Underground - Peter Maybury

Transcription

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Underground
First published 2008 by Image text sound editions
ISBN: 978-0-9559421-0-5
Edited by Peter Maybury and Dennis McNulty
Editorial assistance: Shane O’Shea
Designed by Peter Maybury www.imagetextsound.com
Printed in Dublin by Impress printing works
Texts and images © the authors and the artists
ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED,
STORED IN A RETRIEVAL SYSTEM OR TRANSMITTED IN ANY FORM OR BY ANY MEANS,
ELECTRONIC, MECHANICAL, PHOTOCOPYING, RECORDING OR OTHERWISE, WITHOUT
PRIOR WRITTEN PERMISSION FROM THE PUBLISHERS.
EVERY EFFORT HAS BEEN MADE TO ACKNOWLEDGE CORRECT COPYRIGHT OF
IMAGES AND TEXT WHERE APPLICABLE. ANY ERRORS OR OMISSIONS ARE
UNINTENTIONAL AND SHOULD BE NOTIFIED TO THE PUBLISHER, WHO WILL ARRANGE
FOR CORRECTIONS TO APPEAR IN ANY REPRINT.
U
ITS001
27 June – 6 July 2008
Road Records, Fade street, Dublin
Exhibition curated by Dennis McNulty / Peter Maybury
Press and publicity: Karen Walshe
A
At the Drive In
Anarchy Night Café
L
Lazybird
Lost Formats: Experimental Jetset
U
Underground
U:Mack
B
Broadcaster (Donal Dineen Portrait
No. 1) UEX001, Garrett Phelan
Blogariddims
Black Keys
Big Louise
M
Mexican bootlegs
Maximum Joy
excerpt from The Metropolitan
Complex, Paper No. 10, ISSN 2009-0455,
Sarah Pierce
M.I.A.
MySpace
The return of mystery, Stephen
Rennicks
V
Venues: Niall McGuirk
Places that were but aren’t anymore
Anto Dillon/Loserdom
C
Contributors
Covers
D
D1
Decal
E
Exhibition
Ebay auction
ESG
!!!
F
Flyers
Fifteen years ago: Pages from the
Event Guide
G
‘Greenbeat: The forgotten era of Irish
rock’ preface, Daragh O’Halloran
H
Hot press
Document, a story of Hope; Bassetti’s
Tabbouleh Salad
Hope, a documentary
I
Introduction, Dennis McNulty
ISBN
i-and-e
J
Jungle
K
Konono no. 1
N
photos by Dean from No Age
O
On the record, Jim Carroll
Onement
P
P from the Irish Punk and
New Wave discography irishrock.org,
Eamonn Keane
text by Ciarán Nugent
page from ‘Palm Desert’, Rudy
Vanderlans
Phantom Fountain/Future stream, Robin
Watkins
Q
Questionnaire
R
Records You’ll Want to Own
‘Our rehearsal room is a Jungian
dream…’
S
Skinny Wolves
Shellshock Rock
The stars are underground
Spacemen, the lot of you,
Adam Sutherland
Sonic Youth
Lyrics (secret), Angela Detanico
& Rafael Lain
T
Thanks
W
www.imagetextsound.com/
underground.htm
X
SFX
Y
Your Cassette Pet: Some Notes on
Listening Martin McCabe
Z
Forgotten Zine Archive
at the drive in
a
A—1
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anarchy night café
http://thumped.com/bbs/showthread.php?t=3858
Thumped > Thumped Stuff > General
Reload this Page Anarchy Night Cafe
16th November 2002, 03:35 AM
j_d
NKOTB
Location: santry
Age: 42
Last Online: 16th April 2008 07:37 PM
Join Date: Nov 2002
Posts: 7
Anarchy Night Cafe
Anybody remember this...
whatever happened to the guys involved in it?
at the drive-in, 2001
17th November 2002, 08:03 PM
niallmc niallmc
Old Timer
Location: Dublin
Age: 40
Last Online: 29th May 2008 09:03 PM
Join Date: Jun 2002
Posts: 1,023
People involved in Anarchy Night Cafe have went many different
ways. Ramor Dagge lives in Mexico and I think Jim Davis is in the
States at the moment. Both of them have published some material
in a recent book about Globalise Resistance
The Anarchy Night Cafe finished up after being hosted in a few
different venues around Dublin - Castle Inn, Fibber Magees being
2 of them.
A—3 _________________________
PHOTO: DAVE ROAD RECORDS
A—4
Broadcaster
B—1
Blogariddims
Black Keys
Big Louise
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GARRETT PHELAN 7" PICTURE DISK MULTIPLE OF 250 COPIES. IMAGE COURTESY THE ARTIST AND MOTHER’S TANKSTATION
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BLOGARIDDIMS 44/UNDERGROUND : EIRETRONICA WILL BE AVAILABLE TO LISTEN TO AT THE EXHIBITION / DOWNLOAD FROM WWW.WEAREIE.COM
Blogariddims 1/
Shwantology : 2
A 1 hour
ambient/classical/
electronic mix
performed live on
6 decks by droid +
slug..
Blogariddims 2/Gutterbreakz
Compiled, mixed and
edited by
Gutterbreakz, July
2006.
Blogariddims 3/Idle Thoughts
Episode 3 by Matt
b from the Idle
Thoughts blog. one
hour of electronica,
dubstep and reggae.
Blogariddims 4/Dancehall
Pressure
Episode 4 comes
from Uncarved.org
and Grievous
Angel's Shards,
Fragments and
Totems, courtesy
of John Eden
and paul.meme
respectively. It's
an hour of premium
quality 80's
dancehall and
roots. Rock the
disco, baby!
Blogariddims came about last year mainly as a result of socialising and
chatting online to the contributors. Jungle forum Subvert central had started a podcast at the start of 06, and it set me thinking as to what kind of
podcast I'd like to be involved in. One of the major aims of weareie is to
expose people to other types of music through DJng – to see the connections that we see, and I always hope that someone who comes to download a dancehall mix will grab a jungle or an ambient set at the same time.
Id also been reading music blogs (mainly by UK 'Numm, reggae writers
and US beatfreaks) for about 5 years, and I was always struck not only by
the depth of knowledge these bloggers showed in their respective fields,
but by the huge amount of effort they put into the audio side of things –
particularly the mixes and MP3s from the likes of Bassnation,
Gutterbreakz, John Eden and Paul Meme – effort that often seemed to go
unrecognised. It wasn't much of a leap to put two and two together – here
are all these brilliant individuals, all working in relative isolation, all
excelling at what they do, most of whom produce mixes and write about
music – why not try and do a podcast together?
All in all, its worked out pretty well. There's a healthy sense of community,
an edge of friendly competition,and most importantly, real diversity – in
approaches, concept and results. Something that I think is evident when
you listen to the series (especially when you do it all at once)! Id like to
give a sincere thanks to everyone who has taken part so far and to Greg
for bringing this to a new audience. I hope you enjoy(ed) the show.
http://www.weareie.com/2008/04/blogariddims-top-40.html
B—5
Blogariddims 5/Bassnation
Episode 5 comes
courtesy of Marc
Dauncey (bassnation.uk.net - now
defunct). Its a
1 hour journey
through dark
grinding hip hop,
bass-heavy bleepy
acid, hardcore and
dubstep, performed
using a mixture
of decks, Acid and
Ableton Live.
Blogariddims
6/Collide+Coalesce (19502004)
Mixed by SoundsLike
- a one-hour
beat/voice/
texture/blip mix
utilising over
forty elements in
sixty minutes.
Blogariddims 7/Voices from
Afar
Episode 7 comes
from Tim
Rutherford-Johnson
of the Rambler blog
and is a thick mix
of avant-garde and
modern classical
compositions.
Blogariddims 8/Mr.Bump:
Rude Interlude
Episode 8: Mr.Bump
(aka autonomic) via
deeptime blog. 1
hour Ableton mix of
dark garage, 2step,
grimey 4x4 and a
bit of sweetness.
Inspired by DJ
Slimzee and the
Rinse FM archives.
Blogariddims 9/Absolute
Norwegian
One for all the
Nordic Subverts,
and fans of ambient
and warped
Scandanavian
folk/jazz. (Blog
post seems to have
vanished!)
Blogariddims 10/An England
Story
Blogariddims 10 is
a special extended
edition from
Heatwave.'An
England Story'
traces a lineage
of UK MCs from
1984-2006 covering
reggae, dancehall,
hip hop, grime,
jungle and more…
Blogariddims 11/Another
Crunk Genealogy
Blogariddims 11
traces out another
crunk genealogy,
seeking the overlap
between crunk and
clave, reggaeton
and ragtime,
bhangra and bounce.
Connecting the
music of the
Caribbean, the
American South,
and the Middle
East, the mix winds
its way through
common grooves and
feedback loops.
Blogariddims 12/Office Party
Episode 12 comes
from uncarved.org
courtesy of John
Eden. It's a one
hour eclectic
selection of divas,
teenagers, ice
queens and those
in between.
Blogariddims
20/Shwantology : 3
Another CD length
special to mark our
20th episode.
Shwantology : 3 is
a continuation of
the series which
featured in our
debut cast, and
features 80 minutes
of ambient, industrial, classical,
avant-garde,
krautrock, world
music, experimental, electronic,
drone and various
other beatless
pieces of music
spanning over a
century's worth of
compositions, all
mixed live using 8
sound sources and
various effects.
Blogariddims 14/Norwegian
Postpunk 1979-1985
60 minutes of
Norwegian Postpunk
1979-1985 from our
man in the North,
Hal Halverson.
(Blog post seems
to have vanished!)
Blogariddims 15/Beyond the
Valley of the Smurfs
Episode 15 comes
from DJ FLACK - an
hour long blending
of dub, hip-hop,
rock, dancehall,
dubstep, southern
bounce, punk,
baltimore breaks,
bhangra, jungle
etc…
Blogariddims
16/Raggamortis : 1
Blogariddims 16
comes correct with
a stalwart set of
2nd generation
digital dancehall
oddities, novelty
tunes and killer
riddims dominated
by slack styles
and unrepentant
raggamuffins.
Blogariddims 21/Fusion Dub
A mix of Miles
Davis-inspired
jazz, funk and soul
in dub from
Grevious Angel.
Blogariddims
22/Disintegrations
The Rambler presents
Disintegrations/Blo
gariddims 22 a modern
classical/avantgarde mix.
Blogariddims 17/Tons of
Boxes
Episode 17 comes
courtesy of
Grievous Angel's
paul.meme. Titled
"Tons of Boxes",
it is an hour of
roots reggae and
dub, produced with
two decks, a mixer
and an Access Virus
fx machine. Dub
'pon dub…
(Dissensus Post)
Blogariddims 23/La Ola De
Calor
Like Ini Kamoze
sings in the
opening track,
there's a world of
(reggae) music on
La Ola De Calor:
sung, rapped and
MC'd almost
entirely in
Spanish, from
reggae to soca,
dancehall to cumbia
and reggaeton to
hip hop. Artists
featured hail from
Panama, Cuba,
Jamaica, Puerto
Rico, Argentina,
Mexico, Costa Rica,
Spain, England,
Canada and the USA.
Thanks to Rhythm &
Flow [Barcelona],
Kinky Music
[Madrid], King-Der
[Badalona] and Topa
Top Productions
[Costa Rica].
Blogariddims 18/Rough
Episode 18 is a
storming mix of
1993 hardcore
classics from
weareie's Naphta.
Blogariddims 19/Bounce me
back to 98
Episode 19 comes
from John Eden.
It's a 1 hour ragga
flashback to 1998.
Blogariddims
13/Electronicack : 1
The first episode
of the new year
offers a delectable
selection of late
90s electronica
mixed live by droid
+ slug.
B—6
Blogariddims 24/Moving
South
The final episode
of the current
Blogariddims
series. Paul
Autonomic presents
‘Moving South,’
an Ableton mix of
up-style beats from
the pioneers of the
mutant groove.
Blogariddims 25/Echospace
Odyssey / Towards Infinity
Blogariddims
returns with a mix
from veteran blogger Gutterbreakz:
'Echospace Odyssey
/ Towards Infinity'
- a podcast in two
parts. ‘Echospace
Odyssey’explores
the dubbed-out
techno of Deepchord
and similar artists
in the post-Basic
Channel milieu,
whilst ‘Towards
Infinity’ showcases
new and rare music
from Bristol’s dubstep underground.
Blogariddims 26/This Is The
News
Episode 26 is a
dubstep mix by Ben
UFO, showcasing the
sounds of the
Hessle Audio label
and unreleased
material from
across the genre.
Blogariddims 27/Everybody
Loves The Sunshine
Episode 27 comes
from Per of
computerstyle.org,
changing tack from
his investigations
into reggae and
dancehall to produce this selection
of soul, funk and
hip hop: Everybody
Loves The Sunshine.
Blogariddims 28/A Selecao do
Gringo
Episode 28 (or
vinte e oito for
the Lusophones out
there) from the
Beat Diaspora.
Gregzinho, as the
locals call him,
unloads a funk massive of whatever
has perked the
gringo's ears from
two consecutive
summers of bailehopping in Rio Miami bass loops
and samples, tamborzao off the 808,
avant-garde electronic beats, and a
slew of MCs holding
it down for their
favelas.
Blogariddims 29/69 Allstars
Lower End Spasm fam
(dotalt.blogspot.com)
presents
Blogariddims 29: 69
Allstars - a mix of
classic grime riddims. "Before the
ego of MCs took
over radio was all
about rollage - a
steady, nervous
momentum. A momentum we've tried to
respect by matching
grime's frenetic
energy - that's why
you've got 69
tracks in 60 minutes. The mix is
largely instrumental not because we
want to devoice a
voice-heavy genre,
but because grime
started as club."
Blogariddims 30/Rufen Sie
mich nicht "kraut" an
Episode 30 comes
from weareie.com
couresy of Slug.
Its a 74 min
Ambient/Kosmische
Musik special performed live on 2
decks, 1 CDJ and 1
Zen.
Blogariddims 31/It's So
Different Here Volume 1
Episode 31 comes
from Blogariddims
stalwart Hal with
"It's So Different
Here Volume 1". One
hour of mostly
electronic music
and vocal treatments.
Blogariddims 32/One Drop
and You Don't Stop
In episode 32 music
critic Dave Stelfox
selects an hour's
worth of new roots
reggae and one-drop
killers. (No blog
post for this one
unfortunately.)
Blogariddims 33/An allegorical mix
Episode 33 comes
from modyfiermodifying.blogspot.
com and
www.weareie.com
courtesy of a
modyfied slug.
it is a 1 hour
ambient/techno/avan
t grade mix
performed live via
MAX/MSP. track
selection by
modyfier, MAX/MSP
patch development
and music
interpretation /
mixing by slug.
Blogariddims 34/2step
Heaven
Episode 34 comes
from Grievous Angel
of the shards,
fragments and
totems blog. It's
an hour of classic,
heavyweight 2step
garage performed
live. Crack open a
bottle of Bolly and
put your dancing
shoes on...
Blogariddims
35/Electroacoustic
ambience : 1
Episode 35 comes
from weareie.com
couresy of Slug.
Its a 1 hour ambient/classical/post
rock mix performed
live on 2 decks and
1 CDJ.
Blogariddims 36/Roots
Reality and Culture
Episode 36 comes
from dancehall reggae and bashment
DJs/producers The
Heatwave - an 60
minute selection of
positive, conscious
and uplifting
dancehall songs.
Blogariddims 37/Maga
Bo - Os Cacos
50 minutes of
transnational bass
- dubstep grime
cumbia hip hop
ragga kuduro baile
funk dub chaabi
soca crunk.
(Tracklist Only)
Blogariddims 38/The mouth,
the feet, the sound
Changing the pace a
little, episode 38
is a 1-hour mix of
texture-matched
avant-classical and
modern composition
for careful listening.
Blogariddims 39/Journeys by
non-DJ
Episode 39 is an
eclectic one hour
journey through
dub, beats and bass
from self professed
'non-DJ': Paradigm
X.
Blogariddims 40/Grime in the
Dancehall
Episode 40 is a
spectacular from
John Eden and
Grievous Angel's
paul.meme with a
special CD-length
mix of dancehall
and grime,
exploring the
intimate links
between the two
genres.
Paul Rowley
1) Where do you listen to music?
in my kitchen
in my studio
3) What’s your current playlist?
(artist,
title,
random shuffle mp3s off DVD-Rs
today so far :
takemitsu, momus, shuttle 358, arabic lessons, il diavolo nel
cervello, neung phak, gutevolk, scott walker,
algerian radio broadcasts
Black Keys
B—7 _________________________
B—8
format
)
Contributors
Covers
David Beattie is an artist based in Dublin Simon Bernheim is an artist who lives and works in Paris. He is a member
of the group 10LEC6 Blogariddims: An eclectic series of mixes accompanied by extensive liner notes in the form of
blog posts from an international selection of bloggers and DJs. Jim Carroll writes for the Irish Times and runs a blog
called On the Record John T. Davis is a filmmaker based in Hollywood, Northern Ireland Angela Detanico & Rafael
Lain are artists based in Paris Anto Dillon produces the zine Loserdom with his brother Eugene. The first issue came
out in June 1996. David Donohoe is a Dublin-based artist, musician and graphic designer Eamonn Doyle is a
producer, DJ, photographer and label owner/manager. He co-formed the now-legendary indie label Dead Elvis in
1991 and has gone on to establish D1 Recordings and DEAF: Dublin Electronic Arts Festival Experimental Jetset is
an Amsterdam graphic design unit founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen
Guy-Marc Hinant is a writer and film-maker, and he co-runs the Sub Rosa label Jo Hogan is a London-based graphic
designer/dj i-and-e organises concerts of improvised and electronic music Eamonn Keane lives in Eindhoven in
Holland Dave Kennedy co-owns Road Records with Julie Collins, and is a photographer David Lacey is a musician
from Dublin, who co-runs i-and-e Lazybird is a collective and label specialising in new music and sounds through
concerts and releases Barry Lennon runs Armed Ambitions, an independent record label and publishing entity
M&E are graphic designers based in Malmö, Sweden Maximum Joy is a club/promoters founded by Micí Durnin and
Darren McCreesh in 2005 Peter Maybury is an artist, musician and graphic designer Martin McCabe is a writer and
educator who lives in Dublin Daragh McCarthy is a musician and filmmaker Niall McCormack is a musician and
graphic designer based in Dublin Niall McGuirk has been involved in the punk scene for twenty years. He was a key
member of the Hope Collective, which helped create community around the punk scene in Dublin, Ireland
Francis McKee is a curator, researcher and writer based in Glasgow Dennis McNulty is an artist and musician who
lives in Dublin. From his humble beginnings as a euphonium player in the Blanchardstown Brass Band, Ciarán
Nugent has gone on to achieve limited success in music, writing and life. Married with four children, living in Dublin
Onement is a record label whose concept is to release unique recordings on vinyl, cd or unusual formats. The label
is run by Sylvain Chauveau (Type, FatCat, DSA, Aesthetics, Creative Sources). Based in Dublin city, Ireland,
Alan O’Boyle aka Decal has been making electronic music since 1993 Daragh O’Halloran is a writer and author of
Green Beat: The Forgotten Era Of Irish Rock Conor O’Riordan is a graphic-designer based in Dublin Shane O’Shea
aka Naptha is a dj, producer and writer. Artist Garrett Phelan works and lives in Dublin, Ireland Sarah Pierce is an
artist based in Dublin, where she organises The Metropolitan Complex Stephen Rennicks currently lives on a small
holding in rural Leitrim where he practices as a conceptual artist Paul Rowley is an artist and filmmaker
Naomi Ryder is an extraordinary textile designer and illustrator Gabriel Sierra is an artist and designer based in
Bogota, Colombia U:MACK have been promoting gigs in Dublin for over 15 years Skinny Wolves is a club, label and
promoters run by Jamie Farrell and Peter Symes Dean Spunt is half of No Age with Randy Randall Thumped is
a website run by Pete Brady covering the Irish independent music scene Rudy VanderLans was editor of Emigré
magazine, and is a photographer and co-founder with Zuzana Licko of Emigré type foundry Paul Vogel is an
improvising musician and co-runs i-and-e Ciarán Walsh is an artist based in Berlin. Amongst other activities, he
currently edits the art-zine Travelogue (www.travelogue-zine.com) Robin Watkins is an artist and musician, having
released eight full-length albums as well as performed sporadically in a number of constellations during the past
decade. Watkins occasionally works on artist’s books and other printed ephemera.
c
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Artist:
Jo Hogan
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Artist:
Naomi Ryder
Artist:
Robin Watkins
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Artist:
Gabriel Sierra
Artist:
David Donohoe
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D—9 _____________
DECAL STUDIO PHOTOS: ALAN O’BOYLE
Exhibition
Ebay auction
ESG
E
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_____________________________________
SCREENINGS IN THE BASEMENT OF FILMBASE
(IN CONJUNCTION WITH DARKLIGHT)
____________________________________________________________
CONTEMPORARY ART EXHIBITION IN THE BASEMENT OF ROAD RECORDS
______________
OPENING/PARTY
6.30 – 8.30pm, Friday 27 June
Road Records, Fade St., Dublin 2
RECORDS
Micí Durnin & David Beattie
Angela Detanico & Rafael Lain
Francis McKee
Garrett Phelan
Sarah Pierce
Stephen Rennicks
Adam Sutherland
Robin Watkins
4.00pm, Friday 27 June
Shell Shock Rock
The Stars are Underground
8.00pm, Saturday 28 June
Last Night at the Funnel
WITH
Blogariddims
Economic Thought Projects
Experimental Jetset
Hope radio documentary
irishrock.org
Road Relish singles
The Stars are Underground
Rudy VanderLans
EVENTS
Live relay from band practice room
eBay Northern Soul 7" auctions
Phantom Fountain/Future Stream
playback session
______________
CURATED BY
Dennis McNulty and Peter Maybury
SUPPORTED BY THE ARTS COUNCIL
FURTHER DETAILS
myspace/undergroundexhibition
E—2
Adam Sutherland will be selling off 7" singles from his
Northern Soul collection on eBay.
TIME
3.00pm Saturday 28 June
3.00pm Saturday 5 July
DETAILS
The auctions will be timed to end at 4.00pm on Saturday 28 June
and 4.00pm on 5 July. Sutherland’s eBay account details will
be projected in the exhibition space (in the basement of
Road Records) from 3.30pm on the two days in question. Some of
the records he will be selling are rare and worth a lot of money.
As with all eBay auctions, the bids will only really ramp up
as the auction comes to a close, so these events prove to be
similar to a real auction. Many of the records Sutherland
has sold recently have gone to collectors in Japan and to the US,
sometimes to the musicians who originally played on them.
http://myworld.ebay.co.uk/asutherlandor2/
E—3
E—4
!!!
ESG, Music Centre, November 2006
E—5
E—6
_________________________
PHOTOS: DAVE ROAD RECORDS
flyers
15 years ago
FLYERS COURTESY
ROSS CARROLL AKA
DON ROSCO
F—1
F—2
SUNDAYS
* Carwash POD, Harcourt Street, D2
Liam Fitz takes you on a trip with a smattering of
tunes which turn Sundays at ye olde Harcourt Street
Philippe Starck exhibition hall into a jumping and
pumping night out. PAs too. Admission £5, 11.00pm
–late
* Horny Organ Tribe (HOT) The Gardening Club,
(Upstairs, Rock Garden), Crown Alley, D2
Tonie Walshe and guests take the weekend out on a
hedonistic note with a night of fine house jams and
garage moments for sweaty times on the Gardening
Club dancefloor. More X-Press than X-Press. Admission
£3.50 (Concessions £3.00) 11.30pm – 2.30am
F—3 ______________________________________
DUBLIN EVENT GUIDE 23 JUNE – 6 JULY 1993
F—4
Green beat
g
G—1
g
G—2
G—3 ____________________
PREFACE TO ‘GREEN BEAT: THE FORGOTTEN ERA OF IRISH ROCK’, DARAGH O’HALLORAN, BREHON PRESS, 2006
Hotpress
Document:
A story of Hope
Hope
National Library of Ireland
Hotpress
Dublin: Steady Rolling Publishing, 1977 –
Subject: Popular music--Periodicals
ISSN: 0332-0847
Description: v.: illustr.; 45cm
H
H—1
Collection: 116
Call no.: ILB780
Copy: vol. 1, no. 1 (Jun. 9, 1977) –
Collection: K
Call no.: IK925
Copy: Full bound from 26 January 2005 –
H—2
Bassetti’s Tabbouleh Salad
Ingredients
1 to 1-1/2 cups pre-soaked cous-cous/ bulgar wheat
2 cups fresh parsley finely chopped
1/2 cup fresh mint chopped
2 large or 3 small tomatoes finely chopped
3 large or 4 small cucumbers peeled and finely chopped
handful of fresh garden peas
1/4 to 1/3 cup lemon juice
salt + pepper to taste
fresh pressed garlic (to taste)
Pitta bread
Vinaigrette or light textured Italian style dressing
HOPE
Preparation
1. Use a large mixing bowl and mix together pre-soaked cous-cous / bulgar wheat with
just enough dressing to moisten.
2. Add chopped parsley, mint, tomato, cucumber and peas. If you use an electric chopper
for the tomato and cucumber, they will be mostly juice and pulp. This is acceptable for a
softer salad, however you will get better results from and chopping, though this can be
quite time consuming.
3. Add the lemon juice, salt, pepper and garlic to taste. Cover and chill salad for at least
2 hours… it needs time to soak in it’s own juices to really bring out the flavour of all the
ingredients.
“Serve with hummus and warm pitta bread. The salad will be quite juicy at the
bottom of the bowl. Do not remove the juice, as it acts as a marinade, the longer it soaks,
the better the flavour flav” Bassetti, Jackbeast
The City Arts Centre was available to hire as a venue but it proved really expensive. It had no PA and Arts Centre
staff had to be paid. You would need at least 100 people paying in to a gig to break even on the venue before
worrying about getting money for the bands. With that in mind we went for THE ATTIC (at £40) when Polaris,
from Leeds asked to come over. It left us with the continuing problem of getting people into the gigs who were
under 18. A problem that still needs amending.
Jackbeast were a great band. They rehearsed in the City Centre. If ever we needed any equipment for a gig we
could always ask them and they would oblige. It was refreshing to deal with a band like that. I'm not sure they
got the recognition they should have.
111
H—3 ____________________________________
FIRST PUBLISHED IN DOCUMENT: A STORY OF HOPE
H—4
Title : Hope
Producer/sound recorder, editor : Barry Lennon
Duration : 60.04 Minutes
First Broadcast : In 2005 on GCD FM
Biog : An insight into what the Hope collective was and how
it affected those involved in independent music in Dublin.
Hope were DIY gig promoters who did rock/hardcore/
experimental gigs in Dublin between 1987 – 1999 whose
existence still inspires people today. This documentary was
started and finished in four days.
Published under creative commons.
You can download or listen to it here :
http://radio.indymedia.org/en/node/5385
H—5
Introduction
ISBN
i-and-e
Introduction
I
Up until today, I’d never seen 1991: The
Year Punk Broke, the documentary that covers the Sonic
Youth/Nirvana European Tour of 1991. This morning, I searched for it on
YouTube and the whole thing was there, broken into sections and subtitled in
French. The film captures the pivotal moment when Smells like teen spirit propelled
Nirvana to international mega-stardom. For many people, the success of that song re-drew the
lines between the mainstream and the underground, lines that have been shifting and blurring turbulently
ever since. The venue for the Dublin gig on that tour was the Top Hat in Dun Laoghaire, an old showband
dancehall that had reinvented itself several times since its construction, before eventually being converted into a
block of apartments at the height of the Celtic Tiger boom years. In 1991 it was still a venue for rock gigs and I can
vividly recall hearing Nirvana playing Smells like teen spirit that night as I made my way down from the balcony into the
heaving subterranean space below. It was the first time I had ever heard the song but I held it in my head and recognised it
instantly the next time I heard it on the radio. Rewind: There used to be a bar called The Underground in a basement at the
intersection of Dame Street and South Great Georges Street. It was also a music venue, a place where bands who were just starting
out could figure out how to play in front of an audience. When I was in a garage band in the mid-eighties, the Underground was the
place we wanted to play in the hope that some of its mythological status would rub off on us. In 1987, our dream came true. We were
too young to have been there as customers but we played to our friends, occasionally stepping out of the way to let people past the stage
to the toilets behind. The Underground was replaced by a lapdancing club around the same time that the Top Hat was redeveloped into
apartments. The Sonic Youth/Nirvana/Top Hat gig came up in the conversation that Sarah Pierce organised for paper 10 of the Metropolitan
Complex ( http://www.themetropolitancomplex.com ). She asked Fergus Kelly, Garrett Phelan and I to chat about our experience of the local
music scene when we were growing up and how it might have influenced the way we work as artists. Afterwards, Garrett and I continued to
exchange emails and I couldn’t help feeling that the process of memory excavation that had been instigated by Sarah had to be given form in
some other way. There had to be some way to make sense of the trajectory from then to now, some way to record the things that have been
erased or that only seem to exist as vague memories. June 2008. Standing in the basement of Road Records with Peter Maybury, talking
about the exhibition. Dave and Julie have been selling records from Fade Street for over ten years and during that time, Road has been at
the epicentre of the local independent music scene. As with all the best independent record shops, commerce just seems to be an excuse
for the creation of a community. Our project has a MySpace and a press release – “Underground is an exhibition and publication looking
at the changes in independent music culture over the last 15 years, tracking the relationship between the local and the global, society and
technology, and charting the erasure of the boundary between the public and the private.” This tagline maps out the vast territory where
Underground situates itself. We’ve asked people to write about their own personal trajectories through this territory, tried to find some
way of transmuting a predominantly oral history into something more tangible and attempted to shed some light on ‘the impulse to
archive’ that seems to have taken hold in our culture recent times. We’ve made lists to reflect the extent of the activity that has
taken place here over the last while and we hope we’ve managed to tie these historical perspectives to this present moment
in the knowledge that people might come after us and wonder what things were like in 2008. Peter and I have co-curated
Underground, but the project (this publication, the exhibition in the basement of Road Records and two screenings in
the basement at Filmbase as part of the Darklight Film Festival) has been a collaboration with many others.
Beginning with discussions with Karen Walshe and Shane O’Shea and continuing in the discussions with the
contributors to the publication, with Dave and Julie, and with the artists who have responded enthusiastically to our invitation to exhibit in the basement of a record shop. The irony of a project called
Underground that is funded by the Arts Council is not lost on us, but we’re grateful to have
had the opportunity to gather this material together and exhibit it these various ways.
Hopefully we can channel some basement magic from the ghosts of the
Underground bar and the Top Hat into the present and hold it as
a reference and a catalyst for the future.
Dennis McNulty, Dublin, June 2008
I—1
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)
Jungle
j
J—1
J—2 ___________________________
POSTERS BY CONOR O’RIORDAN
Konono no. 1
k
K—1
K—2 _________________________
Lazybird
Lost Formats
L
L—1
A Hawk and a Hacksaw
Agitated Radio Pilot
Alps of New South Wales
Ambulance
Amoebazoid
Amygdala
Anodyne
Appalachia Rising
Aranos
The Array
Autamata
Avarus
Bass Clef
Beaks
Jimmy Behan
Betamax Format
Eric Biondo & Justin Carroll
Bird on Wire
The Black Egg
James Blackshaw
Andy Blaikie
Blown Amp
Bluefood
Bonecloud
Both People
Jim Bowen Arrow
Boxes
Ane Brun
Bullets
Bushlets
John Butcher
Cap Pas Cap
Rory Carr & Judith Ring
Anthony Carroll, Fergus Cullen, Gavin Duffy & Edward Kelly
Dave Carroll, Rory McCafferty, Graham Montgomery, Garry O’Neill & Gavin Prior
Roy Carroll
Christina Carter
Castrati
The Chalets
Cignol
Circle
Chequerboard
Cheyte Sing
Chokchai 3K Battery
Robert Christian
Chuzzle
The Clap
The Coldspoon Conspiracy
Rebecca Collins
The Connect Four Orchestra & The Redneck Manifesto
Gavin Corcoran & Fergus Cullen
Chris Corsano & Paul G. Smyth
Donnacha Costello
Count Tornado
Cousin Elias
Crayonsmith
Fergus Cullen
Dacianos
Daemien Frost
Deasy Mooneye
Decal
Deep Burial
Ed Devane
Devon Drounz
Dialect L—2
Directorsound
The Dirty Jazz Quartet & The Fire Music All-Stars
Double Adaptor
Dry County
The Dublin Guitar Quartet
The Dumbshow
Aine Dwyer
ebauche
Jimmy Edgar
John Edwards
Terry Edwards
Richie Egan
Electronic Sensoria Band
Elsworth Cambs
Empire
Estel
Exile Eye
Fairlights
Fancygoods
Female Hercules
Ferg & Monty
Daniel Figgis
Paul Flaherty & Chris Corsano
Paul Flaherty, Chris Corsano & Matt Heyner
Michael Fleming
The Flower-Corsano Duo
Formika
Josephine Foster
The French Letter A
Fringe
Fursaxa
gel-sol
Getaroom
Groom
Ewa Gigon
Giraffe Running
Giveamanakick
The Globotics
Gluefoot
Gorky from Croatia
Pawel Grabowski
Gregor57
Autumn Grieve
Larkin Grimm
David Grubbs
Grumm
Halfset
Hard Sleeper
Karl Him
Francis Heery
Herv
George Higgs & His Ostrich Orchestra
The Hollows
The Holy Ghost Fathers
Hulk
Nina Hynes
Ikeaboy
The Immortal Lee County Killers
Inches
Miriam Ingram
J’M’en Fous
Daniel Jacobson
Jansky Noise
Japanese Eye
Jape
Philip Jeck
Jenny & The Deadites
The Jimmy Cake
Kamchatka
L—3
Karl Him
Fergus Kelly
Kidd Blunt
Goh Lee Kwang
David Lacey
Lakker
The Last Sound
Life after Modelling
Keith Lindsay
Llenox
LMD64
Lomelindi
LPX
The Madpooka
Magnetize
Mahood
The Man & The Machine
Jeff Martin
Ian McDonnell
Dennis McNulty
Dennis McNulty & Tim Redfern
Mescalito
Ben Milstein
Ming for Yang
Mirakl Whip
Mr Creosote
Moloch in Tyrol
Mongolia
Mormons/Quakers
Rod Morris
Mother’s Day
Murmansk
Ciaran Murphy & Dermot Sheehan
Dorothy Murphy
Muttermal
Phil Naessens
Nagina
Nalle
Neosupervital
Neoteric
The New Heat/Obscured by Light
Nmperign
Northstation
The Nucleotides
Cian Nugent
Dara O’Brien & Ciaran Murphy
Mark O’Connor
Shane O’Donovan
Geordie O’Laoire
Hugh O’Neill
Paul O’Reilly
Of Course I Know
Sean Óg
The One Ensemble of Daniel Padden
One Man Bike
Papercop
Papercut
Petrolface
The Photographs
Phriz-B
Piratio
PKD
Plata y Plomo
Polly Fibre
Polska
Gavin Prior & Tuula Voutilainen
The Producers
Queen Kong
Sean Quinn
L—4
Red Square
Rest
(retards)
The Rhubarb Collective
Richer than Astronauts
Rigamarole
Rodrigo y Gabriela
Rollers/Sparkers
Jack Rose
Sadako
Safe
Sanso-Xtro
Sarsparilla
Schroedersound
Ann Scott
Secret Society
Selah
Shards
Similau
Simplicity
Skanger
Paul G. Smyth
Snowmachine
Solen
Somadrone
Soun.Din 2
Spearfish Art Collective featuring Barney Doodlebug & Tadzio
Spectac
La Specola
The Spook of the 13th Lock
Stafraenn Hakon
Steerage
Street Thunder
Sunroof!
T-Woc
The Telescopes
The Terribles
Thalamus
Thinker.Org
Thread Pulls
302 Acid
Tino Ras
Toirse
Tomutonttu
Toymonger
Tremors
Trihornphone
Triple Horn
Troubledsoul
Troum
22
The Tycho Brahe
United Bible Studies
Jozef Van Wissem
Velvetron
Vialka
Vibrolounge
Vibrotronics
Paul Vogel
Volcano the Bear
Peter Walker
We Are Knives
We Should Be Dead
Weapons of Mass Destruction
Wildbirds and Peacedrums
Windings
Wives
The Wormholes
George Worrall
L—5
Peter Wright
Xela
You Kiss by the Book
Z’ev
DJs
Johnny Alpha
Ross Carew
Adrian Carr
Emmet Cassidy
Cob
Cool C
Ferg Cullen
Don Rosco
Keith Downey
Gavin Duffy
Neilio Iglesias
Krossphader
Shaun Mac
Diarmuid MacDiarmada
Ian McDonnell
Johnny McMahon
Simon Milligan
Montezuma
Mossy
Mully
Naphta
Bryan O’Connell
Dr Alex Paterson
The Risc Record DJs
Skkatter
T-Woc
33/45 Revolutions per Minute
Paul Watts
Michael Wells
Jon Whitney
Mark Winkelmann
L—6
VJs
Delicious 9
Pixelcorps
CONTRIBUTIONS ABOVE AND
BEYOND THE CALL OF DUTY…
Ed Bermingham and all at Anseo
Seamus “Mossy” Carroll
Emmet “No-Face” Cassidy
Fergus Cullen
The Dermody Family
Mick Donohoe, John Mahon and the
rest of The Alphabet Set
Neil Donovan
Simon Dowling
Gavin Duffy
Michael “Grevs” Greville
Karla Healion
Joanne Kiely and all the good folk at
Tower Records Dublin
David Lacey
Elaine McCaughley
John “JMC” McCallion and
PowerFM.org
Eilis McDonald
Conor “Krossphader” McLoughlin
Dennis McNulty
Rachel Merrigan
Simon Milligan
Graham “Monty” Montgomery
Alistan Munroe
Barry Murphy
Conor Murray
Seamus Nolan, Lisa Marie and Hotel
Ballymun
Bryan O’Connell
Gavin Prior and the Deserted Village
Crew
Paul Watts
Dee Weiss
NO THANKS TO…
The International Bar
__________________________________________________________________________________________________________
(BACKGROUND) FROM POSTERS DRAWN IN THE INTERNATIONAL BAR ON THE BACK OF COMEDY CLUB POSTERS MINUTES BEFORE OPENING USING MARKERS AND HIGHLIGHTERS
L—7
L—8
L—9
L—10
L—11
L—12
__________________
EXPERIMENTAL JETSET “LOST FORMATS”. FIRST PUBLISHED IN EMIGRE 57
MEXICAN BOOTLEGS
MAXIMUM
JOY
EXCERPT FROM
THE METROPOLITAN COMPLEX
PAPER NO. 10
ISSN 2009-0455
M.I.A.
MYSPACE
THE RETURN OF
MYSTERY
M
M—1
M—2 ____________________
PHOTO: FRANCIS MCKEE
TOP TEN - DARREN
SHOCKING PINKS SHOCKING PINKS LP
PROPAGANDA 18. NOVEMBAR
BROADCAST HAHA SOUND LP
CHROMATICS IN THE CITY
TONY MONN CONCEPT WHO BUILT THE PYRAMIDS
ELIAS RAHBANI SONG OF MARIA
FRUIT OF THE ORIGINAL SIN COMPILATION LP
SPECK MOUNTAIN CHLORINE FIELDS
SILVER APPLES WALKIN
JESSIE EVANS SCIENTIST OF LOVE
POSTER: SIMON BERNHEIM
TOP TEN – MICÍ
ERKIN KORAY OLMAYINCA OLMUYOR
MUSCLEHEADS PHOSPHORESCENCE
WOODEN SHJIPS S/T LP
OORUTAICHI DRIFTING MY FOLKLORE
GLASS CANDY MISS BROADWAY
CZERWONE GITARY RYTM ZIEMI
ZOMBIE ZOMBIE A LAND OF RENEGADES LP
APB SHOOT YOU DOWN
FORCE OF NATURE TRADEROUTE
DEL DYZANTEENS GIRL’S IMAGINATION
MA
XI
MU
M—3
M—4
POSTER: M&E
MJ
OY
POSTER: M&E
Excerpt from The Metropolitan Complex, Paper No. 10, ISSN 2009-0455
Roundtable Discussion
Fergus Kelly, Dennis McNulty, Garrett
Phelan and Sarah Pierce.
On Wednesday 27 April 2005, the
following conversation took place in
studio 27 of Temple Bar Gallery in
Dublin. Sarah Pierce invited the participants to have an informal discussion. There was no audience present.
_____________________________________
<begin excerpt>
Garrett Phelan So we used to nod into
Stephen’s Green Dandelion Market.
Fergus Kelly
ritual.
It
was
part
of
the
Garrett Phelan We would go in and
check out the badges and hang out for
a bit. We were educated in North Great
Georges Street, in Belvedere, so you
were in the city centre all the time.
I remember the miners’ strike, and you
would have to go through the guys with
their buckets collecting, and there
was the H-Block marches. There was an
edge to it. Dublin at that point was
very, very, very rundown, and there
was a lot of social issues and economic issues going on at the time. It
was a very depressing place to be. The
New Wave Rave programme was on when
you went home after school, which was
quality
music.
You’d
see
the
Buzzcocks on telly and you’d see The
Damned. Or else you’d see Supersonic
with Marc Bolan on it. Our TV, kid’s
TV at the time, had the best of music.
Fergus Kelly Do you remember that programme Revolver that was on? It used
to have punk bands on it. And a
revolving stage.
Garrett Phelan And the pop quiz,
Jukebox Jury Pop Quiz. There was brilliant English TV coming in from UTV
and HTV, which is all Welsh stations
and Northern Irish TV stations. You
got great access to great music. But
I suppose the punk that I see today
is much more politically constructed.
They align themselves with a certain
kind of group thinking.
Sarah Pierce Like anarchy?
Garrett Phelan Right. Anarchy at the
time wasn’t formed in such a constructed way, like today. Back then
there was just a shift into being a
teenager and people just blew up basically. It’s like Richard Hell and the
Voidoids, the Blank Generation album;
that title really refers to that
age group of people that now are
between 42 and 44. They’re identityless
M—5
M—6
almost and that’s authentic for me in
terms of how I view punk. Today punk
is very different, heavily constructed. Black Flag is heavily constructed
as far as I’m concerned, in a way that
X-Ray Spex wasn’t.
Fergus Kelly It was more ad hoc and
shambolic really.
Sarah Pierce The association of punk
as anti-establishment or anti-authority makes me curious about how that
played out Dublin. If you think about
punk in London as a direct reaction to
the government or the monarchy, how
did that play out in Dublin?
Fergus Kelly You’re not that politicised as a teenager. To be honest,
I can’t remember how I felt most of
the time. You were still in the soft
bubble of the parental environment.
Not really in the world, so to speak.
Your biggest worry was passing the
Leaving Cert. That just seemed like
this insurmountable hurdle. It was a
source of considerable anxiety. Some
handled
it
better
than
others.
It depended on your parents’ attitude. In my case, fail the Leaving and
you’ve no future. A ridiculous thing
to say to a teenager, and such a pile
of shit when you look back on it.
Dennis McNulty I think it played out
economically. Living in a place like
London, economy-wise it was pretty
okay compared to Dublin where it was
completely depressed.
Garrett Phelan Really bleak.
Fergus Kelly London in the late 70s
was on the death throes of the old
Labour Government, with strikes and
parts of London becoming a health hazard with uncollected refuse piling
up, dereliction, unemployment, drugs,
violence... This was a key part of the
punk/post-punk jigsaw. It wasn’t all
about bucking against the pomposity
of stadium rock. Thatcher began her 11
year reign in 1979. It was pretty
grim. In Ireland, Charlie Haughey
assumed power at the same time, with
his famous speech about tightening
our
belts
during
the
recession.
Meanwhile he was spending thousands
on exclusive French shirts. This
coincided with a big swing back to the
right in the US with Reagan’s election
in 1980.
Sarah Pierce And still, economically
it was worse in Dublin.
Dennis McNulty Yeah, for example, all
that rhetoric that goes with punk rock
like buying cheap guitars — and with
rave music too, you know, ‘Buy a cheap
synthesiser and go off and make a
track in your bedroom’ — that reality
didn’t exist here because there was no
second-hand market. People didn’t
have the stuff the first time. So you
went trawling through the second-hand
ads looking for equipment and there
wasn’t any there.
Garrett Phelan We used to go into
Walton’s at the end of Parnell Street,
which was the only music shop open
Saturday. The poor guys behind the
counters
would
be
going
bananas
because everybody would doing their
‘Devo’- Mongoloid-like bass riff, but
no one was buying anything.
Sarah Pierce Fergus, do you think DIY
culture had a different meaning then?
Did bands have a strategy, ‘We are
going to be our own producers and turn
down the labels’, or was DIY more a
necessity?
Fergus Kelly It was a time, not just
in Dublin but elsewhere, where there
was a huge amount of innocence with
regard to record contracts and so on.
There was a lot of naivety about
producing. A lot of people got very
badly ripped off.
Garrett Phelan Mulligan was a label
here.
Sarah Pierce What is Mulligan?
Garrett Phelan Mulligan Records was
the main label here. The Boomtown Rats
were on Mulligan, and Looking after
Number One and Mary of the 4th Form
were released on it, I think. That was
all during the period at the Crofton
Airport Hotel. Then you had the Soul
Survivors on that label, and possibly
The Atrix and D.C. Nien, all these
different Dublin bands.
Sarah Pierce Who were D.C. Nien?
Garrett Phelan D.C. Nien were great.
The Atrix, they had a single ‘The Moon
Is Puce’. They were fuckin’ great
bands.
Fergus Kelly Let’s not forget The
Virgin Prunes. They were astonishing,
a genre unto themselves.
Dennis McNulty I found a website last
week where somebody is trying to
create a database of Irish punk and
new wave bands.
Fergus Kelly Is it historical?
…
<end of excerpt>
underground has 168 friends.
M.I.A.
M—7 _________________________
M—8
_______
180608
The
Return
of
I believe we are truly
Mystery
poised to take a step forwards in the evo-
A lot has been written in the last 10 years about how the art world itself has come to
mirror the music business in just this regard. Certainly we are currently living in the
age of the curator. Obviously, discrimination in music has been important for a long
time but with a return of mystery we will have to do more of the discriminating for
ourselves, becoming far more discerning in the process and thus ultimately becoming our own DJ’s/curators. Once this happens we will begin to programme ourselves
– rather than being programmed by others. On initially discovering them, I found that
STEPHEN RENNICKS
the genres of electro/techno/house offered an appealing anonymity. I would only listen to
these sounds in a club context, and a good DJ could blend it all into one piece, thus making it a truly ‘collective’ effort. Up to that point I had been more of a guitar music fan – I had
liked some of the more maverick electronic artists but they weren’t the kind of artists I was
generally hearing in clubs. So, one of the reasons I stopped buying the weekly UK music press - another thing of the
lution of music.
On a basic level I see current changes offering
a chance to free a new generation of artists from excessive ego satisfaction
and from commercial pressures. However, far more interestingly, I see the
potential arising for the return of mystery – giving us a chance to be curious
about music and its artists again. Making us go to the music, seeking it
out, rather than it coming to us and having to fend it off. This will not happen over-
past - was that they did not write very much about this new music that I was discovering. It was in independent record shops, or in
a relatively quiet corner of the club itself that I finally started to get names to go with these amazing and mysterious tunes. It was
truly a word of mouth thing for me then and all the stronger for it when a DJ himself would tell you to check out so-and-so, or when
a friend passed you a freshly burned CD. During this period
night. Commercial pressures persist, while some artists only use MySpace as another way to publicise more
minutiae about themselves. But perhaps a new movement of happy-to-remain-anonymous artists who pursue
music more as a hobby may emerge, or professional artists may use the ease of digital distribution as a chance
for the proliferation of side projects and collaborations to stimulate their creativity. This is already happening
but it could become the driving force of new music. If so, the medium will certainly have formed the
message and in this case, I believe we will be onto a good thing. Some time at the latter end of the 20th Century, one
of discovery, I learned again the old adage that
when we are left to our own devices and cease to be
spoon-fed, what we uncover for ourselves we take
deep within us. The less exposed it is the more we
feel it that it belongs to us. This equation works in
all circumstances and cultures. We all know that all
you have to do is ban something or artificially limit
its availability in order to see its popularity increase.
of the pioneers of electronic music, Alexander Robotnick remarked on the evolution of how we consumed music thus: “In the ‘60s
and ‘70s there were no music genres but the fundamental ones such as jazz, rock, classical and easy listening. Each band or artist
was a different thing. Then there were those who imitated them. Today if you imitate an artist you’re not considered an imitator but
someone who belongs to that music genre.
Sure, it’s not the
same as the old days; I loved hanging out in record shops
as it was never just about buying the music. Chat rooms
and online forums aren’t the same, but this is also evolution
and once you stop changing you die. Reaction follows
action and right now this is where we find ourselves.
“This ‘collectivisation’ of artistic expressions kills
individual ingeniousness and depresses the quality level. Now there are
thousands of artists who all sound alike and can only be distinguished
by the music genre they make. The audience is confused and no longer
interested in artists and ends up relying on DJs who therefore become the
real bosses of the music system.” This doesn’t sound particularly positive...
more like another step on the path towards the death of originality in
music. And since that time, the sheer volume of music and artists
now on offer ensures that we continue to rely on DJ’s and tastemakers
to pinpoint and publicise the best for us.
M—9
M—10
And that, in my opinion, is deep in the
most retrospective of ages. We live in a
time when every artist and scene gets its
own documentary, its own retrospective
and reunion tour. And this in turn goes on
to influence another generation of ‘new’
artists. Pop has always been on the verge
of eating itself but never so close as today;
witness the ‘behind the scenes’ information and ‘access all areas’- type insights
that we now expect from contemporary
The nature of this expectation is, I believe,
artists
in
every
genre.
engendering the certain death of mystery in the arts in general. This revealing of ‘the truth’
has only lead to cynicism - which is now rife, and infecting every aspect of our lives... we
know all of the ‘how’ but very little of the ‘why’. The time seems ripe for something new to
come along – a radical change is overdue. Another more challenging aspect of this process that I
want to examine here is the end of the complete work of art and the removal of context from same. As an
artist who still makes artefacts, I have great sympathy for the views of a musician like John Reis from Rocket
from the Crypt who says on this subject, “We put together a CD, we package it, and we release it. Now
there’s no finality to it at all. It’s just an entire catalogue of music that you can just go and get. I think if a
band doesn’t want to be involved with that, they should have the power to say, ‘I don’t want that.’”
In further reference to ‘the virtualisation of the musical experience’ Reis goes on to say: “A lot of my feelings are based on reading
other people’s reasons for using it: ’The labels rip off bands anyway. The only way bands make their money is from playing live’...
but this is a sixteen year-old, middle class kid in his bedroom, telling me what I’m doing? You do not dictate the way I release my
music and the way I want my art to be presented... I would condone breaking into record stores and stealing our records before I
would condone someone downloading it from Napster. At least they‘ll have the actual record you know? And they‘ll hear it the way
it‘s meant to be heard.” Context, as ever, is everything. So in this transitional period
we must keep in mind that we are not always getting the work as the artist
intended. Of course this loss of context could have positive aspects also,
insofar as we will ultimately have to create our own context. And the artist
will have to adapt to this new paradigm along with the listener. Since 2005 I have
been championing just this type of group, Drexciya and all of
their related and ongoing projects. My website ‘Drexciya
Research Lab’ reviews and archives their work and also
explores the meanings which I personally take from their
intriguing music. The artist Ellen Gallagher has also used
Drexciya as subject matter for a series of paintings entitled
‘Watery Ecstatic’ (2002-04), while the noted artist and filmmaker
Kapwani Kiwanga has used them as subject matter in her
‘Atlantide’ (2008) film. Although this Detroit-based duo did
leave artefacts of records and CDs behind them during the
course of their operations between 1992 and 2002, they rarely
did interviews, and never played live, nor did they even reveal
their identities during the group’s lifetime. One of the duo was
only identified in death. James Stinson died tragically in 2002 of
heart complications and brought the group to an untimely end.
In my opinion Drexciya have been proven to have been well ahead of their
time in their truly underground attitude. Stinson’s musical partner - Gerald
Donald aka Heinrich Mueller - has in recent years taken advantage of
internet technology to more fully embrace the virtualisation of music and its
inherent mystery, and he is now involved with at least three solely
MySpace-based projects at time of writing. Still rarely interviewed, he has
begun to play live, although he insists on wearing a mask when doing so.
My ‘Drexciya Research Lab’ site communicates my instinctive reactions to how
I feel about this group. It gives no clear answers and only makes me question
further. This is nothing new – think only of the puzzles set by the lyrics of Bob
Dylan to his fans in the 1960‘s – but it’s where I and others now find ourselves,
and we are all looking for our own subjective answers. Drexciya’s conceptual
approach employed the metaphor of a storm to describe a life-transforming
process when (in 2000) they unleashed sevens albums on seven different labels
around the world in one year. James Stinson said of his catalogue that “all the
records we’ve made give you clues, how to tap into your inner selves. We bring
you right to that door and give you the key. We’re doing what we’re able to,
dropping messages from day one without getting too deep and scaring people
off. We can only hope that people will pick up on what we’re doing.” Fittingly
their storm maxim was ‘Don’t Be Afraid of Evolution’ – as to overcome fear is
always the key to evolution. I can’t think of a more fitting message to leave you
with concerning this subject.
Afraid
M—11
M—12
Don’t
be
of Evolution.
No Age
PHOTOS BY DEAN FROM
N—1
N—2
NO AGE
N—3
BERLIN
BELFAST
VANCOUVER
DUBLIN
N—4
N—5
BARCELONA
LOS ANGELES
LONDON
SEATTLE
N—6
On the record
Onement
o
O—1
Judging by recent business deals, music
and media companies see plenty of
potential in music blogs.
Universal Music Group has invested $25
million in Buzznet, the company which
recently acquired high-profile music
blogs Stereogum and Idolator. UMG see the new partnership as an
opportunity to be “directly involved in
developing editorial programming”. It remains to be seen, however, if this
means UMG artists will get preferential
treatment in reviews.
In recent months, there has been a huge number of buy-outs, takeovers and
investments involving music companies as they seek to diversify their portfolios.
This, though, is the first move by a major label into the hitherto uncharted waters
of music blogs. As a result, the UMG-Buzznet hook-up will be watched closely for
conflicts of interest, reader unease about the lack of editorial independence and
how releases on other labels are treated. Other sites in the news this week were the excellent RCRD
LBL, which is joining forces with print mag The Fader,
while Paste magazine announced it was bringing 11 music
and movie blogs, including Pop Matters and Virb, together
under the Paste Nation banner to pitch for advertising.
Meanwhile, a Business Week profile
of Pitchfork estimated its annual ad
revenues at $5 million. Some sites have capitalised on their
ability to attract bigger audiences
On the record
by adding self-generated audio and
April 25, 2008
Universal takes a giant step
video streams to their sites and
into the blogosphere
turning into quasi radio or TV
Filed under:
Media, Music business
channels.
– Jim Carroll @ 9:37 am
For media industry investors, though, the real appeal of
music blogs lies in how they act as filters to attract a
highly targeted audience.“Sites like MySpace are so overarching and so mass, this (RCRD LBL) is much more of a
targeted community,” said Fader Media’s Andy Cohn in an
interview with Advertising Age about the rationale behind
their deal with RCRD LBL.
Expect more of these deals in the coming months.
O—2
—————————————————————————————————————————————————————
To: “microsound”
From: “Dennis McNulty”
Hi all,
I’m working on a project and I need to do a short
run (50) of 12” vinyl. I’ve tried a couple of places
to no avail. Does anyone have any idea of a pressing
plant that would offer such a short run? It doesn’t
need to be economically viable from a sales point of
view.
—————————————————————————————————————————————————————
From: “Michael Palace”
I have used http://www.urpressing.com/
for two releases of 200 and 300 copies each.
—————————————————————————————————————————————————————
From: “jwind”
Check also:
www.*duophonic*.de
—————————————————————————————————————————————————————
From: “Arjen Schat”
Hey Dennis, try Vinyl Cuts:
http://www.vinylcuts.be/
They start pressing at 50 pieces and ship worldwide.
—————————————————————————————————————————————————————
From: “david.microsuoni”
Hi, don’t know if this was already announced, would
like to know what you think of it.
It seems to me the prize-winner elitist item of the
year.... :-)
Is it medieval courtliness or maybe only an arty
provocation?
>Onement is a new label who releases one-copy
records on vinyl (but its also open to other
formats), run by Paris-based musician Sylvain
Chauveau (Type, FatCat, DSA). Each recording is
single and there will be no other pressing ever.
Even the composer wont keep any copy of it. The
ROBERT HAMPSON one-copy record is available now.
The deluxe packaging is a black altuglass box made
by graphic designer Nicolas Couturier. There will
be no other copy ever of this recording! Even
Robert Hampson himself wont keep the masters after
he will perform the piece live once. Its a real
collector item.
—————————————————————————————————————————————————————
From: “Paulo Mouat”
Didn’t Jean-Michel Jarre produce one such release,
“Music For Supermarkets” in the early 80s?
O—3
—————————————————————————————————————————————————————
From: “steinbr”
In my opinion it’s not a very exciting object… dj’s
produce dubplates every day. I also really seriously
doubt that the composer will destroy the masters.
How can one control that he really does this?
Why would it make sense to have this also in any
other format (cd, dvd, digital, mp3, usb stick…
whatever)? In all these medias it’s completely
impossible to control the amounts of copies made.
If one finds such a project interesting, then I think
vinyl is the only way to go... besides I also doubt
that Robert Hampson will perform the piece only once.
Antti Rannisto will do one of the next records and
he’s looking for several gigs in and around Europe:
So, does that contradict the original idea? And after
all isn’t every improvised concert only performed
once? Just because it’s conceptual, it doesn’t mean
it has to make any sense (or be any good)…
—————————————————————————————————————————————————————
Ah ok, surfing the website I discovered they already
did a CDR in 100 copies (?)…
“4’33” is the first record of Onement (number: 1.0).
Its oneness is in the tracklisting: five times the
same piece. It’s a very limited edition of 100
transparent jewelcases with numbered, white CD-R
(additional promo copies are sent to very few
journalists), and there will be no reprint.”
So why not 100 different copies of 100 different
concerts? :-)
—————————————————————————————————————————————————————
From: “Glenn Folkvord”
>Didnt Jean-Michel Jarre produce one such release,
Music For Supermarkets in the early 80s?
Yes, in 1983. One single LP was pressed, with label
and cover and inner sleeve, then auctioned off for
art charity at Hotel Drouot (sp?). The master acetate
plates were destroyed by fire under supervision by
a police representative.
JMJ earned an entry in Guinness Book of Records
for this promotion, which in reality was an art
statement.
—————————————————————————————————————————————————————
From: “Matt Tierney”
There is a part of me that likes this idea since it
gives value to the valueless and reproducible merits
music has inherited through digital media. Rarity
creates value. Even packaging can be unique and rare
enough, I think, and this will sustain the value of
the recorded media.
But I can’t help thinking these are blankets we apply
to music to try and make it more like a painting, or
a sculpture, or a book, and we miss the true nature
of sound and music and fail to capitalize on it.
Is there not some kind of battle between music and
the plastic arts, where music attempts to raise
itself to the realm of material objects? Music is
invisible. It is not beheld. And yet we want to give
it a cover. A container. Every musical note ever
disappears into the air. Every sound dies. This need
or want to capture and record music and present it
as an object worth more than its worth to me seems
somehow flawed. (see EMI’s attempt to sell Radioheads
back catalogue on a usb stick)
Music has been portable for over a century now. Music
moves with its owner. Videos now view on the move.
Paintings could perhaps occupy the same space as
portable photo containers such as an iPod or portable
photo viewer. Why not carry collections of images of
paintings alphabetized and organized by subject, for
instance, on an iPod? Artists could release jpeg
collections.
How about an archive of every painting ever? Any
painting caring to be documented, released on a 10
disc box set DVD. Or, is the internet the ultimate
archive? Why the need to download? Is downloading
dead? Should we merely access the archive rather than
continually copy it?
Paintings where reproduction is not the sole notion
at hand become rare. But a painting that came with a
CD? Then what supplements what? Sell your new album
with original paintings? Kenneth Goldsmith says CDs
are dead. If it’s not on the internet, it doesn’t
exist. If a unique recorded musical object does not
make its way into digital transference, then it does
not function sonically in the wider social sphere.
Like ornaments it remains chained to the mantle
piece, and limited to personal listenings and
intimate hearing sessions.
I imagine a browser automator, or navigator. And a
streamlining or protocol developed in access to
internet music/art. Sites become albums. Each track
has a visual counterpart if this is necessary.
The artwork is digital.
It’s video. And image. Text. Animation. A site could
simply be a generative program and this is an
‘album’, a ‘record’.
In a networked loop of internet album sites, controlled by a hub, and perhaps navigable from a simple
remote control, could password protection not be an
answer? You are simply paying to access the site over
the control network. What need is there to download?
itunes coverflow, now Leopards ‘Finder’ is a good
example of how it could possibly function.
The music is to be inseparable from its location at
its internet address. To take mp3s and run would be
to miss a large part of the ‘picture’, so to speak.
And since we are moving in a completely portable
wi-fi direction, this too can be portable.
O—4
In a home context, and perhaps over more immersive
systems that include video projections and 5.1/7.2
setups, the focus is a much more spatial experience.
To me netlabels are flawed also. There needs to be
some kind of hub which can unite musical websites.
So if I put the addresses of netlabel x, and netlabel y, and netabel q, into the hub, I basically have
a play list, or simple way to hit Next> or Back<
between netlabels/sites. With thousands of netalbels,
having all these albums and hard-drives clogged with
data seems to me a waste. And a waste of time sitting there downloading them all. The process should
be automated. I should only have to press play.
I feel like the portable hard-drive is a passing
phase for digital collections. They will become
necessary only for personal data. The collection of
data seems to me an obsolete process. We should only
need to access. Streaming should replace downloading.
Which brings me to a central point: the environment.
Wasn’t an initial promise of digital the promise of
less materialism/? Now that we had pdfs, who needs to
print? But now printers are more ubiquitous and cheap
than ever before. Computers and the internet offer
music a way to shed its material skin for good.
In a world of growing environmental crisis, to me the
creation of billions of small plastic discs and cases
is redundant. How many ways can u dress up a plastic
tray to convince people it’s worth buying?
The internet can still create rarity for music,
I think, and purchase - without material form - the
way to achieve it seems to be in a way to limit its
access. (Anyone ever cracked the iTunes store or
figured out a way to score free downloads?)
—————————————————————————————————————————————————————
From: “Eric Mattson”
Uwe Schmidt, Atom Heart , did a one copy CD, which
was sold to a Collector for 1500 USD or something
like that. He did the same later with 10 copies of
a CD which were sold for 150 USD.
A way to get, at that time, the same amount with one
CD sale instead of fighting for selling 1000 CDs for
the same result.
Also, there are many one copy LPs out there made by
people having cutting machines. I have one of
Francisco Lopez by instance, one from Thilges and
some others.
Nothing new under the sun!
—————————————————————————————————————————————————————
Some artists see the music creation process as
something almost physical. Mentally, they sculpt and
knead sounds/melodies/rhythms as if it were clay or
wood, chopping away bits and gluing pieces on.
One artist compares sound design and composition to
making food in the kitchen - blending spices,
achieving textures, processing for new taste, etc.
The mass reproduction of music has reduced its
art-ness from that of a single sculpture or painting
to everyday groceries, butter and milk. If music is
art, why can it not be represented by one single
embodiment, after all it must be fixed on some kind
of medium to be enjoyed by others, whether it is a
CD or coming from a piano. Paintings are also ideas
in someone’s mind but must be fixed on a medium to
be enjoyed.
—————————————————————————————————————————————————————
From: “steinbr”
>Hello all, Im Sylvain
one-copy records label
a link to this network
the one-copy record of
released.
Chauveau, the man behind the
Onement. Ive received today
of comments, talking about
Robert Hampson that Ive just
Dear Mr. Chauveau, thank you for your kind and
detailed reply. Very interesting to read your point
of view concerning the project. And of course all
your arguments are all very valid...
>First thing: please forgive my broken English.
Then: those comments I can read seem really very
interesting to me, even if it mostly says that my
concept of one-copy records kind of sucks.
I don’t think your project sucks, I just don’t agree
with it and I also ask myself if it’s necessary to
have a project of this kind in the field of music.
>After all, thats really OK because from the day I
decided to make this crazy thing come true I knew
that I was accepting to hear also tough critiques
against such a concept. And, from what I read here,
its not that tough, though no one seem to think my
concept was a good idea. The first message I see
asks is it medieval courtliness or maybe only an
arty provocation?
Ouch! I think I want to answer this. I dont
understand the idea of medieval courtliness and
what it could have to do with an LP, sorry (if
someone can explain that to me...). As for the
provocative aspect: no, no provocation in my
attitude. The original idea is to make the same
thing with a music recording as with painting or
sculpture, precisely. To make it unique. This is
not a provocation. Its just that I can appreciate
painting very much.
And why is it that you can appreciate painting (or
any other art form) very much? Did you see every
painting that you really like in real life or do you
also have stacks of art books and similar items with
reprints of these paintings at home (like I do)?
Did you ever see a painting reproduced in a book
which totally fascinated you or touched you in some
other way, but without ever seeing the real thing
itself? I can only speak for myself, but I would
guess that about 75% of all the paintings, objects,
photographs, whatever other art form there is I have
only seen reprinted in books without ever seeing the
original piece of art. For instance I really like the
work of modern German painter Timeitel, but have
never seen one of his pictures in real...
>Who claims that selling a painting $40.000 is a
provocation? Why should it be provocation to sell a
unique recording of music (and of course I dont
mean the Robert Hampson recording is sold for that
price)?
That’s not provocative at all, but even if a painting
is sold for this price you’ll probably be able to
find it’s printed in some catalogue or any other art
book and therefore also possible to enjoy for the
poor. This is exactly my point... you don’t give
the people that enjoy the work of Robert Hampson the
possibility of hearing his composition. It’s not that
the original vinyl is sold as a unique object in the
edition of one, but in addition with (for instance)
the possibility of downloading (for money or free
doesn’t matter here) the tracks (or similar)....
No, it’s the one object. One live performance and
that was it... if all the painters and artists, etc.
would choose this path I for instance wouldn’t know
the work of Mark Rothko or Bernd & Hilla Becher
or most of all the other artists I admire and am
influenced by...
>Is music really lower than other arts?
Not necessarily, but does this matter? Is music art?
When is something art? When not?
>The immediate answer will be that a recording can
be reproduced, and that a painting and a sculpture
cant. But we all know that video and photography,
who are totally reproducible, are accepted as works
of art and sold in the art fairs as well as any
fine arts. All those who think that a one-copy
record is a joke should also shout against the
market of videos and photos at 5 copies sold
$10.000 each and maybe they already do?
See above...
I also read: Prize winner elitist item of the year.
This points at one of the problems of my concept.
Of course, as we press only one LP, it will be
expensive to make, and expensive to buy. Thats a
bad thing. I admit. And people like me, or other
fans of the composers who will play the game, wont
be able to buy the LP. But, please be honest, who
did regret this about painting?
I regret this fact about a lot of objects of arts.
If I would have the money (and space) I would have
loads of paintings, photographs, whatever around in
my living space... for instance, if I would have
enough money I would love to own every release by
the label en/of.
My main criticism there is that most people really
enjoying the music side of these editions can’t pay
the necessary cash and I assume (maybe wrongly) that
many collectors acquiring these pieces just do it for
the sake of collecting and owning.
Luckily the label released a nice catalogue with
three CDs (a sort of compilation of their past
releases) documenting the editions. Excellently done
and therefore making it possible for people with less
$$$ also to enjoy the pieces...
>Here I must explain a few simple things about the
Onement label: I do press a real vinyl, not an
acetate dubplate (Mr Steinbruchel) which makes me
pay for a mastering and for as much as for 300 or
500 copies. But Ive decided to do like this because
vinyl allows a better quality of sound and less
wearing away (do we say like this in English?).
This is great, but also why not make 300 copies if
you pay the same price anyway? I would be happy to
buy a copy...
>50% of the price I sell the item comes directly to
the artist (the composer).
I’m wondering how you define the price of the
object and how you intend to sell it... will it be
auctioned?
>I give the artist an advance when he starts creating a recording for Onement: so that he is sure to
get a bit of money whatever happens after he finishes his work.
That’s very honourable of you... concerning money in
the field of experimental music, I’m always wondering
why many artists that make music expect to be able
to make a living from it... it’s just a basic fact
that if you make difficult music that only sells 500
copies that it’ll never be enough to cover your daily
expenses... as you won’t sell more CDs probably not
more people will attend the performances and thus the
fees won’t be very high... all very logical and in
my own personal opinion also ok (at least for me).
>The artist is totally free of the artistic choices
of his work, and the duration and artwork are
decided with him (thats why its even possibly open
to other format than LP, Mr Steinbruchel, even
though vinyl may be suggested first).
To end up, I can say that Onement is of course also
a reaction to the supposed disappearance of the
disc format. You may disagree with the concept, its
OK, but at least one can admit that its a try to do
something when few people know what to do this real
mutation.
Yes, you are completely right there and therefore
I also don’t think the project sucks. As mentioned
above I just disagree with certain points...
>Also: Yes, I heard that Jean-Michel Jarre did sell
a one-copy LP in 1983. I dont pretend Im the first
one to have the idea. And I even hope I wont be the
only one to make it. Come on guys, Im a musician
too. We all know how hard it is to deal with a
label (small or big) and control everything on your
record and get paid. How many times did you do 500copies CDs without getting a single dollar on the
sales? At least I give some money to the artist,
from my own pocket. And if the records are not sold
after a few releases, Ill end up broke as hell.
Well, good luck then :)
>And a composer such as Robert Hampson wouldnt have
agreed to release another 500 copies CD, partly
because he was fed up with working 8 months on a
piece and not getting paid at all when its out.
See, that’s what I don’t understand. What does he
expect? To be paid for the eight months of work? In
this case lots of labels would owe me muchas $$$!
O—5
O—6
>Can I can control if the composer will destroy the
master? Well, maybe I could do like Jean-Michel
Jarre (master destroyed under supervision by police
representative). But seriously I wont. I trust
Robert Hampson and all the others who will do a
work for Onement. I dont think its their interest
to make copies of their own recording who will be
sold as unique.
That’s not my point... I haven’t said that Robert
Hampson will not destroy his master to sell
additional copies. I just assume that he’ll keep
the files to maybe have another listen in 10, 20 or
30 years. Or maybe also play it for a friend or
whatever... and there the concept already doesn’t
really work anymore.
Of course I only assume these things and therefore
I might be completely wrong... but my assumptions
only come from my own believes and how i handle my
own compositional work.
>The Onement concept brings me back a lot of comments, either very good and enthusiastic or very
bad, and sometimes insulting (well, thats part of
the game). Anyway, the next one-copy releases will
be by Antti Rannisto, Keith Rowe, Sebastien Roux,
John Tilbury, and by Pierre-Yves Mac.
It’ll just be a shame to have so much (probably)
good music made for (almost) no one to hear. in this
case I very much agree with David from Microsuoni...
how did you do it with the Robert Hampson release?
Have you listened to it just once? Did you not make
a copy (file, recording, etc.) for yourself?
>All of them elitist, medieval provocators?
Who? The artists producing the music? The individuals
buying the piece? You as publisher?
>You tell me.
Thanks again for your openness in your reply.
PS: I think it would be more conceptual and true to
the project if your myspace page wouldn’t feature any
excerpts…
—————————————————————————————————————————————————————
>Is music really lower than other arts?
Well it isn’t, it’s just different. What I love about
music is that I can hear a music work on my own,
that everyone can own it, that it’s a popular art.
Painting and sculpture, as beautiful as they are,
are elitist. Most artworks are owned by private
collectors and will never be seen by other than the
rich owner and his friends. And I could not even fly
around the world to visit museums and galleries, I
cannot afford that. So I am a little worried if the
future of music is to be like painting or sculpture.
I do not have any problem (obviously) against the
artists who are releasing one copy music works, and
I can understand that they are getting a payment
which is not always paid with standard releases,
but I do not see this as a solution to the supposed
disappearance of vinyl/cd.
Anyway I do not think that your label totally sucks:
what I surely liked is that it tries to put back
“value” into the music work, when we know that
digital file-sharing is spreading the idea that music
should be free.
—————————————————————————————————————————————————————
>not necessarily, but does this matter? is music
art? when is something art? when not?
This kind of argument only throws the discussion in
the gutter and serves no purpose :-)
>itll just be a shame to have so much (probably)
good music made for (almost) no one to hear.
Nobody has a “right” to hear any music. While I too
hate to not have access to good music, someone who
decide to release their music in only one copy
because they have a good motivation behind it, just
like painters and sculptors do most of the time,
makes a statement *and* a release (albeit limited) at
the same time, and they are just as valid for doing
so as those who reproduce their work in thousands or
hundreds.
The idea that music *should* be replicated and
*should* be available for more than one or few persons is, in principle, nothing to pursue.
—————————————————————————————————————————————————————
From: “mic”
Last year, with my band ENT, we released a one copy
picture 10” for the exibition EVIL/DEVIL of our
friend Rekal|Davide Zucco
We played the music of the 10” the first day of the
exhibition and then the record was played in the
installation during all the others days. We made also
100 copies 3”CDR (with a handmade cover provided by
the artist) with the 2 track of the record + 1 bonus
track.
I think that was a nice experience and good way to
do a “one copy” without being provocative. Of course
the 10” is not for sale... not everything has a
price :)
—————————————————————————————————————————————————————
From: “babilano”
I said I would respond later this weekend and of
course work, life, laziness and a problem with my new
firewire audio interface prevented me from doing so.
There’s also this thing about stating the obvious
or never quite being satisfied with how I formulate
certain thoughts. No education makes one very
insecure in the theoretical department.
Enough excuses.
To recap: Visit to the (disappointing) Van Abbe
museum, discussion w/American who tried to impress
us intellectually and made the statement that:
“Art should be essential, not just interesting,
entertaining or even educational”.
I didn’t really see how that could be accomplished
and his answer (“that’s for each individual artist
to decide”) not very satisfying. He said artists
should do more to make their work accessible and I
agreed with that. The museum had a lot of works
there without any explanation or clues as to how to
interpret them. Only two people responded to the
questions I sent to the group and I can understand
why. The questions were not specific enough and
I don’t ever fill out questionnaires either.
One question I asked was: “do you care if people
understand what you are trying to do?”
O—7
Paulo Mouat answered: “No. Define ‘understand’…
It’s a lost battle if you expect a thorough
understanding, it’s pointless (and prone to
subjective misconceptions) if you settle for anything
less than that.”
Yes of course, I think you’re right but many artists
just put stuff out there and don’t give any
explanation about the work when some information
would be helpful to get a sense of the meaning of a
work. Define “meaning”. For a musical work this is
far less important, I think. The Beethoven story was
surprising to me because an emotional reaction would
seem a great compliment for any musician.
Laura Mello wrote: “How essential is your music?
It comes from/is my essence.”
To me that is about as essential as you can get but
still hard to attain, it’s what makes great art,
especially in music.
“Do you make an effort to get your music heard
beyond the small crowd of illuminati?”
Laura again:
“Actually, no. I would like it to be heard beyond
this small crowd, but I also don’t like the idea to
commercialize it in the sense that I should come to
the public and tell them “listen to me”. I think
people should also be used to want to look for
something new and not always wait for the “new” to
come to their computer monitors. But that’s a very
personal opinion. Maybe a balance between both (being
accessible to the public, but not being imperative)
would be the best.”
Yeah, I remember the obligatory visits with my class
to museums with disgust. I suspect people are less
interested when something becomes more easily
available.
ps: I’m still curious to hear from others how they
feel about bringing their work to the public. Is it
pearls before swine?
—————————————————————————————————————————————————————
From: “Xdugef”
That puts the listening audience in a pretty
diminutive position, doesn’t it? It’s granted that
not everybody needs to hear your work but if no
effort was applied then no-one would hear it but
yourself.
For me personally I sometimes get more of a response
from an unsuspecting audience than I do from one that
is jaded... but I’ll play in front of any audience
for the most part... I won’t despise anyone for
listening. If the audience cannot appreciate the work
on some level then what’s the point… even if the
work is incomprehensible to the layman it should be
impressive in its incomprehensibility.
—————————————————————————————————————————————————————
From: “Eric Mattson”
When art objects are unique, their availability
through reproductions expand the accessibility to
art. Here we are facing a unique object, which, by
its unicity and media it is made of, can’t be reproduced, except digitally. And if downloads would be
made, this would give no interest any more to it.
Producing myself limited editions, not by will, but
for financial reasons, I would be glad if sales would
be so any of these limited editions would have a
second life... re-edited as hard copies of course.
—————————————————————————————————————————————————————
>That puts the listening audience in a pretty
diminutive position doesnt it?
Yes, you are right. I knew I shouldn’t have quoted
Jesus, bad idea. My mother was always telling me
I should leave people in their worth (freely
translated) and not argue about taste.
I’ll try again. Most people would consider the music
made by the artists on this list as difficult and
not meant for them. In talking with people about the
music I was playing as a DJ I have heard my records
described as music for experts, Art music, VPRO music
etc.
Do you feel it matters if your music is not heard
outside a small group of cognoscenti? Can that
ever change? Or is it like expecting a monkey to
appreciate the taste of ginger? Just kidding.
—————————————————————————————————————————————————————
From: “steinbr”
>This kind of argument only throws the discussion
in the gutter and serves no purpose
Yes, it was also more tongue in cheek, then really
having an in depth function...
Nobody has a “right” to hear any music.
That is true...
>While I too hate to not have access to good music,
someone who decide to release their music in only
one copy because they have a good motivation behind
it, just like painters and sculptors do most of the
time, makes a statement *and* a release (albeit
limited) at the same time, and they are just as
valid for doing so as those who reproduce their
work in thousands or hundreds.
Yes, this is also completely true...
>The idea that music *should* be replicated and
*should* be available for more than one or few
persons is, in principle, nothing to pursue.
And yes again, this is also true... but it’s also
true that the microsound list (and any other forum)
is here to discuss thoughts and exchange opinions and
feelings about certain things and themes... therefore
I see no problem in me expressing my thoughts to
this concept.
Of course you don’t have to agree with all this...
—————————————————————————————————————————————————————
From: “ieva”
I’ve began music from free software hacked by friend
of mine in computer university, no money, it’s just
a way with that kind of sound to be more near from
my perception and sensation… and I think from the
beginning, that kind of tool is open to everybody to
say what they, feel, live, and it’s open to every
body feeling, so one copy is jerk off for people
seems to believe that definition of artist is ego,
and it’s that open it to everybody, everybody has
something to say about their individuality, one copy
is shit as money is shit, only love and partage for
everybody, copy and copy
O—8
—————————————————————————————————————————————————————
From: “Michael Palace”
What about a program that creates a unique one-off
for a person? It provides the best or the worst of
both concepts. Mass production of music, yet a
personal unique copy for the individual. The art is
in the program and not the specific music piece.
The program that I was working on that I mentioned
in the physics/universe creation end discussion
follows this concept. I am sorry, I have had no time
and made no progress on getting the program up and
running again. I feel I might have killed that music
discussion thread due to my inactivity on program
progress.
—————————————————————————————————————————————————————
From: “Daniel Bennett”
It’s an odd idea, and I’m surprised someone like
Keith Rowe with his background in pop-art would go
for it.
The thing about recorded music on vinyl (or CD/
digital media, etc.) that marks it out from painting
etc. is that it’s very production entails
reproduction. If you were to sell the master 8 track
tapes or something similar then the concept would be
more consistent - but what you’re selling is already
a copy - and the process requires that you make 300
copies. Each of those copies will be more-or-less
perfect. There is no loss.
If you photograph a painting, you fix it under
specific lighting, at a specific perspective, with a
particular grain, and you change its surface from
canvas to PC screen etc. If, on the other hand you
produce another vinyl copy from the master you’ll
have another copy indiscernible from the “original”
one off disc that you sold. That potential is always
there and doesn’t go away because you declare it an
edition of one.
As for trying to raise music to the level of the
other art forms, this effort looks a bit like a
training a labrador to eat hay and live in a stable
- it’s still a dog, just a dog that looks a bit
funny. I don’t see what is gained by only having one
copy - I don’t think you regain some kind of
Benjaminian “Aura” because as I say, the *potential*
for perfect reproduction remains untouched. Since
reproduction is written into the definition of
recording, this looks like an attempt to raise a
“low” (because economically inclusive?) artform to
high art by simply mimicking the conservative (and
economically exclusionary) practices of fine art.
I don’t think you’re being intentionally elitist, but
I do feel that you have to think very hard about why
you would take a comparatively inclusive mass-media
form and go out of your way to make it inaccessible.
You’d have to get a pretty decent aesthetic payoff to
justify the effort and the effects.
—————————————————————————————————————————————————————
From: “Frank Barknecht”
I agree a lot with what you write, however in this
part I think it’s important to differentiate between
music and a recording of music.
Music (not the recording) already is on a very
different level from art forms like writing, painting
or photography because unlike these, music (because
of its roots as a performance art) doesn’t require an
actual physical artifact. You can just make music and
then it’s gone.
—————————————————————————————————————————————————————
From: “Bill Jarboe”
>VPRO music etc.
‘Very Proud Reactionary Room Organization’ (?)…
compacted anti-art stance with just a hint of
conservatism, out of harm’s way where it won’t cause
any offense or damage…?
Though really, what does it mean: Video Promotion?
—————————————————————————————————————————————————————
From: “Owen Green”
>Do you feel it matters if your music is not heard
outside a small group of cognoscenti?
I’m much more concerned with the activity than the
artefact, so I’m relatively un-bothered about who
comes to my shows, buys my offerings etc. compared
to wanting to engage more directly with as wide a
range of people as I can, especially non-specialists.
I’m certainly not attached to the idea that
developing a taste for ‘difficult’ music is, in and
of itself, character building or some such guff.
—————————————————————————————————————————————————————
If I make a backup copy of it, am I destroying the
onecopy in doing so? ;)
>If I make a backup copy of it, am I destroying the
onecopy in doing so? ;)
———————————————————————————————————————————————
My question was meant to fuel the thinking, about
what the concept of a “one copy” can mean in the age
of the digital distribution of digitally recorded
music.
In this regard, the One Copy project is quite
interesting, in that it obviously makes people again
think and talk about the focus the world has on
distributing music *recordings* and about how this
may come to an end soon.
I had to think of the keynote Miller Puckette gave
at the Linux Audio Conference, where he stressed the
point that actually it’s impossible to sell or
distribute music, the only thing that can be given
away is a recording of music (or a performance, but
that’s another story) and this according to Miller
is something different from the music itself. He has
a point here. On one hand it is completely obvious
that music is different from a recording, but OTOH it
seems almost surreal when much of the music discussed
not only on this list is produced with and for
loudspeakers.
It seems to me the one copy project is trying to
transfer some of the singularity that is music over
to a recording of music and make that recording
unique again. But almost by definition a recording
is something invented and used to conserve singular
moments through reproduction, through copying.
The one copy project may be fighting a heroic final
fight, which I’d applaud. But is it a fight for
music or “just” a fight for recorded music?
to answer Frank’s question : yes it is (my opinion
please don’t fire me). and i really don’t
understand the myspace excerpts. (no irony, no
offense intended…)
—————————————————————————————————————————————————————
—————————————————————————————————————————————————————
From: “Robert Arnold”
Assuming that you bought the single copy (otherwise
you’d not have it to copy), the act of copying it
devalues your original art purchase. What would be
the point?
I think we could take the one copy concept a step
further by having a one audience member concert.
The composer and/or musicians plays his composition
at a premier performance for a single person who has
purchased the only ticket. Afterwards, the score is
destroyed and the composition is never performed or
heard again. It exists only in the memory of the
single audience member...
—————————————————————————————————————————————————————
If just copying devalues an artwork, how much was its
worth in the first place?
—————————————————————————————————————————————————————
>Can that ever change?
Does it matter if it doesn’t? I don’t think there’s
anything necessarily wrong with specialization. The
problems, as I see them, that inform categorizations
of music by ‘difficulty’ etc. are rooted in our wider
musical / artistic culture, and in the tendency for
many people to be discouraged from participation from
a young age.
>Or is it like expecting a monkey to appreciate the
taste of ginger?
I have no expectations about that :)
—————————————————————————————————————————————————————
VPRO is a Dutch public broadcasting organization.
A little nod to the small crowd of cognoscenti,
I have a peculiar sense of humour. VPRO: Vrijzinnig
Protestantse Radio Omroep. Liberal Protestant Radio
Broadcasting Association would be my best guess.
For a long time they were the only ones playing
music that was not on any hit-parade or movies that
were not from Hollywood. Lately they have been trying
to get rid of their elitist image by doing shows on
sports and cars with a campy twist, even a Dutch
version of the British Broadcasting Corporation show
Room 101. (I cancelled my membership about 4 years
ago)
O—9
—————————————————————————————————————————————————————
From: “steinbr”
>to answer Frank question : yes it is (my opinion,
please dont fire me).
In my opinion also...
>and I really dont understand the myspace excerpts.
(no irony, no offense intended...)
The nice thing is, that Sylvain Chauveau has written
me a long mail explaining in detail his thoughts and
arguments and I find this exchange very interesting
(still have to reply but didn’t have time yet...).
we were also discussing the excerpts on the myspace
page.
Anyway, i must say even if I don’t agree with the
concept of the project I find it very brave and
Sylvain is giving all of this a lot of thought.
After all he’s just trying to push boundaries and
just this should be reason enough for all of us to
applaud...
clapclap!
>it is completely obvious that music is different
from a recording
True. But isn’t every listening to that ONE recording
different from the previous and the next ones? you
may listen to that recording in many different
spaces, on loudspeakers or headphones, in a room or
open air, walking, sleeping, alone or with others
etc....
Every time I listen to a piece of music it is
never that “same” piece of music, because I am
different from the last time I heard it, my mood
maybe different, my way of hearing it... isn’t any
recorded piece of music a kind of personal sound
“installation” for oneself?
—————————————————————————————————————————————————————
From: “Jan Larsson”
>Here we are facing a unique object, which, by its
unicity and media it is made of, cant be reproduced,
except digitally. And if downloads would be made,
this would give no interest any more to it.
You could of course mix the piece so it would not
reproduce very well with MP3 or AAC algorithms.
I like this onecopy idea. I have also toyed with
the idea of a small number of copies but every one
unique - from a different performance/interpretation/
mix. This works only if you are actually
“performing” your piece. And not keeping any personal
backups of the performance improves the idea.
In my view the current focus on distribution and
(premature) release into distribution has devalued
the music. Too much stuff out there that has not
received enough love to justify a public release…
Onecopy may be called elitism but I don’t think it
is the right description. Even so - at least it is
not academic elitism.
———————————————————————————————————————————————
From: “Daniel Bennett”
>As for trying to raise music to the level of the
other art forms, I think its important to differentiate between music and a recording of music.
Sorry, you’re right - I had this in mind, and I was
careful to specify *recorded* music earlier on, but
I missed that one. I agree with you completely, I’m
talking about recorded music.
—————————————————————————————————————————————————————
From: “Eric Lyon”
I think onecopy has an ironic charm - it’s music
playing “hard to get” in the face of a torrent of
immediate digital accessibility to all kinds of
music. But it is merely a gesture, easily subverted
by copying the only onecopy.
I also like the idea of zerocopy, and think it has a
practical future. A zerocopy music could be playing
your piece one time for the one intended listener,
then destroying the only copy along with all source
recordings.
And most of us have already experienced some form of
zerocopy. Did you ever have a hard drive crash and
lose some recordings? Did you ever improvise for
others or for yourself without recording it? Zerocopy
helps us value music in a way that onecopy or
infinitecopy can’t.
—————————————————————————————————————————————————————
From: “Xdugef”
>I think onecopy has an ironic charm
Irony is dead.
;-)
O—10
P45
Irish Punk
and New Wave
discography
Pirate radio
Palm Desert
Phantom
Fountain/ Future
Stream
----------------------------------------------------[Belfast] (1978-)
New wave. Appeared on the Belfast edition of Somethin’ Else performing
“Teenage Love Song”.
*
LP
LP
P
Palace of Variety
----------------------------------------------------[IRL]
With Robert Scott (ex The Doubt) and Adrian Maddox (ex Fifth
Column).
Panic Merchants
----------------------------------------------------[IRL]
The band existed in two phases, 1986-86 and 1989-91.
lineup: Justin Kelly (v), David Meagher (g), Paddy Glackin (b, replaced by
Aidan McNamara in 1989), Noel Larkin (d) Stephen Farrell (keyboards, 1990-91)
LP
k7
7"
v/a - Comet LP Two (Comet COME 2 TP, IRL 1987?)
See Compilations section for full track listing.
track: Retro
Firewalking EP (3) (TPM001, 1990)
tracks: Stop Loving You / Ghost Train / Honeymoon
Swerve / Justice (c1991 unreleased single)
Paranoid Visions
----------------------------------------------------[Dublin] (1981 – 1992) (1998 – )
Ex Insane Youth. Paranoid Visions are the longest running Dublin punk band.
They formed in 1981 during the second wave of punk in the UK, which was
heavily influenced by Crass, the original anarcho-punk band. Paranoid Visions
remained associated with the anarcho scene up until their break up in 1992.
The band supported many UK bands on their irish gigs and also toured in the
UK. They set up their own F.O.A.D. Records (Fuck Off And Die), releasing many
records and cassettes. The “I Will Wallow” EP famously parodies U2, while
“Get Off The Map.. (City of Screams)” is their caustic comment on the Dublin
Millenium celebrations of 1988. Paranoid Visions reformed in 1996 to play support on some dates of the Sex Pistols Filthy Licre tour and have performed
sproadically since then, most recently in support of the re-release of the FOAD
back catalogue on CD.
lineup: Deko (vocals), Skinny (guitar), P.A. (bass), Colin (drums)
K7
K7
K7
K7
K7
LP
7”
LP
LP
10"
P—1
Downtown Radio Session
tracks: Teenage Love Song / Out With The Boys / American
Boys
v/a – Now In Session (Downtown Radio DTR SC1, 1982)
tracks: Teenage Love Song
v/a – Bloodstains Across Northern Ireland Vol.2 (boot, UK
1998)
tracks: Teenage Love Son
P—2
Destroy The Myths of Musical Progression (FOAD, 8/1983)
+ lyric sheet
Blood in the Snow (FOAD, 1983)
Destroy / Blood (Bluurg, UK 1984) reissue of first two
cassettes
From the Womb to the Bucket (FOAD, 1984)
From the Womb to the Bucket (Bluurg, UK 1984) 16 tracks
with 12pp booklet
v/a - Weird Weird World of Guru Weirdbrain (Hotwire
HWLP8505, IRL 1985)
tracks: I Will Follow (Moving Statues)
The Robot Is Running Amok EP (FOAD Records/All The
Madmen FOAD 1, 1986) foc + insert
Schizophrenia album (FOAD Records/All The Madmen FOAD 2,
1987)
Schizophrenia album (FOAD Records/Revolver FOAD 2, 1988)
repress
I Will Wallow (FOAD Records/All The Madmen FOAD 2U2,
1987) + insert
12"
I Will Wallow (FOAD Records FOAD 2U2, 1989) repress;
was this released?
7”
Autonomy // Social Security / Strange Girl (live18.3.87)
(FOAD Records/Revolver FOAD 5, 1988) foc + poster +
lyric insert
7”
Reaganstein/Paranoid Visions - FOAD To You Fascist
American Contra Scum (Nicaragua Benefit Single) (FOAD
Records/Revolver FOAD 6, 1988) folded double-printed
A3-size sleeve
A: Reaganstein - Blood Empires
B: Paranoid Visions - Ignore It (live 18.3.87)
2x7" Autonomy EP and Reaganstein/Paranoid Visions EP
(FOAD 5 + FOAD 6, 1988)
double pack consisting of the above two singles.
MLP
Get Off The Map.. (City of Screams) (FOAD Records/
Revolver FOAD 1000, 1988) green vinyl + insert,
also black vinyl test pressings
K7
v/a - Comet Tape 3 (Comet COMTAPE 5, IRL 1988)
tracks: The Other Half Lives
LP
v/a - ALF (No Masters Voice, US 1989)
track: The Feast
K7
The Dismal Abysmals - Illegitimate Targets (FOAD, 1990?)
K7
Tripping the live Disaster (FOAD, 1990?)
K7
Immature Recollections (FOAD 9, 1990)
K7
Politician EP (FOAD, 1991) [cassingle]
K7
v/a - Dirt Behind the Daydream Vol.1 (FOAD 9T1, 1991)
tracks: Answerable 2 Nun / Snuff Show / Look At Me
K7
v/a - Dirt Behind the Daydream Vol.2 (FOAD, 1991)
tracks: ?
K7
Bollox To Christmas (FOAD, 1992?)
Drunken Merry Christmas / Hozanna in a Hiace /
12 Months at Christmas / Santa Claus in Punk Land /
Skanking Merry Christmas / Santa Baby / Penneys from
Hell / Carol of the Condom / Wish it could be Christmas
every day / Crusty Claws / Psycho Christmas Everybody /
Harp The Herald Angels Drinking / Silent Night /
White Christmas / Mac the Knife / A Christmas Tail
CD
After the Faction (Best Of) (AX-S AXS95CD001, 1995)
via Southern (UK), Cargo (US) and Sound Solutions
(Germany)
2x7" The Triangular EP (Home Sweet Hell) (Wednesday Works
DAY 1, IRL 1996) w/insert, archive recordins, one disc
is a flexi
CD
Outside In. The Vinyl Years 1986-1989 (Toxic Records,
2004)
The following were probably never released
LP
LP
LP
CD
CD
Halo of Phlegm (FOAD Records FOAD 8) unreleased?
Halo of Phlegm (Big Chief Records, US) unreleased?
RAW (comp of Schizophrenia + I Will Wallow) (Big Chief
Records, US) unreleased?
Live in Stab City (AS-X, 1996) UK/Ger distr
Yob (1999)
Reunion (2005-)
CD-R Missing In Action EP (200?)
Missing in Action / Saints Are Coming / I Will Wallow
(1996) / Something More (live 2006) / The Other Half
Lives / Second Hand Daylight (live) / 12 Months At Xmas
CD-R 40 Shades of Gangreen (3/2007)
tracks: 9 Months to the Disco / Missing in Action /
Wearside Jack / Braindance / Rock N’ Roll N’ Revolution
/ Albert Fish (psycho) / Fuck Forever / Visions / Acts
of Love / Forever Winter / Creeping / 40 Shades of
Gangreen / Aids / Sonic Reducer / The Saints Are Coming
P45
Bloodstains Across Northern
Ireland Vol.2 (boot, UK
1998)
Panic
Merchants
Comet LP Two
(Comet COME 2 TP, IRL
1987?)
Firewalking EP (3)
(TPM001, 1990) j-card
Paranoid
Visions
Destroy / Blood (Bluurg,
UK 1984)
I Will Wallow
(FOAD Records FOAD 2U2,
1989) repress; was this
released?
Bollox To Christmas
(FOAD, 1992?)
P—3
P—4
From the Womb to
the Bucket
(Bluurg, UK 1984)
Autonomy // Social Security /
Strange Girl (live 18.3.87)
(FOAD Records/Revolver
FOAD 5, 1988) foc + poster
+ lyric insert
After the Faction
(Best Of) (AX-S
AXS95CD001, 1995)
via Southern (UK),
Cargo (US) and
Sound Solutions
(Germany)
v/a - Weird Weird World of
Guru Weirdbrain (Hotwire
HWLP8505, IRL 1985)
The Robot Is Running Amok
EP (FOAD Records/All The
Madmen FOAD 1, 1986) foc +
insert
Schizophrenia album (FOAD
Records/All The Madmen
FOAD 2, 1987)
Schizophrenia album
FOAD 2, 1988) repress
Reaganstein/Paranoid
Visions – FOAD To You
Fascist American Contra
Scum (Nicaragua Benefit
Single)
FOAD 6, 1988) folded
double-printed A3-size
sleeve
Get Off The Map.. (City of
Screams) (FOAD
Records/Revolver
FOAD 1000, 1988) green
vinyl + insert, also black
vinyl test pressings
Get Off The Map.. (City of
Screams) (FOAD
Records/Revolver
FOAD 1000, 1988) green
vinyl + insert, also black
vinyl test pressings
Comet Tape 3
Dirt Behind the Daydream
(Comet COMTAPE 5, IRL 1988) Vol.1 (FOAD 9T1, 1991)
Missing In Action
EP (200?)
40 Shades of Gangreen
(3/2007)
The Triangular EP (Home
Sweet Hell) (Wednesday
Works DAY 1, IRL 1996)
w/insert
Outside In. The
Vinyl Years 19861989 (Toxic
Records, 2004)
I Will Wallow (FOAD
Records/All The
Madmen FOAD 2U2, 1987) +
insert
Paris Underground
Perfect Crime
The Peridots
Pleasure Cell
----------------------------------------------------[IRL]
Pop/New Wave
----------------------------------------------------[Portstewart] (1981-86)
Formed in the summer of 1981 by Paul Lerwill (ex Rosetta Stone) while still
under copyright as a songwriter to Rosetta Stone management and/or Private
Stock Records which is why he adopted the name Gregory Gray. He stuck with
this new name after the copyright restrictions expired a year or so later.
----------------------------------------------------[Dublin]
Hamilton and Erraught had previously been in the Modernaires.
Stan demanded a drummer and for a brief period before their ultimate
demise the Peridots became a trio with Pat Larkin (ex The Blades) on drums.
Erraught left in early 1982, and the remaining duo split soon after. Erraught was
later in the Stars of Heaven..
lineup: Peter Hamilton (vocals/electronics), Stan Erraught (pre Stars of Heaven)
(guitar/bass), Pat Larkin (ex The Blades, drums)
----------------------------------------------------[Dublin]
Originally a trio who made a furious noise live, they added rhythm guitarist
Barry H. in 1986. The band existed for several years, toured extensively and
played in London/UK. They also appeared on TV GAGA around 1986 or so.
Demo tapes definitely exist but I don’t have them, alas.
Song titles: Girl Who Cares / The Children / Your Future / Two Flags / Searching
for Black / Fuck Off / Uniformed Man
lineup: Noel Green (g/v), Dermot Reid (b), Williard (d), Barry H (g)
Williard worked as percussionist with an orchestra
7"
You’re The Enemy / Take You Out Of My Heart
(Polydor 815 557, 1983) (PS)
The Partisans
----------------------------------------------------See Paul Cleary
Passion Machine
----------------------------------------------------[IRL]
The Passion Machine was a theatre company. Their first production was a
musical called Drowning, written by Paul Mercier. It was staged at the now
defunct SFX in Dublin. The main character was played by Joe Savino (Max
Quad Band, B.T.’s). The part of “Da” was played by Brendan Gleeson.
The single was released to promote the show. The musicians involved
included Dave Sweeney (Max Quad Band, The Vipers, etc) on guitar and Dave
Bell (The Epidemix) on drums. The musical was revived about 10 years after its
first run and played the Olympia, Dublin and also toured to Glasgow.
7"
7"
Drowning / Living In Paradise (Revolving REV 8, 1985?)
(PS?)
Drowning / Heartland (Solid ROK740, 1991) (PS?)
Paul West
----------------------------------------------------[N.IRL]
See The Tearjerkers
The Perfect Crime supported O.M.D. on the Belfast leg of their Architecture and
Morality 1981/82 Tour. They recorded a demo at Clive Culbertson’s No Sweat
Studios in Dervock, one track from which was played several times on Dave
Fanning’s show on RTE Radio (“Fast Life Neon Ice”).
Several major labels were interested in the band though Gregory reputedly
signed what was basically a solo deal with MCA in the summer of 1982.
Pete Kerr left the band at this time over these copyright issues. The band
released two single son MCA in 1983-84. These are reputedly dance/funk
oriented, but I have not heard them.
Pefect Crime played to what was arguably their biggest ever live audience
on 14 August 1983 when they appeared at U2’s Day At The Races gig at the
Phoenix Park.
The band split in 1986. Gregory Grey contined as a solo artist and was
considered as a potential replacement for Tom McLaughlin in Light A Big Fire
in 1988. Donal Boyle and George Nelson formed Uncertain Trumpet. Pete Kerr,
who left the band in 1982, moved to England to study in 1984, played with
various bands, became a session musician and learned about engineering and
production work at Church Walk Studios with Rob Keyloch. He is now based
in Sligo producing demos and managing local bands.
lineup: Paul Lerwill AKA Gregory Grey (guitar/vocals), Donal Boyle (guitar),
George Nelson (bass), Pete Kerr (drums). Kerr replaced by Colin Mairs, summer
1982. Colin Mairs later replaced by Barry (ex Saigon). Boyle and Nelson later
in Uncertain Trumpet.
K7
PBR Streetgang
----------------------------------------------------[IRL]
There was also a mid-80s rap/disco band called PBR Street Gang. The name
comes from Apocalypse Now.
7"
7"
7"
The Big Day (GOT-14, 1989) 1-sided flexi disc
Get Down (Before You Fall) / Come Alive For Me (GOT-22,
1990) (PS)
This City / Talking To You (GOT 30, 8/1991) (PS)
LP
7"
12"
7"
12"
No Sweat Studios demo (1982)
tracks: Fast Life Neon Ice / Somebody Somewhere /
No One Needs To Run With Me
v/a - Now In Session (Downtown Radio DTR SC1, 1982)
tracks: Poison Love
Brave EP [3 tracks](MCA MCA830, 12.8.1983)
tracks: Brave (in the Groove) // Ten Out Of Ten /
Bright Side
Brave EP [4 tracks] (MCA MCAT830, 12.8.1983)
tracks: Brave (in the Groove) / Who Is Your Master? //
Ten Out Of Ten / Bright Side
I Feel Like An Eskimo / No Drums (MCA MCA854,
3/1984) (PS)
I Feel Like An Eskimo / No Drums (MCA MCAT854,
3/1984) (PS)
7"
7"
7"
s/t EP (AKA Here She Comes EP) (Homestead HRSS 009,
IRL 1981) (PS?) [2x500]
tracks: Here She Comes / I Care For You // When I Close
My Eyes / I Can Help
LP
v/a – Bloodstains Across Northern Ireland Vol.2
(boot, UK 1998)
tracks: I Can Help
P—5
7"
New Age / Common Ground (no label ANG-1, 1985?) (PS)
Pocket Money
Pet Lamb
----------------------------------------------------[Dublin] (1992-)
see http://www.irishmusiccentral.com/petlamb/index.html
7"
12"
Paranoid From The Neck Down EP (Blunt blunt001,
3 / 1993) (PS) 7 tracks
Spent EP (Blunt blunt002, 12 / 1993) (PS) 5 tracks
----------------------------------------------------[Enniskillen]
80s indie/synth pop quintet w/ female singer
7"
Wild in the Night / Talk Talk Talk (R.A.G Records RAG
0012, 1988) (PS)
Pop Mecanics
The Philosophers
----------------------------------------------------[IRL]
Featuring Dermot Ward. “The Great Disco Fiddle” is a cod reggae novelty
single despite what you may read on ebay! “5,4,3,2,1” is reputedly stomping
pub rock.
7"
7"
Dance Lady / 5, 4, 3, 2, 1 (Quartz QS 003, 1978) (no PS)
The Great Disco Fiddle / Jamaica (Quartz QS 007, 1979)
(no PS)
Pink Turds In Space
----------------------------------------------------[Belfast] (1986-91)
Anarcho punk/thrash, ex Stalag 17 and Toxic Waste.
K7
12"
The Peasants
----------------------------------------------------[N.IRL]
Beatles-inspired powerpop band who share a pre-history with Protex in the
Incredibly Boring Band whose lineup included Muinzer and Edgar. Malachy
Muinzer is the brother of Colm Muinzer of Cruella De Ville.
lineup: Brendan Popplestone (g/v), Garth Craig (g), Malachy Muinzer (b),
Mike Edgar (d) Paul Nesbit (guitar) either replaced or preceeded Garth Craig
Brendan Popplestone later in the Black Sheep. Mike Edgar later joined Cruella
de Ville
Open Season / Calm (Optional Goods OG 01, UK 4/1981)
v/a - The Boddis (Nineteeneightease DC9-003, IRL 1980)
tracks: Precious Blood
LP
LP
7"
CD
P—6
title? (Warzone Tapes ??, 1988?)
Greatest Shits (In Your Face FACE 05, UK 1988-89) +
insert
This LP is a reissue of the band’s demo tape on Warzone
Tapes. tracks: Ulster Says Bow / The Eugene’s Shop Hop /
Dear Mr.Policeman / Blind Man / The Really Really
Depressing Song / Jerusalem Street Nine / Wall’s
Cornetto
/ The Filofax Song / Blood Money / Eastenders / Stop
It-Their Profit
Pink Turds In Space / Sedition - split (Real To Real,
1990) [1000]
Pink Turds In Space / Sedition - split (Flat Earth FE
12.5, UK 1994) [2000] split LP with Scottish punks
Sedition
Pink Turds In Space / Charred Remains - split (Slap A
Ham 7.5, US 1991)
The Complete Pink Turds in Space (Rejected Records)
discography
----------------------------------------------------[IRL]
Paradigmatic new wave pop, still surprisingly unknown and under-rated.
This is an outstanding new wave pop single, reminiscent of XTC with a very
Bowie-like vocal. Note the name is Pop Mecanics (no ‘h’), not Pop Mechanics.
Initial (promo?) copies included an invite to see the band perform on Saturday
5th June 1982 at the Baggot Inn in Dublin.
lineup: Pat Dunne (g/v), Stephen Klitz (k), Brian Coleman (AKA Brian Nylon) (b),
Lester Dorman (d) Pat Dunne was later in the Flash Harry’s and The Big Noise
7"
Soldier Boys / It Feels Like I’m Alone Again (Polydor
2078 144, IRL 1982)
The Posers
----------------------------------------------------[IRL]
LP
v/a - Vinyl Verdict (Scoff DTLP006, IRL 1981)
tracks: Liar
Jim Power & Taurus
----------------------------------------------------[IRL]
Both sides of this single are credited to N.Teeling. Norman Teeling was
involved in the music scene in Dublin in the 1960s and 1970s. Was Jim Power a
pseudonym? Teeling released solo material on Phaeton Records
7"
Only Yesterday / Night Time Has The Habit Of Dragging On
(Power Records JP-001, 6/1978) (no PS) double A-side
Paris
Underground
The
Peridots
You’re The Enemy / Take
You Out Of My Heart
(Polydor 815 557, 1983)
(PS)
Open Season / Calm
(Optional Goods OG 01, UK
4/1981)
The
Philosophers
Passion
Machine
Drowning / Living In
Paradise (Revolving REV 8,
1985?) (PS?)
Dance Lady / 5, 4, 3, 2, 1
(Quartz QS 003, 1978)
(no PS)
Pink Turds
In Space
PBR
Streetgang
Get Down (Before You Fall)
/ Come Alive For Me (GOT22, 1990) (PS)
This City / Talking To You
(GOT 30, 8/1991) (PS)
Greatest Shits (In Your
Face FACE 05, UK 198889) + insert
Pink Turds In Space / Sedition Pink Turds In Space / Charred
– split (Flat Earth FE
Remains – split (Slap A Ham
12.5, UK 1994) [2000]
7.5, US 1991)
split LP with Scottish
punks Sedition
The
Peasants
s/t EP (AKA Here She
Comes EP) (Homestead
HRSS 009, IRL 1981)
(PS?) [2x500]
P—7
The Boddis
(Nineteeneightease DC9-003,
IRL 1980)
Pleasure
Cell
Bloodstains Across
Northern Ireland Vol.2
(boot, UK 1998)
New Age / Common Ground
(no label ANG-1, 1985?) (PS)
P—8
Pop
Mecanics
Soldier Boys / It Feels Like I’m
Alone Again (Polydor 2078
144, IRL 1982)
The Posers
Vinyl Verdict (Scoff
DTLP006, IRL 1981)
Jim Power
& Taurus
Only Yesterday / Night
Time Has The Habit Of
Dragging On (Power
Records JP-001, 6/1978)
(no PS) double A-side
P—9
A Little Piece of God EP
(4) (Setanta SET003,
10/1989)
American Dream / Not
Enough / Where is the
Love (live) / Break on
Through (live) (Polydor
PZP117, 1991)
Second Son EP (4) (Lemon
LEMON005, 12/1992)
P—10
100 Ways To Kill A Love
EP (4) (Polydor PZ80,
5/1990)
Immigrants, Emigrants
And Me (Polydor POCD2631, 1990) w/5 bonus
tracks
Never Been To Texas EP
(4) (Polydor PZ93,
1990)
American Dream (Polydor
POCP 1070, Japan 1991)
+sticker
s/t EP (Polydor PZX137,
1991) foc
2 Hell With Common Sense
(Polydor 513 174, 1992)
12 tracks
To Hell With Common Sense
(Polydor POCP-1200, Japan
1992) 14 tracks
Slowdown EP (4) (Polydor
PZ193, 1992) also as cds
There I Go Again / Follow
(slight return) / Anxious /
Suburbia (Polydor PZ200,
1992)
Cathy's World EP (4)
(Lemon ??, 1993)
Positivity (Lemon 009, 1993)
Positivity
(Polydor POCP-1347, Japan
1993)
Become Yourself
(Polydor 5-099386-018322,
1994) 8 tracks
Become Yourself
(Polydor POCP-1464,
Japan 1994) 11 tracks,
resequenced
Second Son EP (4) (10Lemon
LEMON005, 12/1992)
Power of
Dreams
Power of Dreams
CDS
----------------------------------------------------[Clondalkin, Dublin] (1988-95)
Indie pop/rock trio signed by Polydor in 1990 who were very popular in Japan.
Ex Cypress Mine guitarist Ian Olney joined in June 1990, just before the
release of the debut LP, giving the band a more powerful sound.
lineup: Craig Walker (guitar & vocals), Michael Lennox (bass), Keith Walker
(drums) Craig Walker later fronted Archive, and Pharmacy. Keith Walker
continued with Paranoid Saints.
12"
*
7"
12"
LP
K7
K7
*
7/
12"
12"
LP
CD
CDS
7"
12"
CD
7"
12"
P—11
The Pleasure Is Back (demo, 1988)
tracks: Don't Change / The Joke's On Me /
others..?
1989 Demo Tape
tracks: Real World / Wish I Was / I Need Love /
Upside Down
Dave Fanning Show Session April 1989
tracks: A Little Piece Of God / Fine Time /
Mother's Eyes
A Little Piece of God EP (4) (Setanta SET003,
10/1989)
tracks: A Little Piece Of God / Mother's Eyes /
My Average Day / Fine Time
Recorded July 1989, produced by Sean O'Neill
(ex Undertones). The first 3 tracks were
re-recorded when the band signed to Polydor
but "Fine Time" is not available anywhere else.
100 Ways To Kill A Love EP (4) (Polydor PZ80,
5/1990)
tracks: 100 Ways To Kill A Love / Had You
Listened (acoustic) / Don't Change (demo) /
Any Other Day (demo)
Immigrants, Emigrants And Me (Polydor 8432581,
7/1990) +inner bio
Immigrants, Emigrants And Me (Polydor POCD-2631,
1990) w/5 bonus tracks
tracks: Joke's on Me / Talk / Does It Matter /
Much Too Much / Had You Listened / Stay / Never
Told You / Bring You Down / Never Been to Texas
/ Where Is the Love / Maire I Don't Love You /
100 Ways to Kill a Love / Mother's Eyes /
My Average Day. Japan CD bonus tracks: American
Dream / Not Enough / Never Told You (live) /
Where is the Love (live) / Break on Through
(live). The three live tracks are taken from
the Cork Rocks FM broadcast.
The Joke's On Me EP (Polydor PZCD90, 1990)
the front cover shows new member Ian Olney.
tracks: The Joke's On Me / Love Her To Death /
The Way That I Am
Never Been To Texas EP (3) (Polydor PO93, 1990)
Never Been To Texas EP (4) (Polydor PZ93, 1990)
tracks: Never Been To Texas / A Little Piece Of
God / You Make Me Feel / I'm With You /
American Dream (Polydor POCP 1070, Japan 1991) +
sticker; singles compilation. Japanese
compilation of the first 3 UK CD singles, plus
the title track
tracks: 100 Ways To Kill A Love / Had You
Listened (acoustic) / Didn't Change (demo) /
Any Other Day (demo) / Never Been To Texas /
You Make Me Feel / I'm With You / A Little Piece
Of God / The Jokes On Me / Love Her To Death /
The Way That I Am / American Dream
American Dream / Not Enough / Talk (Polydor
PO117, 1991)
American Dream / Not Enough / Talk / Never Told You
(live) (Polydor PO117, 1991) promo only
CD
7"
12"
7"
10"
CDS
10"
12"
7"
10"
CDS
LP/CD
CD
*
LP
CD
CD
American Dream / Not Enough / Talk / Never Told
You (live) (Polydor PZCD117, 1991)
American Dream / Not Enough / Where is the Love
(live) / Break on Through (live) (Polydor
PZP117, 1991)
Dave Fanning Show Session 1991
tracks: She's Gone / She Said She Said /
I Can't Stand It / Metal Thing
s/t EP (Polydor PO137, 1991)
s/t EP (Polydor PZX137, 1991) foc
tracks: Stay / Cancer / Hurt
2 Hell With Common Sense (Polydor 513 174, 1992)
12 tracks
To Hell With Common Sense (Polydor POCP-1200,
Japan 1992) 14 tracks
tracks: Raindown / There I Go Again / On And
On / She's Gone / Untitled // 100 Seconds /
You Bring Me Flowers / Understand / Slowdown /
Happy Game / Metalscape / Blue Note / Fall
(Japan CD) / Cancer (Japan CD)
Slowdown / Fatherland (Polydor PZ193, 1992)
Slowdown EP (4) (Polydor PZ193, 1992) also as
CDS
tracks: Slowdown / Fatherland / I Know You Well
/ Sorry
There I Go Again / Follow (Polydor PO200, 1992)
There I Go Again / Follow // Pale Blue Eyes /
Fall (Polydor PZT 200, 1992) foc
There I Go Again / Follow (slight return) /
Anxious / Suburbia (Polydor PZ200, 1992)
Second Son EP (4) (Lemon 10LEMON005, 12/1992)
Second Son EP (4) (Lemon LEMON005, 12/1992)
tracks: See You / Still Lost / Evil Evol /
Inside Out
Cathy's World / Falling from the Sky (Lemon
LEMON008, 1993)
Cathy's World EP (3) (Lemon 10LEMON008, 1993)
Cathy's World EP (4) (Lemon ??, 1993)
tracks: Cathy's World / Radioactive Generation
/ End Of My World / Falling from the Sky
Positivity (Lemon 009, 1993)
Positivity (Polydor POCP-1347, Japan 1993)
tracks: Cathy's World / If I Die / See You /
20th Century Blues / Song For Nobody /
Radioactive Generation / Evil Evol / Inside Out
/ Falling From The Sky / Still Lost / End Of
My World /. Initial CD copies (UK and Japan)
includes 5 bonus live tracks recorded at Club
Citta, Kawasaki/Tokyo, Japan - Oct 1992:
There I Go Again (live) / Where Is The Love
(live) / Does It Matter (live) / Untitled
(live) / It's A Shame (live)
BBC Radio 1 Evening Session
tracks: Colours / Elvis / Drowned / Romance
Is Dead
Become Yourself (Novel NOVEL 001, UK 1994) 8
tracks
Become Yourself (Polydor 5-099386-018322, 1994)
8 tracks
Become Yourself (Polydor POCP-1464, Japan 1994)
11 tracks, resequenced
Prayer Boat
Predator
----------------------------------------------------[Blessington] (1987-)
Spacey, mystical Celtic music influenced by Van Morrison. Check out the
Official Prayer Boat website
lineup:Emmett Tinley (v/g/k), Patrick Tinley (g), Tony Byrne (b), Tim Houlihan (d)
----------------------------------------------------[IRL]
Heavy metal. A popular name with the metal hordes. The singles I’d previously
listed here (“See You Here” on Quik Records, 1982; “Dont Stop” on CMT
Records, 1985) were both by different UK bands. I know of only one recording
by the Irish band.
7"
7"
CDS
LP
CDS
CDS
CDS
CD
CD
CDS
CDS
Beautiful History / Love and Possession (Stem Records
STEM 1, 1989) (PS) + insert
recorded at S.T.S., Dublin, Feb 11-12 1989.
The Upside Down EP (BMG / RCA Records PB 44047, 1990)
The Upside Down EP (4) (BMG/RCA Records, 1990)
[1] The Oceanic Feeling (BMG/RCA Records PL 74818, 1991)
CD +1 bonus track
Bury This Thing EP (4) (Almo Sounds CDLALMOS014, 3/1995)
Dark Green EP (4) (Almo Sounds CDLALMOS003, 7/1995)
Saved / Cut (Walshe Music WCD003, 1996) promo
Polichinelle (Invisible INVISCD052, 3/1998 promo/
mailorder only
Polichinelle (Setanta SETCD068, 5/1999) different tracks
Saved EP (4) (Setanta SETCD077, 4/2000)
Slow Down (3) (2000)
Preacher John
----------------------------------------------------[Belfast] (1988-93)
Metal/hard rock band. The first track on the 12inch employs some Irish airs a la
Horslips, the rest are standard 3/4 time rock.
7"
12"
Last Wish / Spirits On Fire (self-released, 1989) (no
PS)
The Mountain EP 12” (Good Vibrations GOT-26, 1991) (PS)
4 tracks
7"
Premonition
----------------------------------------------------[Dublin]
Blades-influenced band also compared to the Housemartins. Winners of the
Dublin Millenium Battle of the Bands in 1988, the prize for which was their
single on EMI.
Lineup: John Brennan (rhythm guitars, loud voice), Kevin Morris (lead guitars,
mandolin, alto voice), Kieran Eaton (bass, bass voice), Gerard Eaton (drums,
tenor voice)
7”
----------------------------------------------------[Dublin] (1991-93)
Aslan with vocalist Dave McGinley (ex Eugene) replacing Christy Dignam.
Named after guitarist Joe Jewell (a jewel being a precious stone . . . duh).
Split when Aslan has the cheek to reform.
7"
K7
7"
7"
K7
P—12
Jesus Says He Loves Me / Precious (Solid ROK-749, 1991)
(PS)
Jesus Says He Loves Me / Precious / Cry Like A Baby
(Solid ROC-749, 1991)
Won’t Let You Down / Senseless Love (Solid ROK-757,
1992) (PS)
Red Sky / Stay (Solid ROK-765, 1993)
Red Sky / Stay / Red Sky (club mix) (Solid ROC-765,
1993)
The Streets Are Paved With Lead / Eyes Like Sin (EMI
Records IEM 006, 1987-88) (PS)
Produced by Premonition & Pat Dunne
Jay Presley
----------------------------------------------------[N.IRL]
A country+western single; the B-side was written by Clive Culbertson of No
Sweat / The Sweat
7"
Precious Stones
s/t EP (Solid ROK721?, 7/1988) (PS)
tracks: Predator / Blood Money / Hold the Reins /
Lost Control
Grace / I Love You Anyway (Homestead HRSS 001, 1978)
(no PS)
Prayer Boat
Beautiful History / Love and
Possession (Stem Records
STEM 1, 1989) (PS)
+insert
The Upside Down EP (BMG /
RCA Records PB 44047, 1990)
Hold Tight / I Rock Cause
I Like It / Rough Tough
Pretty Too (Montreco EPM
RC 3005, Canada 1978)
Preacher
John
Last Wish / Spirits On Fire
(self-released, 1989)
(no PS)
Pretty Boy
Floyd &
The Gems
The Mountain EP 12" (Good
Vibrations GOT-26, 1991)
(PS)
Precious
Stones
Jesus Says He Loves Me /
Precious / Cry Like A Baby
(Solid ROC-749, 1991)
Won't Let You Down /
Senseless Love (Solid ROK757, 1992) (PS)
Red Sky / Stay
(Solid ROK-765, 1993)
Red Sky / Stay / Red Sky
(club mix) (Solid ROC-765,
1993)
Primal
Scream
Don't Give Up / A Bonfire
Night (Bus Records BUS 9,
1984) (PS)
Premonition
The Streets Are Paved With
Lead / Eyes Like Sin (EMI
Records IEM 006, 1987-88)
(PS)
P—13
Hold Tight / Spread The
Word Around (Rip Off RIP
1, 7/1978) (PS)
P—14
v/a – Belfast Rock (Rip Off
RIP101, IRL 1978)
v/a – Belfast Rock (Rip Off
ROLP-1, IRL 1978)
The Instigator / Sharon
(Rip Off RIP-10, IRL 1979)
(diecut PS)
Pretty Boy Floyd & The Gems
Princess Tinymeat
----------------------------------------------------[N.IRL]
Originally a mid-70s showband called Candy, thus never fully accepted by the
punk audience. Vocalist Jim Lyttle later formed the big hair & makeup heavy
metal band Rogue Male
----------------------------------------------------[Dublin] (1984-1987)
Princess Tinymeat were formed by Haa Lacka Binttii (AKA Daniel Figgis)
a couple of years after leaving the Virgin Prunes. Besdies the core lineup of
Binttii, Rice and Box, other musicians who played with the band included
Roger Doyle (Operating Theatre), Dik Evans (Virgin Prunes), Gerry O'Boyle
(Gorehounds) and Gerry Leonard (The Spies/Hinterland). The band achieved
some notority with the cover of their first single and it's fair to say that their
trash/transvestive aesthetic/image and graphics attracted as much if not more
attention as their music. I can still remember the derisive look I received from
some record shop muppet the day I bought the Herstory LP. It was the era of
Alien Sex Fiend and Specimen and the batcave and all that goth crap. It's
possible this added to the pressures which led to the split after only three
singles -- more's the pity. Binttii reverted to his real name for subsequent
recordings. See Daniel Figgis for details. “Princess Tinymeat” was the sizest
nickname of 50s Hollywood actor Montgomery Clift (also namechecked by
The Clash in "The Right Profile").
lineup: Binttii (vocals/keyboards/tapes), Tom Rice (guitar), Ian Sissy Box (bass),
C.Zappa (drums)
12”
7”
7”
LP
Princess
Tinymeat
7”
LP
LP
LP
LP
l-to-r: Rice, Box, Binttii
Sloblands / The Fairest Of
Them All (Rough Trade RTT
160T, UK 1984) (PS)
A Bun in the Oven / Wigs On
The Green (Rough Trade
RT163, UK 1985) (PS)
Angels in Pain / Put It There
(Rough Trade RT 187, UK
1986) (PS)
Hold Tight / I Rock Cause I Like It / Rough Tough Pretty
Too (Montreco EPM RC 3005, Canada 1978)
Don’t believe the hype, this is a commom enough item
unless it includes the one-sided 12”x12” photo insert.
Hold Tight / Spread The Word Around (Rip Off RIP 1,
7/1978) (PS)
v/a - Belfast Rock (Rip Off RIP101, IRL 1978)
tracks: Hold Tight / Spread The Word Around
v/a - Belfast Rock (Rip Off ROLP-1, IRL 1978)
tracks: Rough Tough Pretty Too / Spread the Word Around
The Instigator / Sharon (Rip Off RIP-10, IRL 1979)
(diecut PS)
v/a - Permanent Wave (Plastic Passion/Montreco MRC 1478,
Canada 1979)
tracks: Rough Tough Pretty Too / I Rock Cause I Like It
Drugs (Needle 001, IRL 1980?) unlikely to exist
v/a - Bloodstains Across Northern Ireland (boot, UK 1998)
tracks: Sharon
v/a - Raw & Rare Vol.1 (boot, UK)
tracks: Spread the Word Around / Hold Tight
Angels in Pain EP (Rough
Trade RTT 187, UK 1986)
12"
7"
7"
Primal Scream
----------------------------------------------------[Dublin]
7”
Don’t Give Up / A Bonfire Night (Bus Records BUS 9,
1984) (PS)
12"
LP
CD
CD
You Bet We've Got
Something Against You
(Cathexis/Pleasantly
Surprised, 1986)
Absolute (Parade
Amoureuse CONCATH 02,
Germany 1989)
Herstory (Rough Trade
ROUGH 108, UK 1987)
Herstory (Rough Trade/
Victor VIL-28101, Japan
1987) +insert
flyer for the circa 1986
flyer for December '86
Sloblands live show
show at Sides
listing several songs that were
never released:
Primal Scream
----------------------------------------------------[N.IRL]
Northern band. No details available.
CD
Lucky Bag
Angels In Pain (12" version)
Sloblands
A Bun In The Oven
Jay Gone Bimbo
flyer for final Dublin
show c. 1986 with
Roger Doyle, Dik Evans
and Gerry O’Boyle.
The text reads:
performing excerpts
from the rock opera
"Dirty _____" and the
forthcoming ROUGH
TRADE SINGLE “Angels
In Pain”...
P—15
LP
LP
Sloblands / The Fairest Of Them All (Rough Trade RTT
160T, UK 1984) (PS)
Most copies were censored with a removeable white
sticker on the front cover.
A Bun in the Oven / Wigs On The Green (Rough Trade
RT163, UK 1985) (PS)
entered the UK indie singles chart on 1.2.86 for a
3 week run peaking at #42
Angels in Pain / Put It There (Rough Trade RT 187,
UK 1986) (PS)
Angels in Pain EP (Rough Trade RTT 187, UK 1986)
tracks: Devilcock / Put It There / Angels in Pain
v/a - You Bet We've Got Something Against You
(Cathexis/Pleasantly Surprised, 1986)
v/a - Absolute (Parade Amoureuse CONCATH 02,
Germany 1989)
v/a - Absolute (Cathexis/Soleilmoon SOL3CD, US 1989)
"Absolute" collects tracks from two Cathexis label
samplers, the above plus "Fight!" (1987)
tracks: Lucky Bag / Jay Gone Bimbo
Herstory (Rough Trade ROUGH 108, UK 1987)
Herstory (Rough Trade/Victor VIL-28101, Japan 1987)
+insert
Herstory (Rough Trade/Victor VDP-1280, Japan 1987)
complete discography
Put It There (12" version)
The Fairest Of Them All
Wigs On The Green
Devilcock!
A Bun In The Oven
Sloblands
Your Wish Is Granted (unreleased)
The Bringer Of War (unreleased)
My Lips Are Lonely (unreleased)
Palace Of Wasted Footsteps (unreleased)
End of Story (unreleased)
The Fairest Of Them All
P—16
Private Number
Pulling Faces
Purple Haze (Antrim)
----------------------------------------------------[IRL]
[Private Number, 1984]
lineup: John McGrory (g/v), Neil McGrory (b)
The recordings listed here also feature Paul Miller (k), Sean (sax) and Andy
Davison (d)
----------------------------------------------------[IRL] (1982-88?)
[(mullets ahoy!)]
Goth/dance band based around Ken Kiernan and Ger MacDonald. They had
their moments, especially on earlier records. All artwork was handled by
Jim Fitzpatrick. The front cover of “The Animal” is reminiscent of the Virgin
Prunes debut LP, which was also designed by Fitzpatrick. Ken & Ger provided
the music for Fitzpatrick’s Erinsaga project in 1989. Ken Kiernan issued his
solo debut LP in 1990, a collection of radio-friendly soft rock.
lineup: Ken Kiernan (v/g/k), Ger MacDonald (k/v)
Guitarists included Conor Goff (1983-85) and Anto Drennan (ex C’est Clave,
1987 onwards); bass was provided by Pat Courtney, Doish Nagle (1983),
Dermot Kerrins (1984) and John McKenzie (1987 onwards); and Paul Moran
was longtime drummer.
----------------------------------------------------[N.IRL/Antrim]
Pub rock.
7”
LP
K7
Private Number / The Commotion - Don’t Take It Away /
(Don’t Say Goodbye) Today (Hotwire HWS 851, 1/1985)
(PS?)
v/a - Hip City Boogaloo (Hotwire HWLP001, IRL 1/1985)
tracks: Why? / Don’t Take It Away
v/a - Sound Of Irish Mod 1979-1989 / Powerpop Gems #1
(boot)
tracks: Why?
Note: the discography is incomplete, I’m missing information about KENK02.
Private World
7”
----------------------------------------------------[Limerick] (1987-1990)
Indie. Xeric Records was run by Pearse Gilmore.
lineup: Pearse Gilmore (v), Brian Kelly (g), James Hanley (k), Declan Hogan (b),
Seamus O Muircheartaigh (d)
7”
7”
7”
LP
Blue Gem Sea // Another Self / Just A View (Xeric
Records XER 01, 1989) (PS)
v/a - The Reindeer Age (Xeric Records XER 02, 2/1990)
track: Change The Room
7”
k7
7”
7”
MLP
Protex
----------------------------------------------------[Belfast] (1977-1981)
The Prunes
----------------------------------------------------[Dublin] (1987-1993)
ex Virgin Prunes. The Prunes also gigged and recorded at least one Fanning
Session with Barry Warner on vocals.
lineup: Strongman, Mary & Dave-Id Busarus
7”
12”
7”
12”
LP
CD
LP
CD
MLP
Lite Fantastik (Baby/New Rose BABY12, France 1988)
+inner
Lite Fantastik (Baby/New Rose BABY12CD, France 1988)
Nada (Baby/New Rose BABY13, France 1989) +inner; diecut
gimmick cover
Nada (Baby/New Rose BABY13CD, France 1989)
Blossoms and Blood (Baby/New Rose BABY14/NR312, France
1991) +inner
LP
Psycho
v/a - Now In Session (Downtown Radio DTR SC1, 1982)
tracks: I Wonder Why
----------------------------------------------------[Waterford]
Melodic pop/mainstream metal trio. Many lineup changes over the years:
lineup (c1980)= Ray Callaghan (guitar), John Drinan (bass), Ray Mullins (drums)
lineup (c1981)= Martin (vocals), John Drinan (guitar), Jim Ryan (bass), Ray
Callaghan (drums)
lineup (c1985)= Stee-V (vocals/bass) Jon Fleming (guitar), Ray Mullins (drums)
The 1985 trio recorded the single st Slane Studios in February 1985. Both tracks
are credited to Fleming/Roche/Mullins and produced by John Dee & Purple
Haze. The A-side is good pop-metal let down only by the vocals.
In late 1985 Stee-V was replaced by Paul Purcell (vocals) and Robbie Dunphy
(bass) and the band became Dirty Fingers. Many ex band members are still
active on the local Waterford music scene.
7”
7”
Hear It On The Radio / Forever Lost (SRS Records #6,
1985) (PS)
The Purple Hearse
----------------------------------------------------[Dublin]
lineup: Al McKay (v/keys), Tom Harte (g/flute), Meredith Brosnan (b), Ray
McCann (d), Jo O’Doherty (autoharp). Jo O’Doherty also designed the sleeve.
7”
Big John / Funken Chicken (Purple Hearse Music PH-1,
1984) (PS) +insert
“Big John” is about John DeLorean; “Funken Chicken” is
an instrumental jam.
A-side by McKay, B-side by O’Doherty.
Produced by Terry Cromer, Maynooth, 1984.
Pressed on ultra-thin, I-can’t-believe-it’s-not-a-flexi vinyl.
No label information as such; the contact address is in Donnybrook.
Favourably reviewed in Hot Press! “The A-side reminds me very much of post
Steely Dan types, like Those Nervous Animals, perhaps? The b-side is about as
near as an Irish band has come to “rare groove” territory courtesy of a roaring
autoharp and some aimless flute.”
Notes: with Mel Collins (sax) and Frank Schaeffer
(cello, additional keyboards)
7”
P—17
side two
Beats On The Heart (1984)My Friends Are Normal (1982)
Don’t Listen To Lies (1985)
Power / The Animal (WEA PULL 1, 1986) (PS)
Power / Loudest Whisper / The Animal (WEA PULL 1/12,
1986) (PS)
Rain Don’t Last Forever / Filthy Minds (WEA PULL2, IRL
1987) (PS)
Rain Don’t Last Forever / Filthy Minds / It Don’t Stop
(WEA PULL2-12, IRL 1987)
[2] Dance of Ghosts (WEA PF2, IRL 1987) +insert
side one
Power
Rain Don’t Last Forever
Dance of Ghosts
Glad To Me
Filthy Minds
Lady Of The Red Door / ? (Purple Haze Records PUR 001,
1976) (no PS?)
Purple Haze (Waterford)
side two
Are We So Blind?
Be My Friend
It Don’t Stop
Wood for the Trees
----------------------------------------------------[IRL]
LP
Walk On Glass / Yolande (Pulling Faces KENK 01,
1981) (PS)
No Wonder My World Is Upside Down! / Why Do You Lie
(WEA IR 18999, 1982) (PS)
Loudest Whisper / Alternative Mix (Revolving Records
REV 002, 1983)
The Tape Gallery (1984)
4 track demo, made commerically avaiable(?)
tracks: Front Page Story / Gonna Get A Gun / Money / +1
Magazine Girl / Another Fall (Pulling Faces KENK 03,
198?) (PS)
Beats On The Heart / Shoot The Moon (Pulling Faces KENK
04, 1984?) (PS)
Don’t Listen To Lies / Well! Did You Eveah (Pulling
Faces KENK 05, 1985) (PS)
[1] The Animal (Pulling Faces PF 001, IRL 1985) +insert
Six track mini-LP recorded 1982-5; plays at 45rpm.
side one
The Animal (1984)
Loudest Whisper (198£)
Walk On Glass (1983)
7”
Dance of Ghosts/ It Don’t Stop (WEA PULL 3, IRL 1987)
(PS)
Glad To Me / Walk On Glass (WEA PULL 4, IRL 1987) (PS)
P—18
Private
Number
Private Number / The
Commotion – Don't Take It
Away / (Don't Say Goodbye)
Today (Hotwire HWS 851,
1/1985) (PS?)
Hip City Boogaloo (Hotwire
HWLP001, IRL 1/1985)
Private
World
Blue Gem Sea // Another
Self / Just A View (Xeric
Records XER 01, 1989)
(PS)
Rain Don't Last Forever /
Filthy Minds (WEA PULL2,
IRL 1987) (PS)
The Reindeer Age (Xeric
Records XER 02, 2/1990)
The Prunes
Walk On Glass / Yolande
(Pulling Faces KENK 01,
1981) (PS)
No Wonder My World Is
Upside Down! / Why Do You
Lie (WEA IR 18999, 1982)
(PS)
Dance of Ghosts (WEA PF2,
IRL 1987) +insert
Dance of Ghosts / It Don’t Stop
(WEA PULL 3, IRL 1987) (PS)
Magazine Girl / Another Fall
198?) (PS)
Nada (Baby/New Rose
BABY13, France 1989)
+ inner; diecut gimmick
cover
Blossoms and Blood (Baby/
New Rose BABY14/NR312,
France 1991) + inner
Purple Haze
Purple
Haze
Lady Of The Red Door / ?
(Purple Haze Records PUR
001, 1976) (no PS?)
(Waterford)
Hear It On The Radio /
Forever Lost (SRS Records #6,
1985) (PS)
The Purple
Hearse
Big John / Funken Chicken
(Purple Hearse Music PH1, 1984) (PS) +insert
P—19
P—20
___________________________
EXTRACTS FROM IRISHROCK.ORG REPRODUCED BY KIND PERMISSION
EAMONN KEANE.
Don't Listen To Lies /
Well! Did You Eveah
1985) (PS)
Pulling
Faces
(Antrim)
Lite Fantastik (Baby/New
Rose BABY12, France 1988)
+ inner
Beats On The Heart /
Shoot The Moon (Pulling
Faces KENK 04, 1984?) (PS)
The Animal (Pulling Faces
PF 001, IRL 1985) +insert
I’ve always wanted to indulge my passion for music. After being reared on the pop-driven pirate radio stations that
were popular in the early 80’s (Radio Nova, Radio Dublin, Sunshine 101 and Q102 etc.) I went on to become involved
with our local community radio station in my teenage years.
Radio is a medium that you have to buy into. While a passive medium for most, radio can also offer a sense of event
– of something to look forward to. Before the advent of the Internet and broadband, people would tune into their
favourite radio show in much the same way as they now subscribe to their favourite blogs or websites. In other ways
too, radio was also akin to today’s message boards or online forums. Some people would register their interest
regularly whilst others might just call or text in once.
The arrival of new technologies has changed the way people listen to music. It’s also changed the way people listen
to the radio. The ‘live’ radio experience isn’t as important any more. These days you don’t have to listen to radio to
hear new and exciting bands – that’s what MySpace is for. However for those of us who still yearn for something
more than just the music as part of our listening experience, the medium of radio still has a major attraction.
Whilst living in London in the early nineties I was exposed to an incredible array of genre-specific radio stations.
You could turn the dial and hear anything from reggae, hardcore, jazz and hip-hop, to jungle, soul and soca.
In Dublin the choices were somewhat more limited, but spurred on by an increasing interest in dance music
(particularly Drum and Bass), I got involved in pirate radio broadcasting on one of the few pirates in Ireland to truly
broadcast a wide range of musical genres: Power FM.
Power started broadcasting some time in 1993. Originally the station broadcast from Brian Chamberlain’s parents’
house in Palmerstown, with the record decks and mixer crammed in at the end of Brian’s bed. My cousins lived a
couple of doors down from Brian and would regularly shout in some requests over the back fence.
By the time I arrived on the scene in 1996, the studio had moved to an apartment somewhere on the peripheries of
Ballyfermot and Chapelizod. The first time I arrived to play, I asked for the studio and someone gestured towards
the corner of the room. Mistakenly, I believed they meant the conventionally-sized door that led to the rest of the
apartment. Instead I soon discovered that they were referring to the smaller door beside it. Behind this, squeezed
into a small space under the stairs, were two turntables, a mixer, a mic and a portable CD player to play the ads.
My life as a pirate radio DJ began there.
Ross and Naphta introduced me to Power FM. They’d been playing on the station since 1994, and were the pioneers
of jungle music on Dublin’s airwaves. I quickly decided that I needed a ‘nom de guerre’ for the pirate airwaves and
so The Golden Maverick was born. Myself, Triple A and Ross (newly christened Don Rosco) started doing a show
together on Tuesday nights.
Shortly after, probably around 1998, the station moved into new city centre premises located at the top of Parnell
Square. Suddenly access was easier and a whole host of other DJ’s started playing regularly on the station too.
Power FM’s roster was certainly at its strongest around this time, with the likes of Dublin club legends Billy Scurry,
Liam Dollard and Warren Kiernan doing weekly shows alongside other well-known DJ’s such as Tonie Walsh,
Johnny Moy, Francois, Decal, Droid, Sie Milligan and Del Diablo.
My relationship with the station was certainly strongest at this point. Apart from the weekly jungle show,
I was also doing a show every weekday morning from 9am until midday. I don’t know what I was thinking. I guess
I was trying to emulate Gay Byrne’s radio show – but managing to fuck it up by playing lots of jungle at that hour
of the morning. In hindsight it was brilliant. I don’t like getting into the theory of it too much but in essence, I was
attempting to offer an alternative listening experience for people on the bus journey into work or college.
By 2000 there had been a national crackdown on pirate radio stations. Around the same time, Power again moved
the studio, this time over to Parnell St. It was located above an upholstery store, beside the Republican Sinn Féin
bookshop. It was a kip. The toilet was in the basement and as the roof was too low to take a piss standing up, I used
to relieve myself in the sink just outside the studio door. Health & Safety wasn’t a particular priority at the time.
P—21
P—22
By 2003, Power had left the airwaves forever. Quite presciently however, the station had already established a web
presence. I continued to do a regular (online) weekly show up until about 2005. Thankfully, by this time the
studio had moved again, this time to its current location in Glasnevin. A significant upgrade now even offered a
proper toilet for the DJs to use. There was proper Internet access and it became possible to communicate with web
listeners on a real-time basis.
However, between work, study and ever-increasing family commitments it had become difficult for me to find the
time to play on the station and there followed a couple of years in which I had no real outlet for music. Fortunately,
in early 2007 a mate started writing a blog about music. I became fascinated with the medium and thought I’d give
the idea a go myself. Thus Golden Maverick took a back seat – and Matt Vinyl was born.
Initially I started writing about the various tunes that I’d picked up in record stores and charity shops. Soon after,
I began to create podcasts of the tunes that I was buying and suddenly I’d found a whole new outlet for music.
I attempted a few podcasts where I’d chat in between tunes but stopped that pretty quickly. Talking to your
computer in the small hours of the night is just too weird.
In truth, it’s a very different kind of vibe playing to a web audience. I suppose it’s a little harder to try and relate
to someone who might be listening on the other side of the world. It’s also a little harder to be enthused if you’re
not sure that anyone is listening in the first place. Web broadcasting lacks the kind of interactivity that is part and
parcel of pirate radio. The localised style that suits pirate radio becomes somewhat tempered when you move to
Internet broadcasting or even to podcasting.
Nonetheless, over a year has passed since I started and my blog has become pretty popular, more so than I could
ever have imagined. It’s been my only outlet to play music and as such, it’s managed to reinvigorate my sense of
musical purpose. In fact I’m probably buying more music now than ever before, although peculiarly, most of it is
in the 7" inch format. So it appears that as technology advances, I’m finding myself clinging to the older formats
and mediums. That said, I still believe that you’ve got to embrace these changes as they occur.
I recently bumped into the station manager for PowerFM.org. There’s a new drive on to re-establish Power as a web
radio station and I was asked if I was interested in doing a show. I still don’t have that much free time so the guys
at Power have kindly offered to set up a VPN so that I can do the shows from my own home. I’m now in the process
of assembling various bits and pieces to put together a studio and hopefully in the near future I’ll be broadcasting
from a bedroom in Dublin once again – this time to the world.
Ciarán Nugent is The Golden Maverick & Matt Vinyl.
P—23
P—24 ______________
CIARÁN NUGENT IN THE POWER FM STUDIO IN THE 2000
Robin Watkins
PHANTOM FOUNTAIN/FUTURE STREAM (09:17)
Assembled live on a 14 inch Studer A80 with mono inputs
and 7 12 /15 speed. The source material was recorded on
13 cassettes from 1999 – 2007. The most recent cassette
(2007) begins in the right input and the oldest cassette (1999)
in the left input. When they meet in the center (2003) the
material swaps channel from right to left and left to right,
moving past each other towards their start/endpoint. The
source material’s total playing time of 61200 seconds was
divided into a set of fractions by winding a fixed amount of
seconds in between each individual take.
Where do you listen to music?
In a room on the top floor of my house in Berkeley where I have my studio.
Of course I also go out and listen to music. These days, most live music
I see/hear is classical music, either the San Francisco Symphony Orchestra,
or local symphony orchestras. What’s your current playlist (artist, title, format)
In no particular order and always changing
Leon Russell Leon Russell CD
David Crosby If I Could Only Remember My Name CD
Levon Helm Dirt Farmer CD
Joanna Newsom Ys CD
Judy Sill Heart Food CD
Donovan The Essential CD
Honey Barbara Rough Drafts 02/08 CD
Earth Wind & Fire All ’n All CD
Andras Schiff Ludwig van Beethoven The piano Sonatas CD
Devandra Banhart Smokey Rolls Down Thunder Canyon CD
Rudy VanderLans
P—25 ______________________________________________________________________
PHOTO SHOWS SPREAD FROM ‘PALM DESERT’ BY RUDY VANDERLANS, EMIGRÉ, 1999
P—26 ________________________________
PHANTOM FOUNTAIN/FUTURE STREAM WILL BE PLAYED AT THE UNDERGROUND EXHIBITION ON THURSDAY 3 JULY AT 6.00PM
Questionnaire
Q
Q—1
Underground
..........................................................................................................................................
We’d like you to email us your response to any/all of the following:
2) Make an image that represents your music collection
3) What's your current playlist (artist, title, format)
..........................................................................................................................................
1) Onde você ouve música?
2) Faça uma imagem que representa sua coleção musical
(que desafio, hein??)
3) O que você está ouvindo atualmente? (artista, título, formato)
Q—2
to music
?
current
playlist
format
)
have listened
&
Oracle
1968
)
Jam Session
B.
Thomas
Arhoolie Records
in
my
studio
(
artist
,
today
12
june
(each time one side) :
by
The Zombies (
Big
Beat
Records
by
Butch
Cage
(
recorded in
Diarmuid MacDiarmada
a break
It’s my joy but also an overwhelming burden…
then
Zyklus
)
recently
/
Klavierstuck
by
Karlheinz Stockhausen
purchased )
#10
Harmonia
(
Mundi
1959
(
and
Squarepusher
right
Ultravison (
Warp
(
now)
2004
i ‘m
)
listening
by
to
m
CD
3)
2)
1)
Ve
clu
wu
du
at
ely
siv
CD
S un
to
M
a
gm
a:
t
gh
Alm
o
s
t
ex
(artist, titl
list
e,
f
uggah: Obzen CD
Mir
Mesh
ror
LP
s
:
nu
y
pla
nt
ten to music?
orm
nts your music
a
c
o
prese
l
lect t)
i on
lis
you
t re
tha
do
home
Moon: April CD
Kil
Bon
ey
M:
N
i
g
ht
fl
i
Q—4
e
ag
im
PHOTO: DOMINIQUE GOBLET
Q—3
e
rr
cu
Wh
e
re
Ey
e
Wh
a
Ma t's
ke
a
n
of
he
or
st
Interview
Giant:
CD
tle
Gen
ur
yo
t
that
Guy-Marc Hinant
u
listen
your
,
i
Odessey
in
Negro
Willie
)
Ud
1) Where do you
3) What’s
title
2008
(early in the morning)
recorded
Country
&
1959-60
Paul Shanahan
What's your current playlist
(artist, title, format)
/MP3
ueror – CD
ns – CD/MP3
Jesu – Conq
ck Formatio
l
Ro
–
n
Ma
set – Crue
er
nt
Yawning
Wi
e
ank & Th
Rachel Unth
I listen to music everywhe
/MP3
re. At home on
Sister – CD
l – CD
ri
Ap
–
the radio as soon as I wake
on
a
of
ss
re
up. On the
Sun Kil Mo
St
e
th
r
de
bus.
Un
In work for most of the
–
day. In the
The Heads
CD
–
even
ve
ing at home and then agai
til
n when I’m
Headlong Di
Persuit Un
–
k
oc
–
dr
Spee
e Loud going asleep. A recent development
Peter Pan
is
ality, Serv
also listening in the car
Premiun Qu
but I find it
Capture &
CD
a
bit
–
dist
t
ract
ing.
li
sp
CD/MP3
Zeke –
Speedrock/
– Live at
Peter Pan
e 400 Unit
Th
&
ll
be
Jason Is
CD
Shout –
Twist and
CD/MP3
Dogtank –
– CD
Dogtank –
Saturnalia
–
s
in
Tw
MP3
–
ne
La
The Gutter
– Rosemary
P3
/M
CD
–
Bert Jansch
ld
Wi
– Runnin’
Airbourne
t Songs &
es
ot
Pr
–
ut
Prefab Spro
CD/MP3
Heights –
– Vinyl
Andromeda
the Coast
of
s
rd
za
Wi
MP3
–
–
E
og
Sead
s in A&
/MP3
zed – Song
t Long – CD
Spirituali
gh
Ni
l
Al
vas –
– MP3
s
The Casano
Ep
2
e
ho – Th
tribute
Smokey & Mi
sed Men, A
Sharp Dres
Various –
– MP3
te
to ZZ Top
llery, Pira
Rogue’s Ga
– MP3
ys
te
an
Various –
Ch
a Songs &
Ballads, Se
Neil Donovan
At home; at work; between the two.
What’s your current playlist (artist, title, format)
The Michael Flower band s/t CD
Black Mountain In The Future LP
Windy Weber I Hate People LP
Astral Social Club Model Town In A Field Of Mud LP
The Heads Under The Stress Of A Headlong Dive LP
Wooden Shjips Woden Shjips
Times New Viking Rip It Off mp3
Pissed Jeans Hope for Men mp3
V.A. Narcosis (A Journey Through The
Outs And Ins Of The Underground) CD
Ride Nowhere CD
Q—5
Q—6
I listen to music in my studio (only
vinyl) where I make visual art and on
my ipod when cycling. In my studio I
mainly listen to stuff that is engaging
but not overtly emotional, abstract
electronica and instrumental music, I
find that I become too involved in
lyric based music that has a narrative,
it distracts me when i am trying to
make art work, when cycling I am far
more indulgent. In my studio I am listening primarily
to Jaco Pastorius, Fridge, Karl Him,
Orla Wren and a lot of acts from a
canadian label called Constellation
acts such SOFA, GODSPEED YOU! BLACK
EMPEROR, DO MAKE SAY THINK and LULLABYE
ARKESTRA. Later in the year I am making
a record for a contemporary art commission that deals with the relationship
between music and religious celebration, with this in mind I am listening
to a lot of Christian gospel music and Hymns such as Mahalia
Jacksons “in the Upper Room”,
Hymns by Loretta Lynn and
Dione Warwick’s “The Magic of
Believing, featuring the
Drinkard Singers”. I love
when collecting and listening
to music can be justified as
research.
Q—7
On my ipod I am as ever listening
to “Steely Dan” and a variety of
other stuff; ”Love”, “CAN”, “Harry
Nilsson”, a young band from
Chicago, Illinois called
“Anathallo”, “Grizzly bear”,
“Stars”, a Band Called “branches”
from PITTSBURGH, Pennsylvania,
Dublin’s most interesting new band
“Cap Pas Cap”, PJ Harvey’s new
record a variety of industry hip
hop acts such as “RJD2”, “The
Game”, “A tribe called quest”,
“Common”, “The Roots”, “Lupe
Fiasco” one thing by “Amerie”, a
brilliant dark americana band from
Denver, Colorado called “Slim
Cessna’s Auto Club” (who are
weirdly on Jello Biafra’s
Alternative Tentacles label). I am
kind of addicted to a song called
golden by “Jill Scott” and an
amazing new tune by Nina Hynes
called “Jesus”.
Mark Garry
What I listened to today (27/05/2008):
Sea Dog Wizards of the Coast LP
The Notwist Lichter 12"
Eddie Vedder Into The Wild O.S.T.
Husker Du Flip your Wig LP
The Ex Starters Alternators cd
The New Bloods The Secret Life LP
The New Bloods 7"
Pailhead No Bunny/I Will Refuse 7"
Lali Puna Tridecoder LP
Lali Puna Scary World Theory LP
Lali Puna Faking The Books LP
Beats International Dub Be Good To Me 7"
Neil Young On the Beach LP
Rex 3 LP
Bob Dylan The Times They Are A Changing LP
Anto Dillon
Q—8
it’ll most likely be a lot
different tomorrow or maybe
much the same.
artist
title
format
label
ARTHUR RUSSELL
XIU XIU
MT EERIE
WHITE KNIVES
HIGH PLACES
BLANK DOGS
NO AGE
VIVIAN GIRLS
INDIAN JEWELRY
POCAHAUNTED
RELIGIOUS KNIVES
BOYS NEXT DOOR
WORLD OF ECHO
KNIFE PLAY
–
DEATH IS KING OF THE DANCE FLOOR
PICTURE DISC
TWO MONTHS
NOUNS
S/T
FREE GOLD
ISLAND DIAMONDS
IT'S AFTER DARK
THE BIRTHDAY PARTY
LP
LP
10"
7"
7"
7"
LP
LP
LP
LP
LP
LP
(ROUGH TRADE)
(ABSOLUTELY KOSHER)
(BLACK WOODEN CEILING OPENING )
(MOPTACODICS)
(CAFF/FLICK)
(FLORIDA'S DYING)
(SUB POP)
(MAULED BY TIGERS)
(WE ARE FREE)
(ABOUR)
(TROUBLEMAN)
(MISSING LINK)
A
A
J MIE F RRELL
Peter Symes
Current playlist:
Telepathe - Chromes On It MP3
Tickley Feather - Natural Natural 7"
Mi Ami - Feel You 12"
Big A little a - gAame LP
Abe Vigoda - World Heart 7"
Mahjongg - Pontiac LP
Group Inerane - Nadan Al Kazawnin MP3
Q—9
Q—10
i listen with my body
up close
instantly
it flows
through riddled muscle
and tired bones
i am home
i listen with my memory
alone
not alone
in love
not in love
the first
the last
i listen with my life
Anonymous
I’ve only recently come to appreciate
what I was experiencing when I
listened to an album in my teens.
The residual feelings an entire album
would leave you with... the therapeutic
quality an album possesses, the
containment and holding of a feeling.
Albums were one of the few places
I could always go for refuge... and it
was never conditional. Always there,
always available... reflecting your
feelings and holding them in time
and space.
Now, I struggle to remember how this
felt sometimes. How I listen to music
now is so disorganised and random,
it feels like my soul mate has a new
girlfriend and doesn’t have much time
for me any more. The refuge I once
took for granted is now conditional…
I try hard to remember how it felt…
and try to re-create it. It’s never an
mp3. The feeling only comes back
strong when I have a heavy piece of
black vinyl in my hand. I place it onto
the spinning wheel with such nerves...
like meeting an old friend you’ve
neglected... I rest the needle at the
edge, hear the first crack as the needle
finds it’s home and I deflate.
The memories rush back in
Technicolor. I’m now in a relationship
with this album and it’s going to last
for a good 40 minutes. It’s going to
heighten my feelings and flood my
senses. It’s going to change me.
I mourn the loss of this kind of
experience. I know I’ll always be able
to listen from an album from start to
finish and re-create the feeling but
I’m drawing from a rich memory.
At some point, the album experience
is not going to be a memory everyone
has. And I imagine people walking the
streets playing music at incredible
speeds trying to find one song which
will contain them. Their relationship
with music will be a disorganised
attachment. Unreliable and fickle at
best. iPod on shuffle. Humans leaking.
Send help.
What’s your current playlist
Today 6/5/08:
In my head:
Breadwinner, The Burner, memory
Leonard Cohen, Chelsea Hotel #2, memory
Arvo Part, Te Deum, memory
Sigur Ros,
Make an image that represents your
music collection
What’s your current playlist
The image doesn’t really represent my
music collection, it’s more of a visual
representation of how the change in
people’s listening habits can effect
musicians. Critics don’t talk about
‘albums’ any more. They talk about
songs and advise you which song you
should download. It’s as if the whole
idea of an album, a holistic piece of
work from start to finish, has just
disappeared. It’s just not present in
the minds of journalists who review
music any more. This kind of ‘
guidance’ can really compromise an
artist’s environment... It’s like giving
a painter a canvas and some green
paint and then asking them to paint
a rainbow. It can manifest itself as a
very hostile environment for real
artists who conceive ideas and
transform them into art and only
serves to promote an environment
where music will become more and
more cheapened and disposable over
time. You should be ashamed of
yourselves. Come Apollo, show us the
error of our ways. Bring us back to the
beginning of time when you created
music, and teach us how to love again.
Jackbeast Jackbeast Vinyl
The Last Post Lost Love CD
Miriam Ingram Trampoline CD
Jape The monkeys in the zoo have more fun than me CD
The Waltons 7” EP Vinyl
David Kitt Small Moments CD
Giveamanakick Welcome to the cusp CD
Rollers/Sparkers Second level crossing CD
Kabinboy Various Vinyl
Eoin Dillon The third twin CD
Groom All this happened, more or less CD
Joan of Arse Distant hearts, a little closer Vinyl
Dot Creek Cast Vinyl
The Redneck Manifesto I am Brazil CD
Decal 404 not found CD
Connect Four Orchestra Chisel to the hip CD
Waiting Room Battle lines are gently drawn CD
Giraffe Running Giraffe Running CD
Spook of the 13th Lock Spook of the 13th lock CD
The Last Sound B’locks CD
Boxes Animal CD
Rebecca Collins Chameleon Blues CD
Ten Past Seven Shut up your face CD
Somadrone Of pattern and purpose CD
Kid Blunt Grey, Black, Grey CD
Estel Angelpie, I think I ate your face CD
Large Mound Raised on rock CD
Mumblin’ Deaf Ro The herring and the brine CD
In iTunes:
Earth, The Bees Made Honey in the Lion’s Skull, mp3
The Five Stairsteps, O-o-h Child, mp3
Poor But Sexy, Strong Pants, mp3
I’m a musician, so mostly in my head. Seriously.
I own an iPod and a bazillion albums but more
and more I prefer the sounds that exist in the
vacuum of non-listening (or listening to the
world's sounds around me and combining them
with the music I’ve already absorbed internally
and the music I'm constantly making up).
That is to say, I don't listen to records much
anymore. And an unexpected benefit of that is
occasionally seeing a music performance or
hearing a recording and being newly blown
away, much like when I was younger and
insatiable for new music.
Sometimes when I drive here in Los Angeles
I listen to the radio in the van. L.A. has pretty
good radio. But as often as not, I turn it off.
Maybe I sing to myself or think or practice
feeling thankful for everything I see.
I used to think John Cage was a fraud, but he
was right and I was wrong.
Q—11
Q—12
Bob Massey
Q: Where do you listen to music.
A: Most of the time it’s at home, then gigs, not so much clubs.
Also on long walks and cycles.
Everywhere. I finally succumbed to MP3 players last summer when I got
a Creative Zen. I listen to it while watching flashes of life out
public transport windows and while I navigate the streets of this
city. At home I listen to music all the time, while I eat, work and
read, there is always a CD playing or the radio is on. In every room
in every home I’ve had, music is always present. When I’ve got no
music devices nearby, I listen to the music in my head and think about
gigs. It’s the most enjoyable distraction I know.
CURRENT PLAYLIST 01 JUNE 08
Jimmy Reed Best Of Jimmy Reed Vinyl
Bobby Bland Foolin’ With The Blues Vinyl
Charlie Feathers Tip Top Daddy Vinyl
Karen Dalton In My Own Time Vinyl
Don Cherry Mu Part 1 Vinyl
Hugh Masekela and the Union of South Africa, Vinyl
Joe Bataan Young Gifted And Brown Vinyl
Quincy Jones The Pawnbroker soundtrack, Vinyl
The Mummies Food, Sickles And Girls inyl
The Sonics Here Are The Sonics Vinyl
The Swinging Medallions Double Shot Of My Baby’s Love Vinyl
The Birds No Good Without You Baby Vinyl
Aphrodite’s Child Four Horsemen Of The Apocalypse Vinyl
Aardvark Aardvark Vinyl
Harmonia Music Von Harmonia Vinyl
Soft Machine Love Makes Sweet Music Vinyl
Twin Kranes Bein Kong CD
Graham Bond Holy Magick Vinyl
The Groundhogs Cherry Red Vinyl
The 101’ers Elgin Avenue Breakdown Vinyl
John Carpenter compilation, CD
David Shire The Taking Of The Pelham 1 2 3 soundtrack, Vinyl
Rocket From The Tombs Rocket Reduh Vinyl
Cult Figures Zip Nolan Vinyl
Vic Godard And Subway Sect What’s The Matter Boy? Vinyl
The Pop Rivets Fun In The U.K. Vinyl
Punture Mucky Pup Vinyl
The Mekons Where Were You Vinyl
Mission Of Burma That’s How I Escaped My Certain Fate Vinyl
Getatchew Mekuria & The Ex Mo Anbessa CD
Tinariwen Aman Iman CD
Keith Hudson Pick A Dub Vinyl
Glen Brown & King Tubby Termination Dub Vinyl
Prince Lincoln And The Royal Rasses Humanity CD
Vladimir Cosma Diva soundtrack, Vinyl
Stano Daphne Will Be Born Again Vinyl
Ultramarine Every Man And Woman Is A Star Vinyl
Two Lone Swordsmen The Third Mission Vinyl
Champagne Diamond Champagne Diamond Vinyl
Antifamily I Of The Law Vinyl
Petit Mal Crises In The Credit System MySpace
Prodlums ft. Stab Daggers Heist Dub MySpace
Prodlums Vs. Cap Pas Cap remix, MySpace
Bon Iver
For Emma, Forever Ago
CD
Gemma Hayes
The Hollow of Morning
CD
Why? Alopecia MP3s
The National Virginia EP CD
Lykke Li Youth Novels MP3s
St Vincent Marry Me CD
Radiohead In Rainbows vinyl
Re: Stacks
kDamo
Garry O’Neill
Q—13
Q—14
Albums (MP3):
A Silver Mt. Zion 13 Blues for Thirteen Moons
Animal Collective Water curses EP
Antietam Opus mixtum
Bonnie Prince Billy Lie down in the light
Cavalera Conspiracy Inflikted
Cheveu Cheveu
Cine Victória O imperialismo é um tigre de papel
Clinic Do it!
Destroyer Trouble in dream
dEUS Vantage point
Disfear Live the storm
Earth The bees made honey in the lion’s skull
Elbow The seldom seen kid
Evangelicals The evening descends
Fleet Foxes Sun giant EP
Frightened Rabbit Midnight organ fight
Hercules And Love Affair Hercules and
love affair
Karl Blau AM
Lisa Li-Lund 2,000 waves
Matmos Supreme balloon
Cristiano Rosa
In computer by headphones and Hand Recorder H2 (field recordings).
2) Make an image that represents your music collection
QuadBox collective set in unique circuit bending-hardware hacking device handmade by
Pan&tone. CDs+DVDs+Card CDs inside the box.
3) What’s your current playlist (artist, title, format)
1.m.y granular improv card cd
2.dom pedro + pan&tone improv for cellphone+mp3+shortwave radio cd
3.douglas dickel ga+to+ra card cd
4.michelle agnes microcosmos card cd
5.henrique iwao cpu 100% card cd
6.m.y + ux14 double cups card cd
7.rosana cavaleri + suelen cavaleri impermanência cd
8.pan&tone confined cd
I listen to music in
home
(computer)
in work
(computer)
Douglas Dickel
Q—15
Mike Patton A perfect place
Mão Morta Maldoror
Neon Neon Stainless style
Neptune Gong lake
Nick Cave & The Bad Seeds Dig, Lazarus,
dig!
Nine Inch Nails Ghosts I-IV
Nine Inch Nails The Slip
No Age Nouns
Plants & Animals Parc Avenue
Portishead Third
Scarlett Johansson Anywhere I lay my head
She & Him Volume 1
Sian Alice Group 59.59
The B-52s Funplex
The Devastations Yes, U
The Dodos Visiter
The Kills Midnight boom
Tindersticks The hungry saw
Titus Andronicus The airing of grievances
Wye Oak If children
Yellow Swans At all ends
Q—16
walking on the streets
(i-pod)
Q. Where do you listen to music?
A. On the hype machine, on my record player, on my iPod, at gigs, at clubs.
Q. What’s your current playlist (artist, title, format)
Hercules and Love Affair Hercules Theme MP3
Lykke Li I’m Good, I’m Gone MP3
Annie Me Plus One MP3
Spank Rock & Benny Blanco are Bangers and Cash B.O.O.T.A.Y MP3
Blaqstarr Hands Up Thumbs Down MP3
Ghislain Poirier Blazin’ feat. Face-T MP3
M.I.A Fire Bam (Diplo Mix) MP3
Snoop Dogg Sets Up feat. Pharrell Williams MP3
Eduardo (aka Club
d’Essai)
At the Caffé
What’s your current playlist.
Einstürzende Neubauten, Alles Wieder Offen,
mp3 (iPod).
Anne Maree Barry
Q—17
Q—18
At home at various times of the day, especially in the evening
whilst reading. At the studio whilst doing visual work.
3 The two formats listed refer to the fact that these are
titles I’ve been listening to at home on CD or in the studio on
the iPod:
The Lock (CD/iPod)
The Ex: Scrabbling At
Report (CD/iPod)
er
ath
We
n:
tso
Wa
is
Chr
od)
/iP
(CD
Wire: 154
face/Plane (CD/iPod)
The Sealed Knot: Sur
Organ Works (CD/iPod)
ly
Olivier Messaien: Ear
Poor
Lacey/ Dennis McNulty:
Rhodri Davies/David
Trade (CD/iPod)
/iPod)
s Can’t Be Wrong (CD
The Fall: 50,000 Fall Fan
od)
/iP
This Heat: Deceit (CD
(CD/iPod)
I am What Is Missing
Laika: Wherever I Am
od)
E (CD/iP
Graham Lewis: pre>H
dows (CD/iPod)
Rhodri Davies: Over Sha
artet II (CD/iPod)
Qu
ing
Morton Feldman: Str
od)
/iP
Iggy Pop: The Idiot (CD
t And Mirage (CD/iPod)
:zoviet*france: Assaul
ing The Beating Heart
Eyeless In Gaza: Drumm
od)
ver soundtrack (CD/iP
Dri
i
Tax
:
Bernard Herrmann
od)
/iP
(CD
ar
Cig
Roof: The Untraceable
od)
Can: Tago Mago (CD/iP
mson Rays (CD/iPod)
Mark Wastell: Come Cri
Music (CD/iPod)
Toru Takemitsu: Film
QUI, WHELANS, 8 NOVEMBER 2007
Q—19
_________________________
Q—20 PHOTO: DAVE ROAD RECORDS
Records You’ll Want
to Own
Our rehearsal room is
a Jungian dream.
So what’s all this about?
Records You'll Want to Own is a new weekly podcast that intends to do
exactly as the title suggests; put you on to some new music. And by new,
I don't mean simply recent releases. The show will spotlight the records
I've been picking up lately. Old and new. Some meant for my dj sets.
Some that will never get played out. But hopefully all good. In the coming
weeks lookout for some guest contributions and maybe even some talking.
R
R—1
But for now enjoy. Thanks for listening.
JB the Deejay
Wildbirds and Peacedrums ‘We Hold Each Other Song’
Teebs ‘Without You’
Soko ‘I Will Never Love You More’
Luke Slott ‘Redemption Brent's Theme’
Coleman ‘No Strings Attached'
Off Balance Atlas ‘In the Market Square’
Flying Lotus ‘Auntie's Lock / Infinitum’
Jackhigh ‘Wakinguptoadream’
Blank Blue ‘In the Swim’
Nosaj Thing ‘Bach 1685’
Declord ‘Proud’
Co.Fee ‘Wamp Wamp’
James Pants ‘I Choose You’
_______________________________________________________________
Download the MP3
http://www.recordsyoullwanttoown.com/
R—2
Our rehearsal room is a Jungian dream.~ The basement of a Georgian end-of-terrace house in north inner-city Dublin, it’s a damp,
airless place with no natural light, whitewashed stone walls, a series of interconnecting chambers apparently leading nowhere and an
entrance down a set of external steps. Outside world kept at bay by a forbidding metal door, the sole touches of habitation inside come
from the strips of red carpet on the walls, the orange glow of the halogen heater and low steady hum of the dehumidifier.
On first appearances, it’s not for the fainthearted. Yet once inside, ‘the room’ (for such is its status in our world – a singular place, identified
immediately by the definite article) exerts a womblike pull, calling you down into the depths of your being, letting go the daily identity,
casting forth misshapen shadow creations, strange fragments of faltering technique and unconscious insight, moments where a fleeting
glimpse of something true is revealed, almost lost among the bum notes, the litter of broken equipment and the distorted interpersonal
communication that epitomise so much of the intermittent decade I have spent in that space, subterranean, psychodynamic, playing
music (or something approaching it).
I first entered ‘the room’ in autumn 1995, in the early days of Dublin’s boom economy. I played in a band that had been offered a
record deal, modest in its terms but real, however improbable that might have seemed to anyone who had witnessed us play live.
Signing on the dotted line was to confirm all the clichés of the pantomime record industry that others had warned us about, but there
was still one big advantage to this process. Having a little money in the bank gave us the financial freedom to rent this room on an
ongoing basis, make it our home and not worry about it for a couple of years.
Previous to this we had practiced in our bass-player’s bedroom. A time-honoured and traditional starting-point, but increasingly
limiting – especially after we added a second guitarist and singer to our three-piece line-up. Moving into ‘the room’ meant that our
music had room to breathe, expand, develop. It gave us space, physical and creative. With the rest of the advance we bought a bunch of
clapped-out gear, a decent 4-track cassette recorder and some cheap Arbiter microphones and got to work figuring out exactly what it
was that we wanted to do.
I spent a fair while with that band and we made, recorded and released a respectable amount of music together – three eps and two
albums after we took up home underground. Some if it was good, and stands up quite well in my opinion; for other moments, all I can
hear is my own mistakes, weak playing and what I’d do differently if I had the time again. But, regardless, all of it reminds me of
‘the room’. (So much so that I can’t even bear to listen to some of it. Not nostalgic but too poignant. I’m not in search of lost time; not that lost time
at least, not yet.)
Back in those days, ‘the room’ was where the band lived for me, where our existence was most real. Gigs, although enjoyable
sometimes, were mainly an endurance test – taking the old, heavy and cumbersome gear down in the room; lugging it in taxis or vans
across town or further afield; setting it up again; soundcheck; nerve-wracking wait for the gig to begin; fear; adrenaline; occasionally,
elation; often, at least a measure of humiliation; well-meaning lies spoken by friends and associates; well-meaning lies spoken silently
to yourself. And, at the end the night or early the next morning, the whole process again, this time in reverse. Despite appearances,
it wasn’t all glamour.
Recording too could be an ordeal. When you’re not confident on your instrument, and when you feel the band is at least a little
unsure of its direction, committing your performance to posterity can be uncertain as well as exhilarating, limitations looming as large
as any achievements. Is your best good enough?
But the room, the room was where we were free. Away from any public or record-company gaze, away from the unforgivingly
objective world of professional recording equipment and in the more accommodating company of a hissy four-track, we could
experiment, explore, emulate our latest favourite albums, have fun, kick back, try out new approaches, indulge ourselves, argue, discuss,
theorise, engage in dreams, confront the reality of our creation and strive to improve upon it. It was a place where we could grow, and
enjoy that growth, working towards the time when we could take this next set of songs into the studio and onto a stage and be proud
of our accomplishments.
Two nights a week, every week, except for occasional holidays and religious festivals: it was regular, but never routine and I know
there were moments in that room when we achieved a level of cohesion, harmony and mutually directed expression we never
approached live or in a recording studio.
Twice a week wasn’t the sum of my engagement with the room, however – I spent weekends there too, playing with my friends, two
bands, both occasional at first, one evolving into something more, the other a strictly time-limited folk-rock knockaround, inspired by
a contemporary devotion to The Basement Tapes. These bands recorded too – one even made an album in ‘the room’ and, despite the
flaws, created an honest and sometimes moving document of that time.
For a long period, ‘the room’ was a creative space, encouraging growth, musical and personal, despite the dingy surrounds. It was a
place to be celebrated and enjoyed. Then came stagnation: inevitable perhaps, but painful still. Not a good time, the start of 2000.
It was a time where the room took on a more negative dimension for me, its increasingly unkempt appearance in tune with the inner
discord I experienced then.
Whether coincidental or not, it was around the same time that the situation with the heroin users on the steps outside reached its
depths. They’d been with us for a while now, probably since about mid-1998, on and off. You could see their logic. Dublin was in the
R—3
grips of its latest class-A epidemic; the north inner city seemed to be one of the prime places to buy; and the shaded, off-street
entranceway to our room offered one of the few local vantage points to take a turn-on in peace. The wooden panel at the top entrance
was easily kicked-in, as we found on multiple occasions.
Eventually we gave up trying to repair it, making a silent accommodation that we wouldn’t do anything else about it as long as the
junkies stayed away while we were playing. It held stable for a while but deteriorated significantly towards the end of ’99.
The oppressive debris of sleeping bags, empty actimel bottles, used works, burnt tin foil, spoons, and occasional elongated human
excrement started to accumulate in the alley and our separate worlds began to collide more often.
Those occasions were quite disturbing, at least to us – seeing the silhouettes of a bunch of people come down while we played on a
Saturday afternoon and realising that two hours later they were still there; looking through the peephole and watching a girl try to find
a vein in her leg, while her companions cooked up for themselves; feeling trapped; no way out except through them; the only thing to
do wait it out and try to make our music as anti-social as possible. Could they feel our fear?
Another time, knowing someone was outside and wondering what was going on, looking out to see a stoned attempt at sex-making
by two teenagers. Squalid and sad – no wonder the room became a negative entity, even to me, who had for so long been its advocate.
And for some reason, the image of a Cadbury’s chocolate bar with birthday candles stuck in it, tinfoil removed from the wrapper,
left open to mould on the ledge, is the one picture that most sums up the horror for me. We didn’t do anything about it for months.
But in the depths there were still shards of light. In the same year we were also witness to the beginnings of multiculturalism in
Ireland. Every Sunday afternoon, the Presbyterian Church across the road gave their space over to an African Pentecostal congregation.
Regardless of the theology involved, it was good to see, and better to hear, the exuberant pieties of our new neighbours. The uplifting
polyrhythms were a welcome addition to the bleaker aspects of the not-yet-regenerated urban environment and though we only made
it as far as nodding terms with each other, it was positive to know our new neighbours were there and that our city was changing.
Even so, I could feel things crumbling around me, like mouldy plaster off damp walls. Feeling oppressed by the inner-city blues
outside the practice room; contributing to deteriorating personal relationships inside; seemingly powerless to prevent either; wanting
to make things better but not having the slightest clue how: it was a tough time and it took me a long while to process all the lessons
(personal, creative, social) that it offered. Inevitable then, that some things would end and others change.
I abandoned the room after a protracted and painful period of messiness, leaving the chaos of recriminations but negotiating with
the new tenants that I could go back occasionally to play my drums when the mood struck, usually on a Saturday afternoon.
At that stage the whole idea of playing in a band had become a very complicated business for me, bound intricately with questions
about communications, dynamics and aptitudes. After I left Dublin to go north in 2005, I did not anticipate entering the basement of
North Frederick Lane again.
I stopped playing music at all for almost two years. When I began again, called by a deeper need than the conscious mind, it was on
a cheap set of secondhand drums in the attic of my flat on the Woodstock Road; and when I did form a new musical alliance, it was in
the sitting-room of that same flat, playing open-ended jams with a fellow Dublin exile to the good pedestrian passers-by of protestant
East Belfast. That was August 2007.
Brian moved back to Dublin that December. We wanted to keep playing, so he suggested using his brother’s rehearsal room. I had a
feeling where this would lead. It seems corny, maybe; too coincidental to be true, but when he described the location, and its proximity
to the headquarters of the National Association for the Deaf, I was struck by a mixed sensation of déjà-vu, inevitability and rightness.
I’d been thinking about returning home anyway. When my new band seemed set to take up residency in a space that had been so
important to me - so pivotal a decade earlier and so painful when the good times had gone bad too – it felt like something that had to
be. To reclaim the past; hold on to what was good from it; transform the pain into something positive; learn the lessons; redeem myself;
put the ghosts to rest. It was time.
Walking back in for that first practice was strange. Seeing it so much better kept than we had managed, feeling it more homely
and secure, its potential more fully realised, was humbling. We’d been good at talking but maybe not so good at doing. There were
cosmetic improvements: carpet on the floor as well as the wall; heaters that worked; an attempt to combat the damp; minimum
standards of cleanliness; a door on the toilet. We’d been content to live in our own mess; perhaps that was why we accepted so passively
the unacceptable outside.
There were other changes too. Technical changes: from volume pedals to loop stations; 4-tracks to MP3 recordings; Arbiters to
contact mics; mixing cassettes to mailing files. But the biggest changes have been the ones hardest to quantify: the ones to do with self
and others; sense of place in the world; communication; confidence; acceptance; strengths as well as limitations. Playing for joy and
feeling liberated by the process regardless of the result. Walking back in, I felt the same but different: a new person in an old skin; the
same person but better, I hope.
And the room, still the room: that same space, holder of secrets and dreams, unlikely location for a learning experience; an optimistic
room again, ghosts not banished but subsumed, the past at peace with the present. And the future – who knows? I’m glad to be back
there, glad to be playing music. Aware of the change, aware of the continuity, it’s a good time, a time of growth. That’s all I can say.
R—4
Sound Cellar
Skinny Wolves
Shellshock Rock
s
Spacemen, the lot of you
Lyrics (secret)
Sonic Youth
Stereo
S—1
S—2
skinny wolves
S—3
POSTERS: JAMIE FARRELL
S—4
It’s there on record and this is all - what - we ever wanted to do
was to record - to put something down, should it only be one tape
- something down of what was happening in Northern Ireland this
year. And I think we’ve done it! I mean, in the sixties, Decca and
EMI who controlled the whole industry, I mean the whole pop
industry, I mean they just controlled it - they dealt in this thing
called mystification, where it’s really difficult to get out a record.
Ah... it was just so difficult it was unbelievable, I mean it was a
secret how you made a record and we’ve just blown that - we’ve
blown all the people who’ve been controlling the industry for ten
years or - or more in Northern Ireland - we’ve just blown it for
them. I mean that there (points at a 7" single by Rudi) it was
always a secret to us how you make that and now we know how
to just break the whole thing and we’ve just broken their secret
file and opened it and now every kid in Northern Ireland should
know how to make a record - how easy it is. I mean when we see
the Undertones on Top of the Pops, I mean… there’s no payola,
there’s nothing - they’re just there, they’re lads and they’re in
their own clothes. It’s just us. It’s fantastic! It’s unbelievable! Terri
Hooley (from SHELL SHOCK ROCK)
S—5
S—6 ________________
SHELLSHOCK ROCK (1979, DIR. JOHN T. DAVIS) WILL BE SCREENED AT FILMBASE AT 4.00PM FRIDAY 27 JUNE
In 1996, film-maker Daragh McCarthy directed a documentary inspired by the noises emanating from Dublin’s independent rock
scene. At the time, we didn’t know if this urgent groundswell in activity was destined to be just an ephemeral phenomenon or
whether it was the foundation for a future infrastructure. All we knew was that it was some of the best and most pro-active music
making in a country other wise smothered by corporate bandwagoneering and post-U2 tail chasing. The Stars Are Underground was,
quite simply a film crying out to be made. In retrospect, it has become a prescient foretaste of the depth of fine music being made
in Ireland, four years later. Stars… is a film about dreamers, visionaries, wannabe Warhols and shoestring svengalis. A film about
punk-rock, country outlaws, decadent discordance and slack jaw stoners.
It’s about people relearning the DIY process and starting to get it right. Releasing their own records, making their own videos,
designing their own sleeves, organising their own events and basically doing the complete opposite to those who so willingly bowed
down to the industry before them. Having said that, this documentary doesn’t wallow in underground romance. It details with the
day-to-day hands-on banalities of being in a band, the lure of the corporate dollar and the struggle to be heard. The music ranges
from brash and formative exorcisms of anger, to sophisticated, aspirational creations, to probing, vehement experimentation.
Jubliee Allstars’ initial releases on their own Hi-Tone label and Dead Elvis, sound as fantastic as the first time they shambled
revolutions ‘round your record player. As does Wormhole’s low-slung primitive hypnosis and Luggage’s muffled and debonair series
of EPs on Blunt Records. And Female Hercules and Bambi and the Great Western Squares and Pet Lamb and The Idiots and
Mexican Pets. Some of them have gone, some still here, in one form or another. Label owners and media-mouths such as Colm
O’Callaghan, Dan Oggly and Eamonn Crudden have their say too, discussing the naïvete that fuels these records, and questioning
the magnitude of the independent structure.
International figures such as Therapy’s Andy Cairns and Fugazi’s Ian MacKaye express words of wisdom and, well, words of
simple enthusiasm. The latter warns us not to expect to make any money in this industry. But what’s probably most satisfying about
The Stars Are Underground is how the artists themselves define this whole time with a sense of community. It’s almost politically
incorrect to use the word “scene” these days, but whatever it was, this time and place, it was where connections were made that
ring true to this day. The year 2000 has already seen several great Irish records, and all going according to plan, 2001 will be better
again. The roots lie here in this film, and for those aware of or interested in these facts, this is essential viewing. A low budget film
about a low budget scene. It won’t be forgotten quickly. Leagues, October 2000
__________________________________________________________________________________________________________
So much has changed in eight or twelve years and so much hasn’t. With the recording industry in a state of confusion and the live
industry at saturation point, many independent musicians find themselves in the same old rut, in a country that appears to be a
great place to visit, but a tough place to break out of. New music breeds its own optimism, however, and so it continues regardless,
slowly snowballing generations into a cultural history all of its own. Documentation is no longer an issue as YouTube expands its
infinite catalogue. Yet the more we examine the present, the more we become curious of the past. The mysterious past… of
which only a few had the insight to record precious moments. The Stars are Underground is an artifact that can only increase in value.
Leagues, June 2008
S—7 __________________________
THE STARS ARE UNDERGROUND WILL BE SCREENED IN FILMBASE AT 4.00PM ON FRIDAY 27 JUNE
U—0
S—8
Around the late 80s /early 90s, one of the most annoying record shops in North London
was in a tiny basement of Camden. It was run by a neurotic guy called Bernard.
Bernard had a space helmet hair cut, a slack mouth and a vacuous expression.
Bernard was obsessed with Syd Barrett - I seem to recall he even produced a Syd
Barrett fanzine. I once translated an article for him from a French magazine,
awkwardly, in the shop - an interview with Syd Barrett. Bernard was under the
impression that Barrett had made some comments about him and his fanzine and
indeed Barrett had: mostly rather rude comments about Bernards appearance and his
obsessive interest, basically calling him a stalking loon with a space man hair
cut. I rather glossed over the worst of it but still, Bernard looked somewhat more
crestfallen than usual for some months after.
_________________________
ADAM SUTHERLAND
S P A C E M E N ,
T H E
L O T
O F
Y O U
Bernards record shop dealt largely with black music, mainly rare groove and reggae.
Bernard had to try to make like he knew what the records were and what they were
worth. Occasionally, you would get amazing bargains. I remember a guy getting really
angry with Bernard for not holding back a copy of a Norwich Street Extension 45 that
I had just picked out of the scrum. You know thats what I was looking for man, why
didnt you tell me you had it, man, you know thats the kind of thing I want. Bernard
looked even more pained, vacuous and apologetic than ever, clearly unable to admit he
had never heard of The Norwich Underpass, or whatever. The whining barrage grew ever
more insistent to the point I couldnt take it anymore, so I let the guy have the
bloody record. He then argued with Bernard over the price.
I used to do a list for Bernard of rare groove tunes, whatever I thought might
interest the buyers. At that time sampling had only just started and warehouse
parties were just getting going, so regulars at Bernards annoying shop included all
the DJs and bands wanting to be funky. I remember arguing with Jazzy B over the
price of Prophet Souls Kick the Habit. I wanted £10 for it but Jazzy - always the
market trader - wouldnt pay that. It actually sells for around £600 now, not that
Jazzy would care. A white guy bought it in the end, his DJ name was the Funky Fly,
a warehouse and KissFM DJ, really aggressive, bought everything, had everything,
a really obsessed character. I wonder what became of him. I hope he turned all that
energy into something useful.
A feature of Bernards shop was really annoying people trying to sell him records,
usually rubbish that they would persuade, cajole or bully him into buying. I remember
he bought a whole box of records by a band called the 8th Day. Pretty anonymous stuff
really and they proved to be absolutely un-sellable at any price. Bernard was often
asked by music magazines/fanzines to give his list of top rare groove tunes - someone
always had to help him with it, but he always insisted on putting this 8th Day record
at number 1. He still never sold a copy.
A big record of the time was Funky Drummer a useful and well-used James Brown sample.
None of the buyers really understood anything much about this music they had suddenly
become interested in. They didnt know that it was an import, or that it was a popular
hit, not even slightly rare. There were lots of youths that wanted a copy, I guess it
was just a thing
so myself and a friend of mine bought a full box of them (along with
a box of Ironleg - another popular hit that was thought of as rare but isnt) and sold
off these records at £5 each - quite a lot at the time.
My friend sold this one guy a copy - all the copies had import punch holes in them,
so this guy compares his copy with his friends and the import holes are of course in
different places. So the guy decides he has been sold a bootleg and goes straight
round to my friends house to confront him. My friend tries to explain - even shows
him some other copies with the import holes in different places, but this just makes
it worse. The guy now thinks my friend has a whole bootleg pressing plant on the go.
After a few more threats he grabs a bread-knife from the kitchen and stabs my friend
a couple of times in the back. My friends lung collapsed and he spent a bit of time
in hospital and we thought: maybe lets not sell records anymore.
James Brown on sampling: Yes Ive got a problem with
sampling, how would you like it if I sampled your wife?
S—9
S—10
S
S—11 _________________________
O
N
I
C
Y
O
U
T
H
S—12 ______________________
U—0
ARGOS CATALOGUE 2008
S—13
S—14
S—15
S—16
S—17
S—18
S—19
S—20
_____________
LYRICS (SECRET) ANGELA DETANICO & RAFAEL LAIN
_________________________________________________________________________________________________
Thanks!
t
T—1
Brian Bannon
David Beattie
The Brehon Press
Karl Burke
Nina Canell
Ross Carroll
Dave Cleary
Maeve Connolly
Pat Cotter
Nicky Gogan and Derek O’Connor,
Darklight Film Festival
John T. Davis
Angela Detanico
Douglas Dickel
Donal Dineen
David Donohoe
Neil Donovan
Eamonn Doyle
Droid
Micí Durnin
Brendan Earley
everyone who responded to the
questionnaire
Danny, Marieke and Erwin;
Experimental Jetset
Shane O’Shea
Kieran Owens
The Event Guide
Carlos Farinha
Jamie Farrell
Clare at Filmbase
Conor Goodman
Russell Hart
Guy-Marc Hinant
Jo Hogan
JB the Deejay
Eamonn Keane, irishrock.org
Lorna Kennedy
Rafael Lain
Lazybird
Barry Lennon
Maximum Joy
Daragh McCarthy
Darren McCreesh
Eilis McDonald
Francis McKee
Mother’s Tankstation
Ciarán Nugent
Alan O’Boyle
Daragh O’Halloran
Conor O’Riordan
Garrett Phelan
Dylan Phillips
Claire Power (TBG&S)
Stephen Quinn
Marie-Pierre Richard
Road: Dave & Julie
Paul Rowley
Naomi Ryder
Gabriel Sierra
Skinny Wolves
Enda Storey
Thumped
Timo
U:MACK
Sarah Pierce
Robin Watkins
Martin McCabe
Rudy VanderLans
Alejandro Velez
Paul Vogel
Ciarán Walsh
Paul Watts
Wendy
Mark Winkleman
_________________________________________________________________________________________________
Underground is support by
the Arts Council / An Chomhairle
Ealaíon
Preface to ‘Greenbeat:
The forgotten era of Irish rock’
by Daragh O’Halloran,
reproduced by kind permission
the author and Brehon Press
excerpt from The Metropolitan Complex,
Paper No. 10, ISSN 2009-0455 courtesy
Sarah Pierce
Broadcaster – (Donal Dineen
Portrait No. 1)
mastered by Stephen Quinn at
Analog Heart
Extracts from irishrock.org
reproduced by kind permission
Eamonn Keane.
T—2 _________________________________________________________________________________________________
Underground
U:Mack
u
U—1
UNDERGROUND
2 7 J U N E – 6 J U LY 2 0 0 8
ROAD RECORDS
FADE STREET DUBLIN
U—2
POSTERS: NIALL MCCORMACK
u
a
U—3
:
c
m
k
U—4
8.
Venues
Places that
were but aren’t
anymore
NIALL McGUIRK
VENUES
5.
6.
7.
9.
V
4.
Ivy Rooms
First gig I ever played was in the Ivy
Rooms. Paranoid Visions were on last and
I was so nervous that I fixed my eyes on a
mirror at the back of the room and didn’t
change my stare for 25 minutes.
The mirror wasn’t to last too much longer.
It was a room in a bar that needed some
decoration and lots of lights. As usual
when it came time for the management to
provide that they decided that loud music
wasn’t for them
2.
10.
1.
11.
12.
3.
Tommy Dunnes Tavern
I saw the Gorehounds play in Tommy
Dunnes Tavern and they rocked the place.
A small room in the upstairs of a pub I was
delighted that I could book it for Vicarious
Living. We had it for 2 Saturday nights in a
row and after the second one when Deko
joined us on stage for a song the
management weren’t too pleased with the
noise. Now some sort of microbrewery
pub that brews its own beer; for one small
summer it helped provide a soundtrack in
a Temple Bar devoid of a playlist.
13.
17.
14.
18.
16.
15.
19.
CIE Hall
The CIE Hall was a great space in
Marlborough Street. It was the place for
CIE Employees to hang out when not on
shift but it also housed a great function
room. We had it for nearly a year but after
one too many fire extinguishers had to be
refilled we finally ran out of people to
book it and the owners ran out of
patience. For that year it played host to
some good battles, and some great
nights including Shrapnel when they had
to sleep in their van on Marlborough
Street afterwards and a great benefit for
Trocaire that featured 16 bands and raised
over IR£800 which was a fair sum in those
celtic cub days.
V—1V—1
V—2
20.
McGonagles
Earl Grattan
McGonagles was a class venue. It played
host to many quality bands like Public
Enemy, Wedding Present, Neds Automic
Dustbin, Big Audio Dynamite, The
Pogues, The Redskins, The Fall and
Theatre of Hate but had the unusual
feature of being available to all to book.
There were plenty of Sunday afternoon
gigs there when the likes of Joyce
McKinney Experience, Carcass, Doom and
tons more came over to play Dublin and
Belfast. It also played host to the first
Fugazi gig which was an amazing night.
Now departed but some of it might be
the toilet for one of those bizarre bars on
Dawson Street that has tons of people
queueing up outside to get in so they can
queue some more at the bar.
The Earl Grattan was class. Available to
hire for IR£30 which included PA and
engineer it was ideal for bands starting
out. It had a capacity of 150 and was
pretty full a few times. Not Our World
were the resident band there for a while,
we played 5 nights one week, Good
times. Unfortunately the owner got big
plans when people started going to his
bar and the gigs stopped. Now a quiet
bar on Capel Street.
New Inn
The New Inn provided a smaller
alternative to McGonagles. Ran by Smiley
Bolger who we all know as Phil Lynnott’s
mate the sound was excellent and the
hospitality was made to match.
Unfortunately too many toilets were
smashed which was a fashion statement
for a while and The flaps couldn’t get to
play one night due to water flooding and
getting into the electrics. Dublin was a
strange city then. When people got tired
of letting off fire extinguishers at gigs they
moved on to kicking toilet bowls as hard
they could. It has since been knocked
down to make way for a dual carriageway.
The TV Club
Another venue that is now a road was the
TV club. Opposite The Pod on Harcourt
Street it was home to fine gigs like New
Model Army, Billy Bragg, and the Anti
Nowhere League which descended into a
huge row when the crowd took on the
band (or was it the other way round, and it
wasn’t all the band as some of them ran
off the stage pretty sharpish). It was also
home to what would have been Conflicts
first gig in Dublin if they had of turned
up!!! They were billed to play but pulled
out soon before the gig. My Bloody
Valentine played with Paranoid Visions,
Defoetus Atitude, Abnormal and a load
others and the punks in the audience
didn’t appreciate it too much.
Fox and Pheasant
Just opposite on Great Strand Street was
the Fox and Pheasant. Used a lot for
Northern Soul clubs it became the place
for local bands when the ‘Grattan closed.
When Hope were doing gigs we were
able to get the Fox’ on a Monday night
which was ideal for bands who came over
to Ireland on a long weekend on the ferry
Thursday to Tuesday was special offer
time). Bands like Babes In Toyland, The
Ex, NOFX and Pitchshifter all gathered
there in the venue that was just like a
larger version of someones front room.
PLACES THAT WERE
BUT
AREN’T
ANYMORE
Anto (Loserdom)
Notes to Loserdom #15,
10 year special issue
9. Shitfield punk gaf,
Nth King St., Smithfield
Punk flat at Smithfield
Square where there is
now a huge high-storey
building being built. It
existed just at the same
time the Smithfield area
was beginning to get
renovated or gentrified
(whatever you wanna call
it). Lots of stories and
legends have emanated from the gaf such
as tales of drinking
sessions, gigs, police
searches,
mysterious
callers, junkies staying
for weeks, and it being
haunted etc.
V—3
Please note this is no way
complete it only claims to
cover the mid '90s ’til the
present but really more
people could fill in the
gaps and go back futher
with it.
lO. Slattery’s, Capel St.
Venue run by Smiley Bolger
for many years, during his
Beatbox days. Mainly metal
gigs here though, as he
went off punk gigs for a
good few years – probably
for the usual carry on...
8. The Temple pub, Dorset St.
Well the Temple pub does still
exist but not as a venue. This
was the home of Toxic
Promotions for a good while
and hosted numerous gigs by
the Kids, Skinny Wolves etc.
The venue was slightly out of
the way and unless you got a
full turnout the sound was a
bit raw and you might not
cover costs. Many good gigs
there by Dagda, Steam Pig,
Puget Sound, Bambi, Bluetip,
Coldwar, etc. The off license
upstairs used to stay open ‘till
2 o’clock as well, which was
great.
This was originally written
for Natalia’s map zine,
but I thought I would P.S. Since this map was written
reprint it here as I think it three places which could be added
fits in with the 10 year to the list include: The City Arts
issue buzz, and so more Centre (City Quays), an arts centre,
people can read it incase café among other things which
you missed Natalia’s zine. played host to two D.I.Y. Festivals
that the Hope Collective was
involved in organising '96-'97 and
later some BASTA youth collective
gigs. The Unawarehouse (Nth
Strand) a collectively run/lived-in
warehouse played host to all sorts
of activities, gigs, meetings, such
as the zine fairs, Bad Books library,
Forgotten Zine Library, Robert
Blake, talks etc. Red Ink (Fownes
St., Temple Bar) zines and radical
bookshop.
ll. Ormonde Multimedia Centre,
Ormonde Quay
I’m not exactly sure what went on in the
Ormonde Multimedia Centre by day,
I seem to think it was something to do
with FÁS or a Community Emplyment
scheme (yeh they’ve since been axed by
Mary Harney and her PDFF cohorts...). On
Monday nights for a good while there
were Ignition gigs. These were local and
foreign bands like Fugazi, NoMeansNo,
Neurosis, Mexican Pets, Pet Lamb, Gout,
Striknien DC, Underfoot, Bambi etc.
There used be a huge skate ramp at one
side of the when the main actor beats up
his ‘Da, I’m pretty sure some of the punks
are hanging ‘round in the background.
Its now GE Capital Woodchester.
l4. The Garden of Delight, 3 Castle St.
l6. Charlie’s Rock Bar, Aungier St.
Legendary collectively run bookshop/café space that lasted
for about a year (‘96-‘97). ‘Was a great place at the time,
Back when there used to be more
with loads of cool books available from AK Press – all kinds
Rock bars than just one side of
of mad stuff. Also had a zine library that later moved to
Bruxelles, this was one of the
Giros in Belfast. Mainly it was herbal teas and coffees availbetter ones. ‘Had a great room
able and for a period food too. The Collective used to go
upstairs for gigs – some of which
through lulls, rows, phases that would reflect differently in
included Bikini Kill, Citizen Fish,
stuff happening in the space – eg: for a period a drumming
State of Filth, Month of Birthdays,
circle met there to have Shamen type meetings, after awhile
Sparkmarker, KabinBoy etc;
they were asked to leave and a punk rave party happened
numerous gigs before my time
shortly after. There wasn’t that many gigs there, though I
such as Quicksand, Gorilla
remember Bambi played, there was often parties, and odd
Biscuits, NOFX, Babes In Toyland.
talks and events eg: the K Foundation (KLF) etc. The space
Unfortuately Charlies closed
eventually became unavailable and the collective dissolved
down to become a whole string
or combusted. There's now a recruitment agency in the
of yuppie bars the present one
same spot, go figure!
l5. The Olde Chinaman, Golden Lane being called Capital.
Infamous Old Skool punk venue with weekly gigs run by Deko – regular
bands included Striknein DC, Stagnation, Skint, Holochrist,
Dysfunctional, Puget Sound, Cheapskate, etc. Back in those days there
was a split (whether for real or imaginary reasons I’ve never known) in the
Dublin punk scene with the Hope gigs on one side and the Olde
Chinaman on the other. The venue was host to such festivals as Peasants
In The Shitty, the YID fest, and No-Hope etc. In the Irish film Crushproof
there’s a scene thats shot in the ‘Chinaman gigs most notably Fusion and
Dazed which were staples of the Dublin alternative and indie scenes for
many years. Dazed was on Wednesdays and played indie rock and alternative stuff like Dinosaur Jnr and all that. Fusion was Thursdays and
Saturdays, the music ranged from industrial to techno to ska. Both had
gigs on and off. The Hope Collective put on a few gigs there eg: the first
time I saw Bambi and notably a rockin’ Refused and Ink and Dagger gig.
Unfortunately the management (still the same I’m sure) did the whole
place up as Frazers and made the top two floors horrible metallic with
mirrors everywhere so your reflection is forever glaring back at you.
l3. The Underground, beside
Centra, Dame St.
More successful as the Deja Vu
wine bar/café for vampires of the
night, this venue had had a previous existence with gigs before my
time, but had a brief period again
when Willie and Paul Duffy took on
the task, in Spring ‘97 that lasted
for about 2 gigs. The 2nd & last gig
being Bilge Pump and Kito in which
the noise rattled right through the
restaurant upstairs and that was the
end of that. Unfortunately myself
and Mero had a gig booked there
for the Cheapskate/ Steeky 7”
launch which meant lots of last
minute scrambling to move it to
Charlies. Its now Club Lapello.
l9. The Da Club, off William St. South
Seated venue where there is now Clown
Around/ Great Outdoors Watersports shops,
which was more suitable as a theatre. A
little posh or trendy or something I don’t
remember too many gigs apart from Bambi,
Gameface, Cleanslate. There were better
gigs when they let the café bar downstairs
be used such Submission Hold, Debt,
KabinBoy, Hylton Weir, Joan Of Arse etc. I’m
not sure when it closed down but it faded
away at some point.
5. Fibber Magees, Parnell St.
I think Fibbers still lives on in the
basement of Bacchus Hotel to some
extent (its certainly still known as
Fibbers), but its still not the same as
it used to be, i.e piss-poor cheap
pints and crawling with rockers,
metallers, punks, grungers, goths
etc. of all sizes from underage to
ancient. Alas back in the grunge
heyday I lost much of my teenage
innocence here which also meant
that after a few years I swore I’d
never go back. I think it was free in
before 8 or 9 or 10 or something
6. l3th Floor, McGraths/
and pints of cider and Snakebites
were £2 each. Hmm, ah well...
Fusion,O’Connell St.
Now Frazers, the 13th Floor –
the top two floors of what
was McGraths played host to
numerous odd clubs and
entrance and loads of hang2. The Funnel Bar, City Quay
out area, as the venue was
Great venue that unfortunatefairly huge. I’m pretty sure
ly closed well before its time,
the
pints
were
cheap
as
I
7. Club GZ, Parnell Mooneys, Parnell St.
I think due to pressures from
remember people falling
Not so long ago Club GZ was a weekly
financial institutions in the
around clutching pints of
affair that meant every Friday morning
vicinity. ‘Was a little posh, and
cider (though that could
you were late for work/ college/ whatever
the sound was perfect. Many
mean anywhere anytime...). 4. The Music Room, Abbey St.
and hungover. Already taking on legclub nights – drum ‘n’ bass,
Great venue over the Firestone pub,
endary status, it spawned a generation of
techno, Ultramack etc. Aswell
run by Smiley Bolger, lots of cool
Irish Punks; in the splifffriendly atmosas great gigs – The Sorts,
pictures and photos on the wall, as
phere pints were well overpriced so
Ganger, last Jackbeast, 1st
well as happy hour ‘till 10 o’clock.
bringing in cans was the norm – make
Redneck Manifesto, Elliott
Closed fairly recently & warmly
sure to take home your empties though.
Smith, The Waltons, Bambi,
remembered. Memorable gigs
Aswell as pile-ons and themed nights
Joan Of Arse, Wormholes,
include: Funeral Diner, Puget
there were numerous great gigs there
myself and Clodagh’s joint
Sound, Estel, Scientific Bong, etc.
such as Robocop Kraus, Harum Scarum,
21st party gig. Its now 24-26
Everybody was sad when the Music
Puget Sound, the Dagda, Pro-Forma,
City Quay.
Room closed.
Tophi and many more.
l. The Attic, Burgh Quay
l2. Well Fed Cafe, Crow St., Temple Bar
Famous venue of many great gigs
This was a veggie café, in the same building as
during the 90s and possibly before.
Squarewheel Cycleworks on the floor above, with
Upstairs of the old White Horse Inn,
its entrance on the opposite side. It was pretty
since refurbished as a gruesome
cheap, some of the meals were kinda slops but the
superpub hellhole. Nice little room
muffins were lovely (usually a different one every
upstairs, in which the floor would
day). There were benches and I remember a picshake if the crowd was rocking out
ture of Tom Waits on the wall. The staff were gentoo much (I distinctly remember
erally grumpy, and sometimes water was leaking
holding up the speakers at such a
from the roof so there’d be bucket left out. It was a
moment). Bands that played there:
good hang out spot, and to pick up freesheets
Los Crudos, Drop Dead, Jackbeast,
which were sometimes left at the entrance. Its now
Bambi, Mexican Pets, Cheapskate,
Sham Indian Cuisine. l7. The Big Whiskey, Georges St. Arcade
Polaris, The VSS, even Green Day,
Great and cheap 2nd hand clothes shop
3. The Fusion Bar, Townsend St.
and many more.
where you’d often get some quality barDodgy venue about the same
gains. Kinda similar stuff to Flip and
time as the Funnel. There were
those places but the threads were odder,
lots of sleazy bikers downstairs,
more individual or something – more
the sound was bad, the toilets
stylin’ you might say! The staff were
atrocious, many noise complaints
always friendly and they’d never rip you
from neighbours, and heated up
l8. Freakout Records.
off.
like a sauna during bands. Still
William St. South
there were many great gigs there
Basement 2nd hand
such as Red Monkey, Imbiss,
record shop with a
Capstan, Jackbeast, Bloco Vomit,
books section. Had lots
The KabinBoy, Cheapskate, Joan
of obscure records and
Of Arse, and a stint of weekly
t-shirts of bands you
Waltons gigs. ‘Was Donovans bar
couldn’t generally find.
for awhile is now swanky looking
At the time I thought it
2O. Magpie Squat, Lwr Leeson St. apartments.
was abit expensive, but
The Magpie Squat, after being a
by todays standards it
derelict building for eight years was
was probably alright.
a hive of radical activity aswell as a
Keeping with the tradiliving space for eight months. All
tion of independent
sorts of stuff went on there such as
record stores the two
Anarchist Prisoner Support, Animal
shop owners were wiseRights meetings, language classes,
asses and fairly short
Womens Groups, the Bad Books
with politities.
anarchist library, bike workshops,
V—4
political actions etc. Finally closed in
April ‘04 after continued pressure
from the police and city council.
Inspiring stuff though.
V—5
2033
2037
2057
2062
2043
2045
2066
2069
2052
2053
2071
2074
V—6
V—7
2076
2078
2097
2096
2100
2101
V—8 ___________________
PHOTOS: DAVID LACEY
www.
W—1
w
www.imagetextsound.com/underground.htm
W—2 ___________
POSTSCRIPTS & DOCUMENTATION WILL AVAILABLE TO VIEW/DOWNLOAD AFTER THE SHOW
SFX
X—1
x
X—2
Every passion borders
on the chaotic, but the
collector’s passion
borders on the chaos of
memories. Walter
Benjamin
C30 C60 C90 GO
OFF THE RADIO I GET A CONSTANT FLOW
HIT IT, PAUSE IT, RECORD IT AND PLAY
TURN IT, REWIND, AND RUB IT AWAY
[…]
NOW I GOT A NEW WAY TO MOVE
IT’S SHINY AND BLACK AND DON’T NEED A GROOVE
NOW I DON’T NEED NO ALBUM RACK
I CARRY MY COLLECTION OVER MY BACK
C30 C60 C90 Go! (1980)
Bow Wow Wow
Y
_________________________________________________________________________________________________
The [re]discovery of an original Sony Walkman acquired over twenty five years ago induced a return
to the early and mid nineteen eighties soundscapes of a then suburban teenager.
Your Cassette Pet: Some Notes on Listening
This non-functioning weighty blue brick of metal and anodized plastic lies in a junkyard of depleted
and obsolete sound reproduction technologies; other later model walkmans, a portable mini-disc
recorder, DAT tapes, cables and chargers, numerous broken headphones
etc. which together make up an archive of the consumer sonic technologies of the last two decades.
Like many others before and after me, I was duped by the myth of progress that drives the audio format market in late capitalist culture.
Martin McCabe
Some of these devices were retained with the intention of a cannibalising that never came to pass.
Regarding others, the attachment was irrational and obscure even to myself. My attic
also still houses over two hundred cassette tapes dating back to nineteen eighty three which
I have never been able to jettison even during subsequent house moves – and in continued
contradiction of the glaring fact that I don’t possess a working cassette player.
These cassettes are not ordered, tracklisted or catalogued and contain a chaotic montage of fragments of different tracks, complete and incomplete programmes with sources obscured, recorded
sessions, and songs with no accompanying information and in no particular order or chronology. A
palimpsest of plundered radio broadcasts, sometimes containing only a lyric, sometimes a riff, sometimes a chorus.
I have been unable to get rid of them, never mind destroy them. In a moment of Benjaminian reflection, maybe they contain, as the sainted German critic believed some secreted “meanings which
might be released only in their afterlife as they came to be read in as yet unforeseeable situtions”.
(Eagleton, 2008, 19)
Y—1
Y—2
_________________________________________________________________________________________________
A second chance discovery occurred when a web enquiry for a reference to a distant half-remembered track revealed the existence of an archive of John Peel festive fifties, sessions
and radio shows. Amounting to nearly eighty gigs of mp3s distributed across the torrentsphere, it
points to the continuing sanctification of Peel as the promoter of credible music in an age of corporate restructuring in the wake of filesharing and download culture.
_________________________________________________________________________________________________
Independent here meant trading on the DIY aesthetics and artisanal modes of production
that were borne of punk. Seven inches of vinyl was the measure of one’s commitment, while handmade sleeves, mail-distribution, etc. were all part of the ethic and mode of production.
The politics of distribution was a central concern to these music subcultures as was a critical mobilising of the technology. In this struggle, tape and vinyl were the ideologically ‘correct’
formats. However, within this there was a hierarchy. Tape was impure, less-than but cheap,
convenient, portable and recordable. But it’s immediacy, it’s throw-away-ness, its replaceability were
all boons overcoming any misgivings around the quality of reproduction. The truth is the most significant musical experiences of my youth were inevitably heard through the lo-fi tinny crackle of medium wave mono broadcasts to begin with and then FM stereo with a background of high pitched
whining interference. In a desire to relive these moments, tapes were made but there is nothing to
compete with that moment of revelation, that epiphany that can happen when listening to the radio
in the dark. Sometimes it was only listening back to the tape that this could be revealed. But equally
there were hazards, the tape, if unattended would cut itself off
at the most crucal time fragmenting the tracks. Miscalculation of tape left versus track times
produced the same result. The tapes I used were recycled in such a way that I taped over the stuff I
didn’t want and worked around the stuff I did.
Clearly the production and distribution of these unsanctioned and incomplete archives is reliant first
and foremost on fan-driven tape culture and related practices (some date back to 1976) but they
have now entered new circuits of exchange and distribution that mark a moment when old(er)
media has an afterlife in new media formats. Peel’s active encouragement of
hometaping, for instance, always playing without fail the complete track without talking over the introduction or the fade out, and more than once indicating in a knowing way how his
audiences were ‘consuming’ his broadcasts quipping “Fingers on the pause button, children”.
Throughout the eighties, I was indeed one of those ready with a C90, digit tensed to capture
the latest weird and wonderful sounds from this trusted taste shaper. These encounters prompt some
reflections on what Greg Hainge calls “our analogue past as well as our digital future” (2007).
However, while Hainge devotes his consideration “to recordings released on a format not of its time:
vinyl, my interest initially here is in the lowly cassette.
This wasn’t always successful. Yet the fragments of songs were often more mysterious and
compelling than the whole, as I discovered when I eventually tracked them down after some detective work; they were less interesting than when first heard, their magic now dissipated.
It seemed to fulfil something like Hainge’s observations when he writes “(f)or a recording, be it analogue or digital, marks a loss, the death of that which it remembers. It can thus never remain
absolutely faithful to or resurrect that origin. Rather, it can only ever, like the work of mourning, produce something else entirely (2007)”.2
I remember spending hours and evenings listening to cassettes on a trusty all metal Toshiba radio
cassette. I grew up in a relatively music-free house, the radio was never off but it rarely moved away
from talk programmes. No older sibling informed my tastes with his/her collection. Thus my early musical education was narrow, haphazard and idiosyncratic. As a ten year old,
I was a particular fan of disco in all its variations. At home we had one Richard Clayderman and one
Bert Kaempfert cassette, some Xavier Cugat long players on vinyl, and the soundtrack to Grease–
which I never owned but of which I knew all of the lyrics. In the early eighties,
the very first vinyl single prized was a reissue from the mid seventies of ‘Good Vibrations’
which came in a batch from a local auctioneers with a grey green vinyl-covered portable
Stack-O-Matic record player.
Tape’s ordinariness and its embeddedness in the popular imagination, its cherished but
obsolete status in the mode of the mixtape, manifests itself in the contemporary marketing
of a cassette carcass with a memory stick inside.3 There is that intimacy with it that we
associate with the mixtape as love letter which is hard to shake. This technostalgia speaks to the vertiginous affects of late capitalism’s need to rapidly expand new markets as much as
soothing our loss of technological literacy. There are, like so many depleted technologies,
residual metaphors in circulation offering us some direction.4
Disposable income freed me from the obligation of borrowed vinyl, but the cassette recorder, with its
recording possibilities, was the primary source. By 1982, I had discovered Peel from schoolmates and
everything changed. Genre-hopping without the slightest hesitation, his catholic tastes were perverse
and shocking to those of us weaned on 2FM and what passed
for ‘pirate’ radio. I listened nightly, pause button at the ready as a greedy devoted acolyte of things
‘independent’. Soon after, I was drifting towards that fan-boy spotter mindset satirized
by The Pooh Sticks single “On Tape” (1988).1
Y—3
This is not some over arching narrative of tape culture and its attendent practices and impacts – mixtapes, cassette culture, bootlegs, DJ’ing, etc. These have been written about extensively elsewhere
(Moore, 2005, Sheffield 2007). I am more interested in two aspects of tape that
connect to the how we listen to music today: its portability and its relation to space that
prefigure our own contemporary culture. Tape playback lacked the ritual of the record player.
In a suburban house of six, I recall only playing records when the house was empty. Sometimes the
only option was to go to someone elses house to listen to your own vinyl.
Y—4
_________________________________________________________________________________________________
But if tape culture has a topographic it is urban. The cassette-radio-on-steroids that is the
boombox or ‘ghetto’-blaster are spectacularised material culture objects that produce a certain kind
of ‘public’ space when performed e.g. the breakdancing culture of hip hop. Its portability is its viability
in this regard. In this context, the street is the place for communal listening. Equally, the club with its PA,
the bar with its jukebox, the store with its muzak all produce certain kinds of space where ear and
bodies, act, work and perform. In contrast to this public use of sound reproduction, it’s worth recalling
Gary Genosko’s appraisal of the eight track format which he informs us was developed with the car
in mind, its form factor allowing the cartridge to be changed by one hand not discommoding the
driver (2007).
_________________________________________________________________________________________________
From the late Victorian parlour game of listening to phonographic recordings, to the car
cassette deck, to today’s iPod, we can see, according to Bull and Sterne, a genealogy at work. This
culminates in the contemporary moment where the ear (“that most democratic of the
senses” according to Simmel), has attained an exclusive empowerment via earphone
technology but at a cost: the privatisation of space and experience. The ‘silent disco’
phenomenon at recent festivals and events is an inversion of the club communion in favour
of the ultimate alienated dancing subject, self absorbed and disconnected. Is this a sign of
the times?
From the nineteen fifties, when teenagers emerge as a demographic, the car and car culture
becomes something much more than a means of transport. The affective response produced by
being outside, not having a place, in the economic, social and sexual order is the wellspring for generational rebellion. In the US initially and then globally, the car became for these discontents a space
for performance, a den, a bedroom, a machine for audio visual experiences. Eddie Cochran, Jan
and Dean, Beach Boys, Kraftwerk, ZZ Top, Pimp-My-Ride all testify not only to the enduring mythos of
the car and pop music but also to the listening practices of the late twentieth century. At the end of the
nineteen seventies, with the Japanese fetish for miniaturisation, the Sony Walkman becomes the corresponding consumer durable for the commuter, traveller, the ‘walker’ in more than its portability.
_________________________________________________________________________________________________
References
Essays and Reflections
ed.
Benjamin, Walter (1968) “Unpacking My Library – A Talk on Collecting” (1931) in Illuminations:
Hannah Arendt, London: Schocken
Bull, Michael (2007) Sound Moves: iPod Culture and Urban Experience,
London: Routledge
Eagleton, Terry (2008) “Unhoused: A Review of Anonymity: A Secret History of English Literature by John Mullan” London
Review of Books
, 22nd May
Hainge, Greg (2007) “Vinyl Is Dead, Long Live Vinyl: the work of recording and mourning in the age of digital
reproduction” in Culture Machine the journal http://culturemachine.tees.ac.uk/frm_f1.htm accessed May 2008
Genosko, Greg “8 Track Rhapsody” in Culture Machine the journal http://culturemachine.tees.ac.uk/Articles/genoskoarticle.htm accessed May 2008
In what is the first critical book length analysis of the iPod, Michael Bull argues that the car, the mobile
phone and the iPod have successively transformed the urban experience through their mediation
most significantly in their privatising of urban and public space. In this way, it shapes and produces
certain kinds of subjectivity; accordingly, Bull sees in this common everyday sonic technology the
very metaphor and symbol of our political and economic order: the drive to privatise, particularly in
relation to the public space.
Moore, Thurston (2005) Mix Tape: the Art of Cassette Culture
London & New York: Universe
Paul, James (2003) http://arts.guardian.co.uk/fridayreview/story/0,12102,1049363,00.html accessed May 2008
Sheffield, Rob (2007) Love Is a Mix Tape
London: Piatkus Books
Sterne, Jonathon (2003) The Audible Past: Cultural Origins of Sound Reproduction
(Duke UP)
1 According to James Paul, tape changed the way we listened to music as it made us private listeners saying
“it brought out the librarian in us: listing, labelling, indexing. With LPs you collected music, with cassettes, you possessed it”
(2003).
2 On this note, it is worth recalling over the last decade, the artistic responses that might be categorised under ‘requiem’ to
, Atom Egoyan’ Steenbeckett
the cultures technologies of the last century; Tacita Dean’s Kodak, Philip Jeck’s Vinyl Requiem
and William Basinski’s Disintegration Loops I-IV
3 See http://www.thinkgeek.com/computing/mp3/9bd7/
4 For example, in human computer interface and software interface design, there is no univeral visual icon or signifier for
video, the use of the icon for 35mm film with sprocket holes is the default. In terms of mixtapes, see www.muxtape.com
His detournement of the Cartesian dictum to “I talk or listen, therefore I exist” suggests that the way we
use mobile phone and iPod is enacting isolationist strategies where iPod users as urban citizens are
engaged in moving through the ‘chilly’ spaces of urban culture “in a cocoon of
communicative warmth whilst further contributing to the chill which surrounds them” (2007, 18).
Working in that tradition of critical thinking around modernity, technology and urbanism, he cites
Benjamin’s interest in the significance of technologies subjecting “the human sensorium to a complex
kind of training”. iPod users seal themselves off from the world in a sonic envelope using it as a form
of insulation, neutralising the shocks and contingencies of urban experience like an armour deflecting its attacks on our nervous system and sensory experience.
Further, it is a framing device to manage the otherness of urban space with its alienating threats and
encounters, it is a strategy of control in a world where control over our lives is arguably being
reduced. Jonathan Sterne, in his seminal historical study of sound reproduction (2003) sees all of
these technologies as the latest in an arc that began in the nineteenth century, where the auditory
subject embodies the urban bourgeois investment in the privitising of experience through the emergent interest in sound reproduction and in its attendent technologies.
Y—5
Y—6
Zines
Z—1
z
___________
ZINE ARCHIVE AT SEOMRA SPRAOI, ABBEY STREET (2006)
Z—2 ___________
"ZINE SHOW", CO-ORGANISED BETWEEN FORGOTTEN ZINE ARCHIVE, LOSERDOM ZINE, AND ANTHOLOGY BOOKS, AT ANTHOLOGY BOOKS, TEMPLE BAR (2006)
IMAGES COURTESY CIARÁN WALSH
POSTSCRIPTS…

Underground - Peter Maybury

Transcription

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