Adventuring Into Basketry #2

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

r-

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

of

"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

i

.

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

On

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,.

mv

ll:tt i:1Tl,,1

:i:ti: t':.

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

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

lll tl

The Assocj.ates

I

.j,.

f

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

o

, {fL

Ir

.,

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*' |

ll

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

of

)

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/ '

t,

I

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;:""

1?

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..

I

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

Is

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

!r

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?

IN

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"

rr

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

ts

*"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

I

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

It

ckouts .

I{ALLIMER: frTenperature a.

AiiTEItY: rrAfterwards

It

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.

11

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

s

:

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

a

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.,

re

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.

r

Beauty; I &

JOHN ryIAntON:

t

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

tr

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

by

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

J

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.

Vi

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

o

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

r

Stephen Lawrence

Ilorothy tr{right.

t