were were -sayJ,ng baylng things rhi-ns;-ii[;' 1tke'

records recoros a year. year. c. o..tgrrr .l.terrrlble b1e n tt ' James : tt] think if we d.o do go so with wi r r lie ]abel ittll be for dIst"iU_ -ifr"*" only r. we wonr r sign io *!fgl J.r LE ever happens it I l l be y to a uie .o*p"ny *.1311:.l1:?oFa:l I shorrld think. rt so_ run'rry many -rr-

luere you surprised at ttre success of the first sirrgle?

_ _Is that -hory the import IZrr ancl :f . 'll*p"" "Sunny D;iii- dn* Sflff happened? rrThat Jarnes: was a blt of cock up really because we were a golng oyer to America to tour so t,hey leleased th; n*w t,o coinclde wlth the tour."iffil" ft was released in England to cotn_ cide with wfen we got backr afld Stif f nrerent b me an{ to exp5rt any*but they did. ft ! s "irail able gl Rough Trade now in Engl"nd. re cordi.ng. tr ft r4ras a real rip-off , tlt<e A3, ja Jame s : rrlJe t re j ust re cord.irrg an or so for g LZn wftfr ,5n1y z LP. II rtPapatt hadnt t bben tracks. Uill that be out on y/Rough released- in America so they put Trade ? lt on bhe !-s!6[s. rr r James: rtlue t re not sure if llave you got hlgh hopes for it | 1I be on Rorrgh Trade. It ttSunyly Day tt ? w111 be on Y Recclrd.s whatever, James: ttltr s bubbllng under but Rorrgh Trade are our dlstribalready! ftt d be nice tf it d.1d ytlopr theyt fu not realIy oui welL r Xe.ah. I think lt w111 do labelr_ po welre not sure Yet. wel1. ll Hopefully lt w111 be, trJeid like Rogerr ttff t s a shame to regard. to stay i-ndependent but at the it. as another slnglg, thougE; lt same time financial losses can, should be Just another rec6r,i €fr press a bit.tt really, sour€ other stuff . Ii r s Would you ever consi_der ?ot llke another slngl€o..well signirrg to a maj or l abel ? it ls like another sfnele. but James : ttlJell lt t s OK as it it shouldnt t be. It sEouiA be is at the moment. It, t s d.ifflcult iggt more_stuff that wetre doi.ng, because.o...itts quite a complic- yt know? Itt s not I a follo*-upr "' atgd operabi-on really, the whole t l/e ve done a I ot of stuff slnbe set up. Therets 6 pbople 1n the that track. tt grgup, people working for us and James: rrYeah, therets a bit of wetre trying to recoid aD tp and e time delay between writlne* a t9 do glgs, If we haventt got solg anq it actually betng the_ poney to recordr w€ canit do so you tend to S"t a Igleasedr an LP, so obviously we do need. rr blt b_o1-ed ui:ith it basleally. certain facilities. liletd rather Llke ttltapatr ( which th6vr do it lndependently than go wlth didnf ! play at the Sie) f a big Iabel, but I think wet 11 James: ttpspgr gir A blg probget in the position where we lem at the moment, actually. cantt reeond because wetve got liletve been playirrg it - itr b llxe no non€.rtloa$y or cant t get good the flrst number we ever wrote. distrlbuti-on or somethirrg. I more or less - w€fve been playtfig ttLtt* everybody wants to-remain it for ao long. AIJ the r"ylndependerrt, but there t s no t?Blg thnough glgs you get these ieal record companies enB total shltstt dnrnken ldiots shoutins out for frPaprtt all tlre tlmg; la gets attltude. - It,r s better" if wel re Ln control of our ourll aff airs tt reelly annoylng. It was never " Hgne you hed nny offers flom lntended to be that b{gr s9r{ ofr nal or eo4pani,es? cormterclnl thingr lt J[;t happJanes : llTes. n ened that way. -I thlnk ltr s- Rogerl trYeah. Quite recently we t ve realised that it t s solcl a vast amount.." . il James: ttlt was a bit of a shoek really, because it wasnt t intehd.ed to be any klnd of blg cleal and there wasnt t much p[Uf16iby and that either. Itt s- just gone really well so wetve been really busy. . . tt Iloger: trl,;s I ys done some more

eh3nged our wey of thinklqg errltc I lot. tt Are you more pleared wtth

tlrr nerrrer mater:te-L-; tiiet-'loii rlred o?t,li"l* Jugt "" rrftr e tlames: f.i, I "tpr-ilif i[; uii*it, ,etrp. .enJ ov playlrrg Just that oui wlrofE reiutatfon " ts butlt upon one sl4gle and ttr s. atmost uecbmins-; ;ii;; l'jol.. think rhe new stuii ;; ; {:; I

t"i;;ii, u uirr;JiriSrij:t sophlstLcated in a-way. WeIre fifi ;5"ffi"3t Inf:. r"t "u praving ttW".t

re. irnprovislrrg more -EonIl. ^log"I: as r"11, not stictcing ,, t,o

The new stuff aeems more

Jazz-based,

ttPaparr

_was

deri.ved.

than b"f"".; l1ke essentlally funk_

James: Jryeah, well when yo'r

see us see what you think. f!*s: Tg iust used. ro jump

inio ib at flrst *ng go eralzy ?o""-about half an hoilr, but"ru;re a blt more settled n6w.tt you at all woried, about -, . Are. olr! with rhe furrk rhirrg/ SXils fhang whlch is in vogue at tEe moment,?

James : rrNo! Not at all. Honegtlyr w€ rve got nothine-io cto wj.th that at all. Lup[o*u we arrived at a cnrcial mbir"nt but all these other g"oup;-[[at are belng talked abo[t the moment, I Capl6 see that"t wefre -anything to do with them at aIl. vtte r ve never been part of that. !f e t re not a fashibn group n I thlnk those groups rose up on waves of faslulonJ the whoie thingr s bullt up around a kind of look and souird whlch f Oon;t, think we t ve got at a]1, -Wfr"n aLL that dle s out they i tt frur* to rack their brains bnd think ef the next thlng to do. t1[;;'-y t know, Spand.au I3a11et sudd6nly go funk after a year and. a frafi. of P*fne fluffy if" crro-p;p ;; whatever. I d6nrt real1y ftrint< that we I re woryied about' that at all because werre just aoing what we want to Aol Maybe -fieople will think ttfu'elL this i-; a io.b of shittt and wonrt like us more but I donrt t,hink thatrli "nV be anythi-ng to do with the funk thing dying dowfi.tt Do you regard yourselves as a funk band? James; ttlfell we d.onr t real1y like to be_categorlsed. as aWtl,ir,e but I suppose people ,aiff 3l"ryg lry. I- meanr- Ir il rather didnt t but peol1e seem to !h*y feel the need to- put thlngs ln bores so I supposb trrey-hEvu:fo qat somethlng. - But I toof anr i 4*"cri,be us as a funk band.r no. I dont t think anyone in th6 group wou1d. Furrkt s one of the influences we have and maybe thatts the nearest thirrg ieople can eornpabe us to. il Roger: 'tI dontt ttdnk werre realIy consci"ous of the actual

slgff playr we just get on wlth lt-werea]It. lfhen wd all sot together we had al1 the instnfsturr' and Just il333"t*olSiir;:* ttYeahn James: it hras never really ttl.?t t s'get a fUnk group

together.ap6 have a horn- eection and loadg of p€reusslonn. trt wns J., gt that we werrted to play nrslc. Itls Tore like mdern Jiaz-lf enythir{!. fr

oo.

rnone Pigbog".. grâ&#x201A;Źet desire for frne? really-. So long as we can sunrlve playing irnrsic.tt Roger: nltrs er$oyrnent really, Ltrs fYesh, lye get a lot out of doing it, ytknow? Itrs not anywhere, publicity wise.rl to getultti trying - Janesf be nicL to'nakb money, but at the moment itrs Just a nusical thing. We enJoy playlng mrslc and itts good that we can nrake a liviqg out of playing-it. But-I donrt thl-nk theners .iny-underlylng urge to be really bag. In a way itrd be quite good_lf we could,lave, say, h5-t slngles beiause then wetd be getting across to a wider audience. So with the LP we can put on thines that maybe that audience wouldntt notmally Listen to. So there are advantages, good thl-ngs to be had by being able to get across to a big audience. But-lf it doesnrt lappg! I dontt thlnk keep playing if we want to keep anybodyrd b6 that-upset....is long as we donrtgo bankmpt! St1II . pllyin!, stop playing if we want to stop plgyirU.rr Hive you considered intrnoducing vocal-s? James: nHerve tried it a few times-there is in fact singing onrrThe Backsidetr, on the other sj.de of ilpapail-thatts singipgl ].lone of_us can sing very wel1. I{etve thought about using ygcg}s if we find the right persoi, [et the right person to sing. I cantt see us ever having a fulf-tlme because we donlt reaIly want to restrict ourselves.rr vocalist trlt changes it having vocals because thatrs up front all the time. A focusrl 11oger: Jaies: nYeah, wEtre not really into that having a front-man, b1g image kind of thing. Itrs moe of a group; everyone PlaYs a Parb.rr Do Vbu ever see youiselv-es trying to put across ldeas and opinj-ons via lyrics, instead of oroducini ourelv dance musi-c? ' itoeEri rr16!6ts the other extreme, we just dontt t'hink about it.tt .J*r"".-rrlislre involvecl in politics oir a group Ievel , everyonets got their own opinionsr but without lyrics itrs a bit hard to bring it i"n.tr itoeEi: rI d.onrt think therers that much_planningr-actua1Iy.r.wg:re Just klnd of getting on w'ith it.- iire attitud.e torvards the group.....I-mean, w6rre not thinking about what werre going to do next that cleariyi'itts a natural progression.r? James: nTherer16 no definite p1an3. -I havenrt reall!'ihought' about 1t that much-itrs a realIy d.ifficult questj-on. Therers a Lot of things t^hat need to be saj-d.....rf ydu involve<l 5.n any activities gway FgIn- PigbagJ ^re There are {'arious.plans to do other J"*"!i--'?ileil, er, wetv6 been a bit btlet 1ateIy....:.1. in doilg things. I think therers a lot of thinss. which we canit mention, people are interesled being Plgbag_and,thatrs all there is to it, .".iE-i.i: tir"t. iJe d.onrt want'to g6t tiea dor.rn intopbople have played with us on various occaisand never play with anyone e1se. Different "itiro*i";;:":o-;;eryUoayi! lor ideas-about cloing other things but werre not actually doing them at the momeit because wetve been so busy.tt .r fI s re: itr not Jaires: ir11 ssLrtd. be a long term thing but Hsve you any

Jarnes: ttNot

*o*""lol"53Ti,"Ti:iii3\iiu?5"};"'"9.,,11"lllMn

.iig:l,ii::il#'il{liirul*iil;::i*;*::E:n;*;"''ll"^'ffit

adcr?

to '"'" 1:"tig":*#ili?';13"r3'i'*" walcir Tiswas much""'and rtve had ."."rji?;j;r]ititt -'-'--.-o[; the- private lives of the starsl ;;; ah"-private j:::",:; A.Hulme r intewiew by i{.Burrolr's and ::;":::"", ryT'

li;i,.

ll:tt i:1Tl,,1

:i:ti: t':.

iri-,-=;'';;"ji:.*""n

ilr:r"ril:*zul$;#l

lll tl

The Assocj.ates

.j,.

rff.

FUNK

Davi<l ilofo-e

tThe Affectionate Puncht

The Gg"pel

9o*:: IP,! i{ew Gu3-near , 23 Skjdoo

ldF:rEiit'finc@' tf hree tE.

Two

Ulantrast r

f,;n**:";::Bffii,riffin Simple Flinds lilas

Friend'.

A YIy l{other l funk is hip j-snt t it? It ve Hi there I I 1ike funk, I mea!, and I suj-t got zoot, ve Jf T? , ; li,":iEi havenrt il a"i" fl t,; 3r?3. rll,.t fy gor r; k.;;-;p cocktails, as*ETrol j-nstructs. I lipli-nbered In Her Headt drink only tha most expensiveolYE that eare donrt I Fiul{DRED. The Cure Hlrncun like Listen t,o uanas j-ches. I{either do I care that ABC are r F'riday Ni-ght/S aturdaY cl they! re riclcllecl with lulorningt, The Specials ;G6":[vi6a-*".p. - rn"i "* funk and rhar t s a]t that counts. paj-d out. to see for funk gigs..as wel}. I I saw I pay out packets -I-Oianrt was three cErE that what '* pAsKETF,.oF THE l,riol'lrli I HE^VEI{ 1Z last week: (;;anyboclv. could have done ) L ;;;; ; to and sl*ging Jerke :Fqqrns_ funk' were they trend'y; itr"y- were I nean, tlrey-*"ry -LGAVqf'ilfZ; the ' we;k' before. rt didnt t matter that Chris--l{ll}lams r pald ouC i"r rwEL-- bzst4ge, crapplng and whooplngr because they they pranced about on tO I

, {fL

Dro I Drol

were funk"

I L *eg drlven hone in the llmous1-ne to ry-Plush. penthouse'

*s h"qy"" *n:'"lF"w":* :;li?^g"t^'#l ilSf f iii''n3". 1 -"n] firnkr s the 1n'thlngt ao*' |

oh yec,

r llke funlcl

T.NATHAN

rArr

Paul Noucht s beard. Haro1d lloYd fi-lms Roy l{ort h

DAvrD tHol{as & rHE PEDEslflrAltsr The sound

of rhe sand

(Rough trade)

NEV ORDER,

sort of solo tlbu (ad)venture, feetur"i.ng lJburs past and proseutr a IllG, a trlppy aad a Boney-M. Other6 too. birt Irve never hear"rd of then. Itrg e necoFd rhlch saye a lot D.Thornag would lLke s"y rdtlr4 ths corfinps (conflnes?)- of-pere Ubu, but canft. !9 Ths.aort of thl,nge we perhaps never etop-to con^sld6r or deem inportant... .'.nA 4:"9 ale ry epecial fblends,/They push me honre/They ask no questlona/And they puah rre hone.rr Lnto worrils for me th5.ngs I caprX expreaa nyself; .dead- D.Thones-prte slnple ttr-ings really. ttWhat pulls the 1o4! face/And launches the heavy slghs?rt D.Thomes thrlves on detal.l. Hers watchfuL of hig siroundlngo and derlves-ergoyment fYom thern, rrl,r*orlng his feelings murf-riifand lyrically. D.Thomas-t subJect metter varies Llttle from that prevlously .broached on Ubu LPrs, but dfus,deeper. Llnbs, melanch-oly, walking, happiness. All herei ttl w9s so happy_to see you/I was so happy I danced. a Jig/I was . to see you/I fell on the ground and- jumped up again.rt !g |appy Blrds, questions, eand, thoughtfulness. N.l f,erbt r,u"ril3"px:17+#r":"H lilH+"ii :ffi"{fl3; 3it'Ir;l3.3#;tifiE 8f,"fl look around, very pleased wlth themselves.tr D.Thomis - a tiuly firnny man. A

Chrtst

Music (I{ew Hormones

TFIE DtrAGRAIuI BROTHERS: Some

lylanrels

Of l{odern Seience (New Horrnones)

illsloeation Uance play strarge music; lt appears quite qtralght forward and yeteoo.,trote Faj.ntly eazz*tirrge<l ti^aeks that rely CIn the excell"ent tnrmpet of a Diagrarn brother - not qulbe dislocated danee but a kind. of swi-rrg thatts refreshing and even poppy in places. Lot,s of lnfluenees d.i-rected lnt,o lb tracks therets even a soundtrack ln here. The Di"qgram Brothers atre an o+.1 buneh; strange and yet . they sJ.ng about ordinary r everyday" gupi e cbs such as b j-kers , litter (toWe are all gui.ly of this crime/ Irue nnrst all slop it at oncerr ) , o_

polj.c€-fiI€r], ad.verts , neutron .the- guitar is irritating, theref s a free portfolio to rnakebombs. .

and l{y tsad Chest }'ee}s Much Better Now. Thank You" VAitIOU[i

t{Mi/6

l{oon}ight

rA selecti-on

)

OrrCer! The Lp,

A bland, watery disappointment , Ian lJury can write- irery good songs but basically, these arentt. tThe Body (Sopgl t has

its mornents lyricdfy , Eut lt t s tSpasticust slngle and tTrust 9!* ( Is i l{ust ) t which prwide the onfy cornrincing mesh of rnusic and lyrics throughout. Sly ancl Robbie are wasted on nothing gongs, improvisationally conceived tunes whieh drift aloirg and eventually grind to a halt 1; the m:Lddle of nowhe re . ?he whole yas recorded at Compass !tt+tS Polnb in the Bahamas; wouiO. you lisben to an album oi sorneonl else I s holiday? POISOI',i

GII?LS: Total f,x1rcsure

An album musically ,$'u:5j-x ) oved from- thg punky excursions of

'etcr'y*t

Exgloited Th" i-nventi-ve enoqgh {o' be still not anythirrg_ other-than very "ntt"iaered average punk. Althorrgh we t re n6t deal-i'g rrith the usuaf oyer tire ;:unky tltS,asnings, lyrj-catly -uu* top ;;5 iacea h/Lun extreme cliche; sotlgs rvith titLes li_ke r Srare c"ni"Ei, ;r S. ir. i;noopers r . l|*ly.,!oys t and Un}srownr and' Ymy :{grsons sp9 cj.f i cal ly ) r Otherr Uegin to t"

ff;: Ii:H;fr:t.:ffi s:3ffi!f" The punks still- believ" that

Poison Gii.ts are iuu"cessfullti---;; -;;;Sii"rr_ kicking our againsr but truth peeps through Tunlr tState bhe in Controlr.,.. rrstate control and ro ck and rotl,/Are pt ;i;";;-,*;i;r; "ry. anarchy is thi"b s ihi"il..,, .yearr The punks d.bnrt fisten?;...

I All reviews by A.Hrrlme and N.Burrows

RacLio

$*;iligecldon)

s lutooinlght C1,ub, I This i.s a stout att,empt at representlng the above j"n a read5.ly aqceptable way" AlI havltrg p}ayed at the elub over the pppt t*? years, the groups are attemptlng to gain some form of recogn:iti.on via this tp" Unfortunately the album as a whole tends to fail lnto bland* ness, although the flrst sld.e is .hlghly colnmendable, the mood orrly nrined by the popplness ofP:ingthe Chefs. AmorHst ttr-e'srouDs r{Lth parti.cularly notablE trEcts are_ 4rtery, the now defurrkt Out Cn tsIue S1*, The Room" The plrrkies and Dr.I{ix &, The Rent* ( aka l{btalUrbaj.ne ) . There l,s to be a second volume for release tn the New Iear" Flusie Irrom Londonr

Factory

IAN DURY: Lord Upminstbr ( polydor)

Burnlng Blue Soul ( t+riH ) Am:ldst a 1ot of dull and downright average releases this record. stands out above the rest. Thls is experimentaL musie at its best- rlot ju-*t a serj.es of tapes thrown together but a cleverly constructecl alburn. It corryevs tlu charrgirrg moods and emoti6ns of llfe - it represents lviatt John_ S,ont F experS,ences of reality. rne J-yracs say everything but the musi c cornplements them, onty oc cai-sionally obscurir4! theme ss &ge . At times fBurnrng Blue Soult touches on power ancl beaut,y; both forceful and melancholy. l{ tlrnes there is a rare strenglh and conviction in i{att Jo[nsonr s yoi ce that is cornpul sive . This album works because it .i.s honest, there j-s no egcap+srn _ problems are confronted ahcl sorn6 Ueateh. I{att Johnsonr s soul is bJue. MATT JOI{lrtSON:

)

N9_r

(

r Now, ftd ltts the LPI had a bli t,o drinkcooo,welli qulte s lot actually. .r?Ad I put Lt on and,. . ..I burst lnto tears. Itr s the best burble 1n the world. The paclraglng_ pulble, burble I gibb€rr rock &. ro11 burbie,- bleh-blah, gibber, -tlr"- solggl burble burble , glbber, U}-"tt; GIBBERT Burb1e, gibb€rr l{ew Burble g16ber. lgrb1e, Phew!

#ALBUMS# DISIOCATION DANCE: Ulusic l{usic

*l,t*r"ment

Speak & Spell (L1ute) ssbrt, n.-.""".'iil;;p!, Birthday)

DEPECHE lrtoDE:

Grnrs AT oun

deeperatelv want to.be in Depeche Moders-posiSilt: hard. Too bragh! ttir.i--r.!'ieie_ttpes donrt^h$"rffrllo"o reqirlre urasn l!: 39, mrslc any longer thank you .u"r,l--rir6!;"";;' ia.lJiliii,rr,e very dlfferrent end very-prec5.oiru "."y Co--i"*n o.r.". Theyr6 hrte the "r". pop swing of tFast soyFrienaJi-[tii il|t thins here; destlned not "iil,.!i-it, to whlstte up the top rorty) or''-di rii c.ra,l uot the answer wiluta Ue ironseniicel. -Ufnj-you, theyrd. ltke t,h6 sentl_ ments behlnd tChl_na B1uer... lOh w{ry am I so beauiiilrL....?u Beautifrrl J.e whet-Dep.cfi.-irii. csn be and the

futurlsts

:i**:, ;$$ri F;dirtng. ;:=!#tny eo utterly Uo.....----' H:rffiqiii. lr-glg4fpl:

{g;$s:rffi l*[+ : f

rove

it#; :H:]'"

3ig..g:fff"ffi..EtlfuF 3'o3fi'!*u*"

: close g4l if rUhetrs your Nene?r-i;;r;-,i -*opv:dd'3fu ju;i-"iriv;' siil!'oi"-':v"t* rfitil"sli.t$ aoErlnos rdce. ekeya Laconsciuiirt r"i.. Jiii iii-til. ili""

but d€ftnLtely'e fun-wey to

_-cii[ piliiliili'rro*."". _

oE.ry,

;

fhe conversation wj.th llanchester 4-piece Crispy Ambulance was held prior to their Sept-ember gig_at,Nottlnghemts Ad-Llb Clubr'Wevocalist and co-founder Alan.Hernpsall dominating the proceedlngs. began on the subject of the groupts formatlon... ItIt wa s j ust me and Itob (Davenport ) at first. lfe I d de cidIt I 11 have lfew Order dolng their ed to forrn j-n t-977 but lt never new slngle, Cabaret Yoltaire, quite came off. J got invoived Section 25, 0rchestral Ulanoeuvres with other people and at the end fn The llark (sniggers) and of that li-ttle fi-as co we got b a ck therets Vini Reilly on it. A together and performed the f lrst Certain Ratio ej re on 1t doine couple of gigs as a twosomeo ttBack To The Starttr. . .Iltinny Fops After wef d been together about 2 (Darbyshi-re and the Names arentt. ftfs for months, Keith ) joined general release - Virgin have on bass and in I'lovelnber I97B Gary ( ttaAeley ) j oinecl on clrums . already bought qulte a few ln That at least a few people who are advanss. So if youtve got a was it basically- the restt s to it are goi-ng to video recorder yout 11 be able !+"!eqing histof;/.tr find lt as interesti[g, cr more How dirl y ou get the name ? to g.et oFe. People keep telling interestingr. than we do. rt trA friend of ours had thi-s me theref s going to be a video ttldhat makes a lot of bands name for a band and i suggested it explosi-on over the next ten boring, tt continues ALan, ttls that to ilob ; he put up a stniggle but ye ars - w€ I 11 wait and s ee . tr they form and have ideas and that lvas it really. lue just gradually they recycle the ideas. picked it because it sounded ridyog Do feel youtve cleveloFlr d rather do what we want to do iculous and it diclnt t gi-ve any ed. a lot since you last playedand I think youtll find... $.Itve cl-ues away about the rnus j-c. I'lames in I'lottlngham? found that there t s a market, for trlie t ve rvrltten quite give cl ue s away but this elre cli-dRob: a 'lot with the that kind of thing and peopJ-e nt t - people canr t cle cicle just on synth, you u**l-"o appre ciate thre fact that we t re the narne what we I re going to obviously i-t t 11 diifirr from'the basic-aily strivine for honesty sound like. It doesnt t count as stuff we wrr:te before. rr and that t s what it t s a1l about. much now but when we first startAlan: rtThat was in l ate There you have it in a nutsheli. ed people i,vouldnt t have an earthlvlarehe just before we did the Thatts the Crispy Ambulance ethic ly what we rtere about, tt Rock GardeR in London. There in a nutshell i rrlfe p1e ase our are no songs we dld at that gig blocldy selves rnrhat we doirr Not that are on the Lp. That I s liow The b anclt s first single obnoxious way though. tt (ttFrom The CradLe To The Graverf ) fast' we wrlte... r rw€ write mater- in anrrTvv'e belj-eve people totally ial. llke lttg going out of fashio have the came out on their olvn *ural Assault freedom to aistike us sornetimes. Even n6w we r ve finishlabel. They joined Factory Records i dont t rea11y mind - &s long asr ed re cordi?S the alburn, already in JuIy 1980 and rele ased a 1O tt wefre enjoying it. I think-if we t re talking about what to d"o sirrgle ( tti)e af /rrNot Uhat I Expe ctwe started entertaining peopl-e edrl) under the title t Unsi-ghtly next. itrs probably going to be and pandering to public taste quite a bit clifferent in Feel And. SereneI. Their last reLease then I wouldnt t be eni ovine ltrs stlll ln its embryonic st"ge was the l.,ztt llive 0n A Hot August as much as I &h.- THe reag but itf s something wer re serious- myself Night I featuri-rrg ttThe Pres€fiss tr son why you f orm a band i_s to do consld erlng doing"alburn and ttConcorde S quars rr on l'act ory / Li-ve . The lV you want t o do ancl y ou feel of sorne of the Benelux. Their first alburn is due is very whatever should never lose sight of that. soundtracky r we thi-nk r so we r re out sooflo.... The problem is bands do lose ItTha'bt s our favourite subJect going to start doing b0 minute sight of it and start taking the live soundtracks, l,ierre going to audience at the rnomeflt- itts a scoopl" It lnto consideration. see how it works out but rie ? 16 should be out in l,lovember" Itf 11 Tour re not always enj oying ]ourcertai-nly golng to try it 1lve a be' on Benelux - they move quicker self entertaining the audi-ence, couple of times and sbe what we than l,'actory . tt itr s what they want; ( Ctearly a lie - the alburnt s think" l/et re goi-ng to d.o contin- althoueh ttYeah yeahr w€ wanna hear the new uous songs..rrl not out yep. . . ) ItThemes, tt ttln the Pa st , tt Rob adc.ls , si ng]e. . . rf The audlence donl t e cts Kelth, rrvarious themesintgrj rrwetve experienced realj-se that that sonE is about a about sjx and ideas that year old and your re sick to the al-L link together" . ofr months between recording and treIrrBasi-cally, rt continues Alan, back teeth of playing it. If you ease r so if you do happen to be ln rrwe f e el we I ve want to hear any of the slngles our fan club dont t be dlsappointed the ro ck "explored. -will go a you can go and play them because if it doesnt t coroe out until nd. !.ong as far as it theret s no p<rint in rep6atlng JanuarV. tt ttTell them about the video, yourself. That was r,vhy the f2rt " was so long and ln some wavs promptb Gary. rrOh yeah, the video. lJe did self-lndulgent. The first' two sirrgles weie three mlnuteu - b"ng, a video of ttThe Presencetr in bgFg - so we thought rrletr s {u1y/errgust- on a Hot August Day! !"nen do somethfFg diff erent-this ti-me. Itts going on a cornpilation thatt s !t'ith the album we thought ule[t sdue out at the end of the year. d.o somethirrg dlfferent againrt *ld now, live, wetre golng to-try thts new one out. Kamlkaze ldeallsts I tt Tou dont t think people w111 get bored? ItIt doesnr t really matter, tt states AIan. ttas.long as wetre doing what we thfu&t s tntere6ting then rrlre then; ltke1y/ '

Crispy confinued.... bheytre perrnanent and you shorrldt need it repeating. l{e did repeat nFrom The Cradle To The Grravett a few times but we totally r€-wrotc lt, went round the orlgi-na1 bass-Iine. By all means refer to recordlngs but never do a direct riff, therefs just no point. rt Rob: ItBy the time the album .comes out welJ] have stopped playlng the new songs... rr Alan: ttSo when you see usr it I fl be a unique experi-enc€, A gig has lts own identity and no other gigs shoulcl be like it. You should give somebody som€th:lng unique t Tether than some bands doing the same bloody set each nlght-itts erazy. irtre nf

JOifE HEAI);

change the set, never rrind Just re-shuffle the songs. Wetve got about ten other songs, 3 or b operational sets that we could work Et. tt Rob: tWet 11 be starting on this new project...rl Alan: ItThatts a seoop as well r tro one else knows about it. Rob Gretton will have a heart. attack when he hears about it. Hers a big pop song fanatic, he likes tunes, He likes the LZn but he hates the end of tt0oncorde S quare tr -' he j ust Lik es nlce di-ttie s'. !/e do sorne good ditties but we go all experirnental , postrnodernlsm. . . I Post-structurallsmt, thatt s what Dave Mc0ulloch said.Living darrgerously - w€ get a

kick out of it.tt Gary : Ith e | 11 get ki cked of f F'actory for it. tt

0rispf Ambulance are releaSing a C90 cassette entitled I The ts}ue ancl Yellow 0f The Yacht C1ubr , which is a cornpilation of older materiaL that was never put-on redord. For details write to:

t3:'l"l:;il:'*:':;'"'

Levenshulme

iffi"F;:""

intenrlew by A.Hulme and A.l,ratson

Pincer ]{ovement

(*fff'3*'ll *"t1tt$LZL

RrcHAxD EABL:

rhere i's tracks on this "alburr

Bichard

mayappearatrif1eod.difEgrea1name9fo4eBigg1es Swe11 }4aps or even I'l (soforma1!)uefore).}4anyexpectingmoreofthel''acky

rherE"f,r?n;;

r""itf"tfli

youtvi.neverexper'"l:;3.oGtfl3f::.:ii:*H'TF;:i,"" ofthesearejustshorbZt1rcfunsornerorrpsthatourbe1. fi1].ersofmiiirna11errgithr;E.'.l-_-ra1ovedI,!apswerenltpar.ticu1-

p1acedbetweenthetacf,ua1'Et{t'/ffir.lar1yreknownedforbutdic

trackstokeep"n"t:$3i:';l3"l;:"";"f"3fi33u'iil." flowir4;. Following

rlCurtliep11es!l|th6a1bum-/H:n,1#"'xit"lT*:o:lt.*o

starts with tr shobGir1'''a1ive11er,rc.produced.-ana1bumvl!ich s].i.aht1yspright11erv6rs-undoubted1yfreeshirnof ionofirre-ord1'1aps!'avour"--t?Fany.I'iapsstigmasti11atta. pxoper

itewhichisdisa!pointing.Est,i.'Irtmgh"9..0nfirst1j.steninq

i'-dil;;";"rur-Jil5-iJ--.:-aK1IE,r!Eitiiilippyariv.i.It.

mrst be! It said so in a being lnsuficiently. diffl{R.JOlfE HEAD ESQ, - - - "_'--"' 24 word rreviev;r in the erent frorn the original to M"IE-Lynn Hanna obviorrsly really matter. lLlnd you, he did admit he couldntt | doesnrt spend enough time on her records. Shers'a do it-justice without-a 35-piece orchestra..... I harci woman I .rfiter tlre ternpting itgtS-stenirrg Pincer" it r"A I rnore phenom"nr com'"r oie of the albumt" frie]rfight" | .. ,Tlt" .9"?19 opens v'iith rr?he Grass Heartlr, a rrMslnli6u. wailings of sax, handciafs on"Eito"E- | s|:1Sntly plodding song of_eventually hypnoti6 a"*,-[l t .'.";il;i:: Iir!lti"i,-ii;;;-ii";",il.;il I effecr,.- - 4 eooa itart] "rn i;il;-;i,a"{"iiiJ-do,ro, shoutecl-[5rn1 rrir4'1ike to see what-you'ttSon looX l:.i<e I !ni"1 followr^provj_ng to be tr.ro of the albunrs exeicises, clatt,erings and tootwj.th a fj.shes head and a human t"itln OF I least successful Atmospheri_c. synth u"sJ provCrawfj.shrr ro11s arouhrl next, encompassiqq l.fotg I ip"-:!.yndi+g. i.de the backdrop for tttASX Db", sung "nE wit,h the trCrawfishrrr.pri-"'on iia|lroj-'.'t,otrd"in the itra| tg":}, of (so falsettos.by-I''ir.Earl fSrrnall) givfug in-cheek jab at Presley and rock ana roit rirf"EI works finE if taken nol too serS-olrsly ,nitfr r gJ."" I 3n ethereal feel which j.s immedj.ately shattEred tne jangling nEiuator clanging, guitar intio torrl'lother of water. The adventurously lorre IIAEJ A I P.y y91"1. I wish I couLd heai the words. Along with The Pulpit'?.fo11ows, Phones'(in 6ne of his rare I Itlntensest the gqener, lJeakness", iir.-trn--Erack appe"r"hcest urngit+{ aru*. ina""ipir.r.ufv I on,side "ira--.1o.,i" o19f iF a_iuighpoint. e r46.^yv+uu. chorus srrdllulllti urrul-qD chanting--a e bri}liant d uI'rII+aIlu confident allq suJ-lKrIU{ st,riking'effort.and ellor!. rhythm I'tlyLrl I --_ ---- a u9lllfuellu | Itts a shane tEese characterlstics are bErely | set upr w5-th cheeky bass popping and dipping'in touched uponland out, i.n-and throwhout the

{iT*r}$iil"i5ot*

Jowe

Heod

/nichond

Eonl

J"il;-:+r:".il3*",.0 lgear closes side one in oddball Robert and again the r _ iiHypnotl/yatt and clapping track style. oh yes! sinsivlq I ?nt:l ?q.."1":91-:t?]rld-33!. .t|r!.-roye1, "---e-JliE7Firon""-coUaborarion actualty-tirrns out I i:l 9f. A-Film cast'? (britliant title), i6 nellty a unti.l swathes of ciashing guitar to be one of sid.e twors best- rrswissalrti"i"-""fpil-l melancholy.neander vanish 9]mo3! as ouic!]vr tlme End tirne eis of 1yrlcs ritr,-iittr" br no connectfon-nefa-- | 1usi3 rn end toeether-bv the glorious ohrase: ttFrv ro-Sw{iier- | gEaint Tlre.closer ("A Big Sense of-liaitinc (Sweet so-its faia/zuff lour tiousers d'own/Fly To Srnritzerland/ | !1u:.tsyes)rr).is probably the LPrs best,'Itrs ulrfortunately gliched. Teerning with lnsect life.rr lfsb ieaturea on liris I go.sit'_ionin8-.is beautitrone fU rur even. everl. (Tir trDiesel Dog uog nDiesel nloco Year lear "une IoUr Illanyrri l{any)rr 1s alnost pr"sum"Ufvl tTo Your alnrosi side ere eFe Locorr andrrloco Locotr and Tralnrt. presumablvl by vast experiment :.n the shape(s) written about Jowers traLnspott,lng daysj in wiiictr-"1 "^"?:lgr,followed rrNeVNorrt. of Onwarils! Tootings and the occaisi-he used to cheat... I Although tpiii:er llovenentr isntt a bad I.P, lt I onat parp lather rl{-o,I{ore.Macho-(The Pirate Sons)" is d.isappoliting ana lndtcates that Jowe is stitt I yit\nfgnard uslng his voice less as a vehlcle Tor E6o mrctr" under Ehe u"pr infru"nc. ior-tris-;rn---- | t'he..lyrtc!r more. i" -tl- instrument. nConstiniino-. good,. tttJ cursent;;5;";l;;;-G;;;;"il;;s-eiorct- I pl'] :?1.$6 exactry like yourd eilect -.--ql-or ;:*)-l**?-:*-:,*:,s1:*.gl:i'..*+s"i:1...*11*r,ll" Pope and (natqralty) criwflsh'wiif nor iropei{ffv II Trlbutettr which 1s just volces (hlgh vo5es. low vol_cesr.wal1!.ng volces, volces) and a.synth a syntE aote. The be be-ebandoned ebandoned when Lis fhe hi.s new Strawberri Strbh newgroup sroup Strawbgrrv SfEh I v9*cePr.waL-11!g upllfbLng ln-the extrlne. "A Bl.s sense I{ark and hte upcorntng ir'ufttr=hpr;-S;unaii-a;[; I :lr:."]-+" co'e to fnlfti6n. T; fr", qot a. new sfneii-iinea I Of lJaltilgrr Ls then walting. EarL-for doirg thls. Hers up thor.rgh_ r.aan{rg-ttfglard - "Matraria'r ---.-- -- or (nilctr U"iliir)-iE.rU"UfJur. - ' |L .chalge$ gnd |f ttt s not always perfEctty ior the Ci6ot1. I bestr. Ltta elways worthwhile. i'ne souni he-achLer. ALl revLews by A.Hulne ead N.Bumowe -l ves here ts utterly or{.ginsl and thatrs worth

ili;"*li"ililn'i"'tl"l"-:i:::T*;:t:::l*-r"1..

sometldng.

n Lr$ o c c pr&ctieal problems. Gine: ttEvbn then, the songs from the first' album are Qulte different because wetre playlng better.rt DO TOU FIND IT A GOOD THII{G TO SWAP AND CHANGE II,ISTRUMEI\I,IS? Vicky: nIt certainlY stratches you more " It Ana; rtJf,t g fun as weLl. " " rl Also , as far as the Vicky: tf'i-s concerned I thit* itts audiehce good be cause lb stops l"dentlfic&[lon with one lnstmment and CIne personallty.nllt breaks down all bf those baruj-ersr mixes uP the noles a bitrtt

wl"th

THH

RAilNC@ffiS Ana Da Silva and Gina Birch at art college in l-976 an+ net rdecided. to form Ehe Raincoatst. They first PIaYed live in the . wl.nter of l-977 Gina: itUe hadntt been PIaYing very long at that Point and aff,er going through quite I f-ew d,lfferEnt t p"op1e *e met Pallnolive rit*r she ll b6en thrown out of t lve asked her if she d The Slits. come and. play with us and she €reed. Stre- put an advertisernent in Compendib,um Book ShoP, which "i sa*, calne along and Io at:d Vicky Uehoid we'had that line-uP. tt Paibmoli.ve was laten to Ie ave and. a successi-on of rtrumrners followed, Percu$sive dubies currenity revoiving arouncl Charles Haywbrd of Thi-s Heat; DO YOU TIIINI', ITIS II{PO}TTANT TO PU}TSUE INDTVIDUAL PROJECTS Ar,er FRoI't THE GRoUP?

Vicky: rtYes, I think it j-s. In various phases we have less t'o do wlth The ltai-n coat s and rnore t c do with other ttrings. That I s healthy because you bring ot,her !.nfluences back to the group and you don? t get stale. It creates new ide 3s . rl rtAlternatively if you do ' Glna: too much your re in danger that of being on the verge of coilapse t tn more ways than one " At the moment wsl re more into a working phase . tt -

Ana: Ithe never stop functioning because we declde tr0h, let t s stop for three or four

monthstt

, it

alv*ays bee n for some st'rong

feaSOn. ' . ll Itli-ke

I went ba ek to ,rtna! rf . . ef we <lidnt t have a dnrnrner" and were looking for one and therefore werenf t able to work so much. tl Yicky: ttUe t re all corramitt'ed to The Raincoats first but other things ?re important to do as well. rl Gi.na: rtKeeping your lnfluences open ! fl Vicky; ttl,lke Charl"es ls ln Thts Heat and thatt s hi-s maln conrni-tment.. nbut ltt s open at the flloillent, BotrBut het s playing wltb u8. rt werre proPoslng to Glfia: hlml tt Ylcky: trThls ls our engagement at the moment. . . ll Gina

coiiege.

when

HO1J

IJ{VOIVED?

DID ROBERT IfTATT

GET

Ana: rue gave hln n cassette of r*rat wetd already recorrled and he dld hl'g dnrn part after we dld the bags and gulter. .. rt Glne: nYeetr, tp plqyed on twl t on trecks, one of whlctt wesnt ths necotd" Hhat a gem! tt

ARE YOU SICK OF THE I I"JOMf,N ROCKI fAG YOUTNE ASSOCTATEI) WITH; WoUtD YoU ITATHER BE REGAIIDED SOtEtY ON THE MERIT OF YOUN MUSIC RATHSR THAN YOUit SEX?

The band recently released their se cond LP to a f air arnount of independent chart success, lle re they ple ased rrribh j-t ? Vlcky: ttYeah, At the tfuae lt was what we wanted t,o do " n o rr

HOld DO YOU FEEI YOU|VE DEV* ELOPED SINCE TFIE FIRST AIBUIVI? Ana r ttI liked the f i-rst

album a lot for cllfferent re&sons the seeond. . o !r that I li.ke Vlcky: trFor us itf s been gradual , being a pa rt, of it , the way things have changed for us, . " o o il: fa ct , therer s something for y$u to say i how you think tLre rn"lslcr s changed.o TfrELt I DTNN' T ITKE TF{E FTRST ATBUM AT ALt. V 1 cky : ttlr,le 1 I obv I ou sly lt t s changed. quite a lot musieally, I rnean, hre cantt ssy 1n what ways n tl .A,na ' rtlt t s dlff erent in tli at werve learned hor+ to play and things , and the moods are d l-ff * erent. It ? s not a r:uestion of devel-oping, it t s ju st a dif fer* ent LP, itts not, necessarlly that we went a certaln way 0r something. If we had done an tP a week later it would be diff€rent from the se cond one " tr GLna : r?The songs on the se cond LP were recorded over a perlod of tlme r s0 I think ln a way there r s more dlverslty between each song, I mean, the flrst LP was recorded ln a two week per^iodr w€ Just went ln and dld it" And it was a set of sCIngs that wer d been playing llve, so we J ust put thern straight downo But with t,he se cond LP lt was a much rnore gradual proce ss r ah evolutlonrrr DID YOU DO ALL OF TH8 SEC* OT{E ALBUM IN THS STUDIO THHN? Gina: fr1l'Iell , no, But we cert alnly ha dn r t pl ayed I l- ot of it live, so we rehearsed tt in peoplers llvJ-ng-rooffisr a lot of the tlme without a elzum-kit. I'lot all of it , some songs, . * rr

In the current ltve set they feature only CIne brand" new song, elthough they have worked on a few others. and a coupLe from the flrst LP. The rebt are all from t0dyshap€r. Eld they ln translatlng find dlfflculttes recorded worlc to a live situation? Vicky: ttWell the last one, yes, because it was done ln a d:if ferent way r in lhe studlo. ll Ana: trFor some of the songs there wasnt t prpblems at all, but for others there were becaus6 we gou-Ldnt t . play aJ-I the parts we thought nere essebtlal to the so{ qgs. . . tl

Ylcky:

rtSome

people are playing

more than one part, theret s

lnstrurpflts on lt we can,t t brlng

ttr

Gina: "I think itt s 5-mportant that people are awatre that women are playirrg music r Yt know. To a lot oll people itt s alreaclyquite an estbbli-shed fact, but I ttrint< some people ere st'ill slJrprised by it. Thirgs take ? wtrite to really get absorbed, but when yout re at the _eore of thern you can get a bit fed uP ryilh them" But I sti]l think itt s valuable ' tf ANE YOU HAPPY REGARDII{G YOUR SITUATION lifITtlIN ROUGH TRADE? Ginar

lr$g n ll

VickY' tlygs"

Gj-na: rttr{eJl tlre point is thpre problems wherever you are and

*"ugtr Trade is sort .oI. an. expanC* +ngr €r, company and they? re ir"ving ; lot of- ongoing problems t re wetre with copirrg with with it and we eopins with having sinrilar problems 1n our relationship wlth it. But as it stands at the rnoment there t s n0* where that wet d feel betten off, so wetre there" The alternatlve is to branch out and go even more independent, which ts a possibility. Just doing marketing and dlstribution with Eough Trade " tt IiOULD YOU GO I{ITH .A MAJON LABEL IN ORDER TO SBLL MORE RBC-

ORDS ?

Yicky: frl dont t think that

would necessarlly make us sell more re cords anyway , " . tt YOUI SURELY?

D GET A WIDER IIIARKET

ViakY' rrl dontt think tt makes much dlfference, a1tr- lt me ans i-s they I ve got a larger machlne behind them for promotion, aCvertisilrg, etc. , but they donr t necessarily put that machine into motion anyway. Jt depends if they want to, and if they donf t, they wonl t. rl Glna; rrl think in order to become very successful you have to start makine a lot of eoncessions to what is popular and when you start making those concessions.. r , .trve could cleelde to make thern wet d probably selI a lot more records - but at the moment we dont t want to make them" rr Yicky: "This stuff about reachlng a larger market, I think ltts corlplete eyewash, y t know. tr Gi-na: rtThatt s how the bigger corffpanies surrrive anyway, by people so desperately t,hinking that theyt re going to beeome stars by be14g on a blg label that they sign themselves away and theylveJust blown lt really. Theytre Just trodden under. And thatr s somethlng thatf s not par.blcularly :

eppeal5-ng. . . rr

Internrlew by A,Hulme & N,Bumews

2J SKIDOO: ttThe GoepeJ. Cones To Ner Chriinearr/olzat Wordarr ReLentfess percirseion ard a throbblng b-ass line are the essence of thls twelve inch. trlast lt/ordstr i.a nbre catchy and danccable

SINGLES

and both sldes make up, over seventeen ni.nuteg playing

a whlstle or brass section ln sight...

tilre.

IVot

liHE CURE: 0charlotte, Sonetinesrt

The sound of The Cure continring to improve: a heuntl-ng pop songr e percussion-oflentated development (rrSpllntered In Her Headtt) and a t,en-minube verslon of rrFaithrt make Essenti.al Llsteningi,

illFr JUZI tvibrating Ai-rt Represented here is music that. is both powerful and sensi-tive: four entrancing instrument'als that have rnelody and drive. Dif Juz f ind words a nd title s uni-mportant " ttEddle t

: s Out nJazz The Glassfr" The former a l.?n of mantra

CABAITET VOLTAIRE

Ilke proportj-ons r - its ftip "tr/alls Of Jerichotl is easily the better. The ac c ompany ing 7't o f tt J azz T he Gl-assf t j-s almost pgppy in lts quirkine ss and ple ase s me rnbre . So there.

Flc. j4

jrSjTliOD ACTOITS

: trColfinotioatt/

ilBleedingrt

This i s a dance rni-x and finds the i{ethod A ctors at their rnost & cc:essible. Drurns and guitar suppfy the rhythrns over the sometimes i-rritatirrg vo cal s . VI EI{ GOLDI&IN l ttlaunderette n A patchy synthesis of reggae and rock featuring PILI s Keibh Levene on gultar and i:ass and Vlvlent s sweetly hauntir4S vocals, Trite lyrics but rhythrn:lcally crashih.g

sult :

l:1 a

ckouts .

I{ALLIMER: frTenperature a.

AiiTEItY: rrAfterwards

rl cat ciry f orce ful si-ngle well worth buyingr â&#x201A;Źspecially for'rInto The GardEntt the b--.ide - n. . ,I know rrery little about the dista nce between the stars...fr Correct. A

EPIC

GIitLS AT OUR BESTI: trFast

chinf*. Herrj-ble .

Goocls

IIt This is your typical l+AD band. I."our tra cks of powerchorcls a nd. drums - only one ( tt5hs rr ) has enough merit for a re-play.

?tt

ttRed Nett1err.

High pitched, futuri"st

change Of

atternpt.

cree

trEx

tAIVCE Cli.'PTElt: t Chapter

fully pa ck age , the ernerging music contrasts dev ast atirr-qly. ItaI.iI}.OB ?tt is rnuch the same only spanning 10 rr . rtCorne To Daddy tt ls drivel- , ttSad lvorld" is enti-rely unmemorable. 0n1y "Sweet Home Under lrhite Clouds'? remains vaguely tasty r {esernbling thej-r exceilent i,nmlC8l trac

Dro p,, /rtgool Dbwnn A Cabs? solo attempt. Iiot so a ch dj-vergen ce in styl e but developrnent : hypnoti-c rhythrns, riveting bass Ii-nes ancl ininimat vocals add up to a very worthy

single r, "Sandpaper Lullabye tt and trSle ep/F ant asy Dre arns rr . Be auti--

onderlusttt

"ijo The Empty se rr i'tot a s obv i<.:u sf y cat chyt:: expe cted; both sides rely on the pouncling drurns ancl ne ither are on the alburn. Initial quanti-tie s irave a free one-sicled singlâ&#x201A;Ź- Q re-work ing of ttRe d Pla net u . A

rnr-l

and visual s ki cks off with a 7,,

Itlv

Ti"lE OOl'iSriT rri{GELS:

STEPHEN

VIIfGII{ PltUI''lES: rrA I'lew F'orrn Of

FALLOIIT CIUB :

ental ballad I also included are piano a nd tarnbourine.,

weedy, funky thi4q. The new Loglc rn-isic has tooting s ax r st andard fi,lnk guit ar and is underdeveloped.

Boyfriends

and

drawJs over this slightly-uentim-

Give Bauhaus a saxophone, take away the po se and ;lood hurnour , the

A sllghtly

Basily the best GAOts \ b5 thus far, its tuneful gaity stands equally little chance of charting o Great slrrgle.

trslster Soultt

strums his guitar

tst .r+ CrrOtlTS

LOIiA LOGIC; "lyonclerful Offertt

A lengthy project of musie

JYI

good truy.

Beauty; I &

JOHN ryIAntON:

SOUI{DTIiACKS

: ?tpopular

Classical tt trJelly, Babiesn The A-side,'rnine .( fris comroa, not ) i.6 a be autifitl ballad, featurlng the glorious vocalese of Robert lfyatt. A n-Lce song,

CERTAII{ RATIO: I'li aterli-ne "

Smoother, perhaps a little too smooth. I{annett r s god-awful productj-on is abandoned as ACR take thlngs into thelr own hands. You can dance to it.

Tffi bOit? tsOYS: 't0n1y The Stones Hernainrl If.y<.ru like R&ts infLuenced records youtll probably like this.

PIGBAG: ttSunny Day tt

SCRITTI POLITTI: ttThe tSweetest Girlr

Already the first two Rough Trade singles to chart, these are easily two of 81t s finest. Frenzied and flimsy. Stormirrg and sensualr Utterly desirable.

AITD PANIC: ttBob Hope fakes Riskstl Slightly clumsy A-side, in the same party-hat es But itts the B-side which really stj.rs. l{ailing.

RIP RIG

trGo Go Gotlt

'tlfhlte Car In Germanytr This band are so varled yet so consistently wonderful. Tet another turn, yet another classie. On a par wtth tt$ssf,s1tt and ttQ.Quartersrt and another si-ngle of the year.

THE ASSOCIATES:

All reviews

hG'ss

A.Hulme end N.Burrows

SINGLES

lllB coElr

lN08I.5 nrc€ntly supported. u2 on

thelr BrLtlsh tour end Lt wa8 bcfore theLr.rrell rccelved NottLnghan dete thls luterrlew wes held. tJ.I four nsnbers-SievJFdfio*"r-fnay !h.!' Eecon end ldtk Glel,shor- rere prosentr althoGh stwe I":!", t(wln voc+lst. and gulterist, acted ag neln sp6kesnan.- EarrLcr I'cr+guE, rD r{rg rllf-tney hscl supported sLounsLe & lho Bensheec on tour; whet res thc difference betwben thet snd the U2 tour? nltrs Jue! lnfL''ttery.bettei wrth u2. For a st8tt lhe Bencheea FQnle i trts -dtffic'rtr to rvork lylrh th6n. fh.t--:f:_^np! !!rf_oner $cesoundchecks trlc hours and then give you flve rntnutei-to gef, your gear on.rr ttTheyrl. ree]|y.-unfr!.endly. Thsrets rc reeson for Lt, therers lust no a€ed at all.tt lRock Sterst? nI thlDktheYtl" thet they think they er.e.tt vet? Lmportant to th-n, that they becore rock stars^[Thatr: theyrre g?ldnC a great effort, now t6 becorne sirperstare.n ttl llke sone of the m.rsic, itt s just iray they act to people Ilke us- theyty" no need to tnixess, iretrethe iirtereited. We'haire t9 wo4( together, werre not in competitLon not or anything. U2 recog: nLse that and theytre realIy friendly and helpful.l Because

lsleep No Morer is the second album flom the Comsat Angeils

and j.t has shown a charlge of d.irection fbom thei-r debut alburn rhaiting For A M:Lrac1et. How.do tirey fee] they I ve developed their sound? trl thj-nk wetve got better at doing it, better at, putting out exactly what we want to. lietre less consclous of what we should, be doing and more conscious of what we f e eI li-ke doing. It I s taken quite a wh:[].e for us to aetually get j-n tune with ourseLves. The seeond LP is very nmch ]ike something we had to get off our chests - itt s pCIssibly a blt sad in places. Ir nn very proued of i-t though. The problern j"s a lot of people deflne a group by their flrst album. They make the effort to get used to the group by their first tP - they dont t expect to have to make it hrlth the second onen tt I;hat about the drum sound? ftlie paid a bit m0re attent1on to that t,his time. trie knew what we wanted on the first' album but di-dnr t know how to d"o lt " l, e t ve f ound out how ln the il!€ entime. It ttl,ie re corded the Crums in a at Polydor and. the llft-shaft bass in a eoridor; we were all We spread over thi-s building' did it at a weekend when there h/as nobody there - well r w€ thought there was nobody theret Thls guy- was going nuts in his office trying to work.tr tfThe drums were i-n the lfftshaft on the same floor as the studio and we had mikes two floors up and two floors down to get a distant sound. It took a lot of mixing but itt s all nat,ural though, not treated,tt Do you rryrLte lyrlcs from experience? ItSometimeso Experlence helps you to r*rc.te them, but a

lot'of" l-t 1; proJectloni from' experlence. A lot of lt ls vefy Bpa) cl,flc but then agaln somg of 1t ls stuff f havent t experlenced llke ttDark Parade tt. I dldnt t experlence the events on that r I saw bhen on TV from a'very r€Iooved and safe vtervpolnt. T{e donr t do that song arrymore_because , T dont t know iny r- but I Just d-ont t wafr to present that to, PeoPl" on stage' SomebodY onCe salct urs wefr nmnsochletlcally rsellowlns ln broken llvegrt or sonethlllg', it:oEcured to me *1uet for a seconcl

that that may act,ually be true in this case, tr

which strikes me as

a .bit odd.. - itt s good that lt, I dont { know if lhuy illp good that they ean idenrify wlth it. tt

,i[p puzzles know

Oould_y0u e\rer ses yourselves rrl dontt see why ngtnou!?'

on Tsp Of The Pops?

h'ould you 1i4e to. see ffourselves on Top Of, The Pops? ttl wouldnt t llke to see oltrselves, tro r but Ir'd like to be on ther€ r itf s something werve not d.one, rl l"uould y CIu feel happy belng a succesfuJ chart' band? ItYe ah, r*hy not ? tr lv elI some people d.ont t ttAs l ong as batrds say trJ t nob into itlr what will rernain is whatl s on now every week. Itf s like The Old Grey ldhlstle Test people say itf s crap, It,t s erap because no good bands are going on it and if bancls say trl{e I re not going oR it becau,se itt s eraprt i-tr s always going to be craporf trlt ve no time for people hrho s ay t, hey want t o nernain ob s c,ure . he think OUR musi-c is accessible so there t s l1o reasoR peop]e shou]: dnt t demonstrate they llke it by buy iltg it' . rr ttWe had our own independent l-abel - wc put ttlted Flanetrr out on i.t - and j-t was just a rness. We lost a lot of money on it., nbad organi-sationr w€ lost g7OO, tvtlk borrowed it off his dad and this pillock called Chri-s HaII ran off .with it * Everyolte . should be wary of hirn- her s had dealings with Notti4gham bands and theytve all gone bankruFtr..!t trThe point is that all record companies operate in the 'same way. Itl s just a maehine for releasi-ng reeords and itt s better to have an efficient machlne than an inefficlent one, Plus the fact that Polydor can afford to g|ve us rnoney to do this for e ltving $.35 a week each) * hopefullY lt helps the qualitY of the. music that we can spend more t,ime on i.t. Itm not against lndepehdents ls - most of, rny reeorxl collectton on 5"ndepenclenb labels - but i.tt s Just thb attituder the insular sort of thi-ng I donr t lLke. tt u

Ygl

What would Your Ldeal audtence reaction be?

r?I d,onr t know. Some ntghts ?"e have large numbers of PeoPle aS"nglng along to ttTotal Warrt,

m€

ttlQy shouldnt t tt be good? A l"ot of people dont t even think about 1t * they know the word.s but dontt actually thlnk what itrs

about. ' I rrr-tght hear a. song on the radio a couple of times and might be slrrging the worcls, but II never actually figure out what itf s- about,_ People do thatr just s^+ng lt and sorne- of them peihaps figure 1t out, later" tt ttLlke the Point,er Slstersr sirgl€ - I was rnemlly sirglng alopg with that for a few-d.ays untiL l realised lt, was aboul female masturbation - a guy with a slow hax1d" tt But why. hasnt t the BBC banned it? ttThey j ust sing along w:Lth it as we}}. tt And fi-nally, Human League. , ,

about the

ItI know ian Burden, who used t,o be 1n a group called Graph. They were excellenb * the best

thitrg that ever came out of Sheffield - they .split up wit,h Ian, who was bass playei, He now plays synth in The Human League n lfasted." I was at co1lege with Adrj,an. He was a real pllloek - he still 1s n tt ItThere isnt t anybody who likes Adrian.tt 'tI suppose his mother likes him. tl ItJ t y11 not so sure about that. . " fl ItWith Adrian it t s not a personal loathing thirrg. . . . . o . . although I think it is in his case, Het s very big-headed, her s always been llke that. At one of their gigs they once met Ilavid Bowle - that was really great t Then whe[ Adrj-an wab talking to a friend of ours,- he walked 'off in rrld.-sentence. His reason was that hetd been talklrrg for five mlnutes and hadnt t been asked about Bowie yetl Thatt s the klnd of bloke he is, tt

illt$rlItlll

Intenrlew by A,Hulme and

uIJlt o".

+s I

R.Horberry

illlil

Depeche Mode Rock City, Nottirlgham Rock City is an awfirl venue when crammed ful1 of bland sheepl lulled lnto complaeency by 'r and Radio 1 and i;aafe t gj.gs (VZ, Teartlropsr etc.).

tl"y

tslancmange_because

they dontt know.thep. Nonetheless

igtot.3 two l-ack of attention; hopelessly serloirs nusicians wl-th ful- rmsic.

TO?p

Blancmarlge deser:rred. the

pret,-n;i;;;-t";;;;frg

s";i;u;; ,"inrng,

Depeche I{ode were different. .qttho'€h they frowned over their their music hed sonething Blancnange-1acke9-.|:ry:l: Mode produce good pop tunes you cansynths, 6ance'to. rneir poiisrr-a-electronic pop-with.its infectious.rhylhm i.s oiren 1i? not afwayg) ;""ningl;;; buc ii i6o-i!no"" the lobotomi.sed audi.ence and just dente Depeche-are excellent.'onri nlilE"-rrnaJa,ig;a;;;;iisee that there is some worth in just dancing and Depeche l{ode provib" iifting-;"foAi.E that denantl to be danced to.

deo Go!

Hecven 17 i,darehou,se

Leeds

Alfened Imoges

, Ro ck City , I{ott irrgham If bhree songs sung rather Video Gol was a venture ttHello I goocl evening and. bad.ly to a, b acki.ng tape by three which failed, in my opin:Lon, on eome borirrg y"1 old roen your is idea of r w€ | re Alte red Images . . . tl one essential level - surely the Indeed. you are. gooq a evee}rrgt s entertainmeilt object of a videots exisbeirce is I go and see Heaven L7, The songsto be ( casualfy ) wat ched as an ItFasci-st Groove Thar:grt trPlay enhancement of suruounding music? r f' T o li intf and lrteL I s All lvlake A I'lot so apparently. fwo and tt - incite no cornplai-nts but Bomb a half hours of watchine TV on Value !'or lrioney?! They did make ito ck Clty I{ottirrgham vgry hard. seats or boxe5 (f got , atnends by throwing badges at the the boxes ) for very little p[rpose i-snf b a particularly gobd way audience. How kind, Llnx are the heroes of the of spending an eveniqg At',lD there Britfunk scene. Down at Tiffanys werent t even ?ny aclveits during filally got somerhing tA !h"yt19_ the ( frequent ) inbenral-s. be.really PROUD of. ldhj-te tights Thursdav an<l hooped t-shirts abound.ed il" wnJ-sn scooo ouE on a tonJ.ght, shirts open to waists muslcal basis- r^/ere The Cramps. revealing_ hairy chests and swingThe Birbhd"y p"riv, iir"[*il"'Iio ing rnedallions peeped. from all ( partly ) Cabaret Voltaire. ttsirdst were rpulIedt, ?ngleg.Videos which stood out on ( c hicks t were t chatted. iip t and the basis of entertainlqgly compeverybody had t,a good timeI . It lementirrg the music ( ie not j ust was frightening. live or stuCi.o shots ) were Thre David Grant was heart-throb Cramps, Yello ( which was brilliant or hero , lr* cl apped ancl they appareirtty ) , Bauhaus ancL Trr:ced.oclapped, he asked if everyone was IIIOOIlr l,,rjarehouse, Leeds alri-ght at the backo . . . . ahcl at F rldav the back and at bhe front. Sketch Offiffildine band.s were ACit, HIP nIG & FTTNIC are essent- pl ayed as orrf y Sket ch can ancl had Magazitre r 23 Jewels and Echo & ial. little Limelight. But the most T he l3unnym€rr . amazing thing about the whole Good videos were from XTC Energy and enthusiasrn rnarch- scene was that the dance-floor and IeSy Fop, ed all over the all-too-i,mage y_a! packecl with people STANDING S a1; urd.av cons cious lr are hous e , RR&P pl ay ir:g STItt anct hieTCHII,lGl - I just I{usj.eally entertainirrg were with, not at r their auclience , couldntt believe it! Crlspy Anrbulance, Blurt, ACn, Gettirrg on down madly was Se ction 25 t Duruttl Colurnn and HIP RIG & PAl,lIC are funclathe order of the day, even if it Joy Divislon I in parts ) . mental. had to be on a carpeied floor i"n Vi-sually stimulating €xp€rof the bar because of the iences came from Cabareb VoLtaire, tlighlights are hard to pin- front zornbie s below. All the hi-ts were rtThose Eskimo Durubtj- Column ( in parts ) and point both but reeled off; l9o This Is Romanc€",Crispy smbulance o ' luornen Speak l"ranklytt and 'tGo Go rrThrow Away The Keytt rrDont t Get Iiach time good visuals were , GoI This Is It" were furiously In I{y lday rt. All dbn6eable in the few ancl far between and on most excelL'dnt. extreme. But lt was an extended the music was duff too. ttlntuition'r which stole the show, I think I f ai-I to see the RIP HIG & PAI{IC have got with a w:lld percussion break point. Sory that brrod. G}orious t - Undoubtedll' {tid-"ong. fi-ne ent,ertainment. IVLfdL

and Group, Nottlngharn

LINX

Rip Riq

6nd Psnic

Onchesfnol Monoeuvnes University, Nottingham.

In The Donk

Undoubt,edly Orchestral l"lanoeurrres In The Dark were ilexcellenttr. Thelr songs were rtwell graftedrt. Thelr llght-show was trsuperbrt. Thelr stage-set and acconpanying vlsuals were rtluprcgglverr and nstunningil- The sound was- ilghltil. I thought they were lLke r?Enerson, Lake & Palnern. The Unlversity sports-centre ls excesslvely big. which neant-c_hollow, empty_-d_Lstortlon of _ what sounded a reaionible set (inperts). Persbnal favourLtes stlll shonel ltke ilMotlon&Heart9r[Enola Gayn (obvlously?) and rrStaniowtr but the nauseatlngly pgFpoua and.ovdr$lown-stage showteDded to grate after a whllo. to d1strait the attenf,ion somewhet. Andy Mc{luslcyts vocals also beganand Peul Hunphri1e muld espectally at the volume they had then pbundlng out a!; a1$ I wlsh he .U-anaon i[fJ p"tfr.tfc-t;"ud;:C&A frnage_ltreylve-creeted. rThey (and the newdr songs) er6 qul'ckly beconing the Genesis ol the hlp set. Tine for a change.

Contributors

Thadcs

and,rew Hulrne

Z_ Neil

Bur^rows

Anna lfatson $,oger Horberry Iulartin tr,{cH ale' Iulonica Bryce

Jon Tait

to;

Iiough Trade, bAD, Armaged,dgnr Fet,ish, I,lew Hormones, Polyclorn Ulodern Publieity, Happy Birthday r Joanne t"eldhaus r lvo, Lee Ellen I'lewm&hr Chris lililliams, Dawn Reevâ&#x201A;Źs

Stephen Lawrence

Ilorothy tr{right.