Christmas songs are often the very antithesis of festive reality and also pretty bizarre in their concept. Santa Claus is coming to town after having spied on you all year, it’s the most wonderful time of the year – to feel under pressure, get into debt and keep a smile on your face whilst you’re rocking around the tree… Merry Christmas everyone!
As we all wait to discover which song has been given the ‘singing from a ditch’ treatment on this year’s John Lewis advert, take the time to seek out something altogether more palatable – the holiday album you didn’t know you needed in your life but which proves to be an unexpectedly cordial companion.
Resplendent in smoking jacket, Grammy award winning Chilly Gonzales has produced an album full of elegance and emotions on this collection of seasonal songs, think Nick Cave at the piano and a smattering of smooth strings mixed with the tinkling expectancy of a silent movie soundtrack. From Silent Night to Jingle Bells, everything gets a sleek update and if you must do a cover of Last Christmas, this is how it should be done, the grandiose addition of cellist Stella Le Page paying the appropriate amount of respect to a songwriter talented above his commercial success.
The collaborative tracks add extra layers, with sugar-coated vocals from singer-songwriter Feist on The Banister Bough and regular associate Jarvis Cocker breathing an almost sinister spoken vocal into In the Bleak Midwinter. Both artists return for one of the optimum moments of the album on Snow is Falling in Manhattan, a track that fellow Canadian Leonard Cohen would surely have approved of, a Hallelujah for the pandemic if you will.
Speaking about the record, Chilly Gonzales says, “Christmas is a time of very mixed intense emotion for me, and the existing canon often sounds like a forced smile. Christmas is a typical time for superficial happiness, but also a time for reflection and mourning the sad events throughout the year. The songs of A very chilly christmas make room for a more authentic interpretation of this very peculiar 2020 holiday season.”
The overall experience draws a hypnotic familiarity that conjures up images of the fireplace draped in holly, whilst a slightly dysfunctional family play charades as grandma falls asleep in her armchair, an empty sherry glass in her hand and a smile on her face. Not your average Christmas album but then it’s not been your average year. All in all, A very chilly christmas is a veritable box of gift-wrapped treats best opened early.
The Deutsche Börse Photography Foundation Prize is awarded annually to a living artist of any nationality who is deemed to have made the most significant contribution to photography in Europe in the preceding year; this may either be through an exhibition or publication of their work.
Each year, a new set of judges made up of international photography experts is put together to select a shortlist of 4 before picking the winner.
The award ceremony will be held at the Photographers’ Gallery in London, lockdown permitting (recent events have had to be moved online in keeping with safety restrictions) and an exhibition of the shortlisted projects is due to be on display there from 19th March 2021.
This year’s shortlisted photographers have been announced as Poulomi Basu; Alejandro Cartagena; Cao Fei and Zineb Sedira.
You can read more about the prize, the shortlisted photographers and their projects here.
The Photographers Gallery is temporarily closed in line with lockdown rules; please check their website for updates if you’re hoping to visit when things improve.
Having recently discovered the sultry sounds of Ostrich with the two sharp singles they’ve already released, we’re very much looking forward to hearing what comes next. In the interim, we spoke to the band about their music, living through lockdown and their local haunts in Liverpool. There may also have been mention of brandy and ostrich racing…
Hello, introduce us to Ostrich – who’s involved and what’s the story behind your name?
Will McTaggart: Hello Breaking Glass! So we’re Ostrich, a five piece from Liverpool. We have Stuart Wilson on drums, Lydia Thomas on sax and keys, Will Bowman on bass, Leo Watkins on guitar and myself doing the crooning. Sadly, there’s not really an interesting story in regards to the name ‘Ostrich’, apart from that I look like one with my long legs.
You started performing together last year, how did it feel when things came to an abrupt halt in 2020?
Will McT: It was a real shame to be honest. We played our last show in March and I’m sure it was our best to date. We were getting really tight as a band and had quite a few dates in the pipeline. Not to worry though! We’ll keep ourselves fresh, ready to go again!
Lydia: It feels like we jinxed it with that gig! I really miss rehearsing as a band. Luckily, Will McT’s been churning out tunes and sending us demos. I can’t wait to work on them and add some saxy bits.
You’ve taken the opportunity to release two singles this year, that can’t be so easy in current conditions, how did you make that happen?
Will B: Way back in the distant past – 2019 I think it was – we flew to Prague and recorded 4 tracks in 4 days. It was wild. We drank more Old Fashions than any humans should, became regulars at the local jazz club, and razzed around on scooters ‘til our hearts were content. Those were the days, and listening to these tracks really brings it back. We really want to go back to record some more, but given that we’ve not been able to do that, we decided to release some of them instead. Releasing was a lot less fun than recording, but hey ho, it kept us occupied through lockdown!
The tracks both have quite a different feel, I love the 80s electro leaning on Inside Out (Got No Doubt) and the change up to One Man Band – do you set out to make a particular sound on a song or just see where it takes you?
Will B: I’d definitely agree – Inside Out is all mellow and warm, whereas One Man Band is bitter and angsty. I wouldn’t say that we ever start out with a fixed idea. For us, it’s definitely a case of getting the bare bones of the song, feeling it out a little bit, and then building the sound around that feeling.
Despite restrictions, you’ve picked up a solid amount of interest and airplay – how does it feel hearing your songs on the radio?
Stuart: Hearing Inside Out on 6 Music was a surreal moment for us; we all listen to 6 constantly and weren’t expecting it at all. It’s a shame any interest we have can’t be translated to gigs yet, but we’ll wait as long as it takes…
How are things with you currently, what’s been the reaction to Liverpool being back in local lockdown?
Will B: At the time of writing, fleets of army vehicles are rolling up the M6, coming to swab each and every one of us. A total, mass test of the Merseyside region. A UK first! News outlets herald a new technological breakthrough, but we fear something more sinister this way comes. We’re the last Labour stronghold and BoJo hates us for it. And we can only wonder – why us? What does he want from us? Is it our DNA? And then what next? Will he build huge steel walls around us, cut us off from the mainland, and strip us of our freedoms and our citizenships? We hope so, because quite frankly, this country’s gone to shit anyway.
Lydia: … my Animal Crossing island is thriving.
Tell us about your home city in better times, there always seems to be loads going on creatively, where are your favourite places to go?
Leo: In ‘normal times’ Liverpool is just the best place. It’s small, but there’s a lot happening, so it’s super concentrated. 24 Kitchen Street remains probably the best venue still going in the city, despite becoming surrounded by faceless student accommodation, it champions diversity and supports local causes. The Grapes on Roscoe Street is probably my favourite pub in the world, it has live salsa infused jazz on Sunday nights. Petit Café du Coin is just round the corner if you’re feeling fancy (their boozy Irish coffee is liquid crack). We’re also blessed with some incredible art galleries: The Walker and The Tate to name but two. Other than that, get yourself out of the city centre. Sefton Park is completely unique, and huge, and always inspirational to me.
Whilst none of us are likely to be popping off to a desert island any time soon, what would your picks be to keep you happy if you did – favourite albums or anything else you couldn’t live without?
Will McT: I’m a bit obsessed with Joni Mitchell at the moment, especially her album Hissing of Summer Lawns. I’m just in awe of her songwriting. I’d take a few of her records and a massive bottle of brandy.
Lydia: I feel the same about PJ Harvey’s album, Let England Shake.
Will B: I’ve recently taken to obsessively refreshing the BBC News app, drinking lots of brandy, and crying. It really does get me through the day and is not something I would recommend under any circumstances.
Can you plan ahead right now, have you anything in the pipeline for more new music or playing live again?
Will McT: We’re sitting on a couple of singles that are ready to hatch once the time is right. Just seeing how things go with the Covid situation. We should have a video coming out for One Man Band in the next couple of weeks too. At the time of writing I’ve been filming something that involves an overhead projector, jars of beetroot, and shower gel – so I’ll leave that to your imagination.
And lastly, because it feels important to end with a serious question, in some countries people race each other on the backs of ostriches – if you were the ostriches who would win the race and why?
I think about this all the time. I’d say Will McT, he’s already got the hang of those lanky legs. Then again, Stuart has a real competitive edge… it could get messy.
The building of a new museum in Eskişehir, Turkey has not only provided a new contemporary landmark and exhibition space, but also a unique insight into the people involved in its construction. The beautifully crafted Odunpazarı Modern Museum (OMM) was designed by Kengo Kuma and Associates and opened in September 2019.
An overheard conversation between a passing couple and the site construction manager, Mehmet Akif, showed that he and his team saw the museum as more than just another job, as his knowledge and enthusiasm were both clearly evident. That was the start of The People Who Made OMM project, now completed in the form of a new photography book featuring black and white portraits alongside interviews with the workers who took part in the build.
Photographer Emilio Hope, better known for their work in the art and fashion field said, “The aim of our project was fairly simple – to give a face and a voice to the workers behind the museum. It wasn’t just important to create something beautiful aesthetically, we wanted tocreate something of social significance. OMM is a museum that was built by the community, for the community. Featuring workers who literally built the museum aligns with the ethos of OMM.”
Hearing the workers talk about the museum in the book gives a refreshing perspective on the creation of a building that will become a focal point in Eskişehir‘s culture and community.
Aydemir, Master Welder and Plasterer, speaking about his favourite exhibit:
“The artist used light and shadow beautifully. He paid a lot of attention to the minutiae. The pupils, the curls of the beard are all drawn with an attention to detail. I do charcoal drawings myself. I would like to meet the person who created this piece.”
Eşref, Finishing Foreman, on the museum build:
“It’s a wonderful project. I’ve been working in construction for 45 years and this is the first time that I’ve encountered such a lovely project. We began working on it with affection, and we’re completing it with devotion.”
The People Who Made OMM was published on 21st October 2020 and is available to purchase in English (limited edition run of 50) and Turkish (limited edition run of 1000) from the OMM Shop in Eskişehir andMinoa(Akaretler) in Istanbul.
More details about OMM, including news, exhibition and event details can be found on the museum’swebsiteandInstagram
After what has felt like the longest absence, it’s been a blessing to have live performance back, albeit it briefly and in a socially distanced fashion. Just as events across the UK have begun to creep back, the brakes are about to be applied again nationally after numerous local lockdowns. Brighton Fringe, renowned for its eclectic mix of theatre, comedy and spoken word, made a later in the year than usual appearance throughout October, having had to postpone its regular May spot. With artists and venues taking huge measures to keep things safe, there has at least been an opportunity for some performers and writers to debut new work to audiences.
The diversity of its programme is what makes The Fringe such an exciting prospect for all ages. The photos below show poetry and comedy from Kieran Hearty and Victoria Melody (top row) for Lava Elastic who run a regular neurodiverse night at Sweet Werks in Brighton. London troupe Let’s All Dance brought ballet to Alice in Wonderland and there was shadow puppetry in Anytime the Wind can Change from The New Shadow Cabinet (second row), both at Brighton Open Air Theatre. Any suitable venue can be transformed and a topical protest performance of Savage Beauty from Actors of Dionysus took place in a garden (third row). The header and final images are from Make-Up by No Logo Productions back at Sweet Werks, the story of a drag artist reflecting on their life and family relationships. The variety of shows on offer has been excellent and a very welcome escape, despite all the restrictions in place; fingers crossed that they will be able to deliver their full complement in 2021.
A huge shout out goes to everyone involved in supporting the arts whether through live shows, online streams, fundraising, promotion, performing or all the behind the scenes stuff that pulls everything together. For now, stay safe and look after everyone around you so we can get this back soon.
The potential and promise commonly found in the arrival of a new decade can be difficult to see in 2020, what with the world being plagued by pandemic mere months in, plunging the globe into a state of fear and panic not felt for generations. However, history has shown that in times of hardship humanity often prevails, that we are at our most gladiatorial with our backs pressed against the wall.Creativity blossoms in the face of adversity.
I imagine there are many instances of this to be found worldwide, though I can speak directly from one experience that I have been privileged to be a part of, which began with an open call for those aged 16-25 and located in the West Yorkshire city of Wakefield and its surrounding area, with the desire to contribute to a council funded project, tentatively titled Our Diary.
Envisioned as a time capsule for the lockdown era, the aim was to compile photographs to feature in a photography zine, capturing “the new normal” from the perspective of young Wakefield creatives, through a celebration free print through DIY self-publishing. Spearheaded by Wakefield born photographer Emily Ryalls and curated with nine other contributors, This Too Shall Pass (the revised zine title) was produced through four months of weekly Zoom meet-ups, with the process of taking pictures during a pandemic allowing for a refreshing amount of creative expression and experimentation in a period of otherwise global aimlessness.
With contributors hailing from a range of creative backgrounds from photography graduates to freelance writers, graphic designers to fabric embroiderers, our documentation of “the new normal” was enjoyably personal, with humour found in makeshift graduation caps and dinner table date-nights, to austere reminders of the lives we’ve put on hold in nightclub mirror balls dumped in skips, and grandparents waving from the distance of the doorstep.
The project proved not only fruitful for the photographs, but for the relationships formed between the collective contributors. Having found Wakefield not to be the easiest location to find other like-minded creatives at the best of times, the decision was made to work together onwards under the title of The Merrie Collective; with an aim to inject soulful art back into our local spaces, with the name deriving from the medieval moniker for Wakefield – The Merrie City.
With immeasurable support from The Art House (a lifeline for local artists and creative businesses) The Merrie Collective has been fortunate enough to have acquired a studio and gallery space inside The Ridings Shopping Centre. Like many of its kind, The Ridings has seen ups and downs since its opening thirty-seven years ago, with economic recessions and the demand for online retail making it not quite the draw it once was. However, the utilisation of one of its empty units as a studio/gallery, alongside another as a separate exhibition (excellently curated and produced by Niamh Donnelly) has been universally well received. With walls proudly plastered in black and white snaps of local life, the installations feel emblematic of the city and of the project, creativity and community in times of adversity.
The Merrie Collective has no plans of slowing down anytime soon despite COVID-19’s best efforts (us Northerners can be quite stubborn that way) and through a shared belief that most storms can be weathered, that “this too shall pass”, the group has big plans for the future such as print production, further exhibitions and workshops as well as ambitions for an independent newsprint.
On behalf of The Merrie Collective, the writer would like to thank Wakefield Council for funding this invaluable opportunity to create This Too Shall Pass, and The Art House for their continued support throughout and onwards. The opinions expressed in this article are those of the individual and not necessarily representative of Wakefield Council or The Art House.
This Too Shall Pass is a self-published zine by The Merrie Collective, printed at Merrie Studios, Wakefield and can be ordered here
More information on The Merrie Collective can be found on their website and you can follow their progress on Instagram
Creation Day, West Park, Wolverhampton, 29-30 May 2021
If you had to choose someone to curate a new music festival, it’s unlikely anyone would argue that Alan McGee would be a good call. Founder of the legendary Creation Records and a great supporter of new music, his long-standing involvement with and insight into the industry is something to behold. And with an impressive roll call of artists already announced, the inaugural Creation Day is booked for the last weekend in May 2021, headlined by Happy Mondays and Editors.
On the Saturday, Ian McCulloch will be dusting off his shades to bring Echo and the Bunnymen to the stage amidst their recently announced tour, while Shaun Ryder will be making his first appearance of the day with the illustrious Black Grape. Sunday sees long time McGee mentees Glasvegas making what will surely be one of the highlights of the weekend with an always powerful performance and presumably more shades.
Still a huge champion of rising talent, McGee also includes a swathe of newer acts on the bill, the likes of CAT SFX, The Clockworks and Heavy Lungs all set to showcase their music.
Limited first release tickets go on presale tomorrow, 21st October at 10am, followed by general sale on 23rd October at 10am.
Weekend tickets are priced at £110, day tickets at £55, booking fees apply. Factoring in current Covid-19 restrictions, limited numbers of tickets will be on sale at a time and this will be reviewed in adherence with national guidelines.
Making music that transports you to the afterglow of nights out in the city, Adam Byczkowski, aka Better Person, has produced a sultry album full of hypnotic tracks in Something To Lose, quite the antidote to everything happening around us right now. New single Dotknij Mnie (translating into English as Touch Me) adds a cathartic wave to the lighter feel of some of the other songs, showing his ability to deftly capture different moods and styles. We wanted to find out more about the influences of other music, people and places and how deeply a brush with Covid is still having an impact…
Hello, can you give us a quick intro to you and your music?
Yes of course, good morning. My name is Adam, also known to some people asBetter Person.I write music, record it, release it and then travel to perform it live whenever possible. The music I make sounds like pop ballads and most of the time it talks about my personal feelings and experiences.
What can you see from wherever you are right now?
I’m laying in bed in my apartment in Berlin. I can see a white wall and an open window. There are buildings and trees outside, the sky is blue. There’s this crispy early fall smell in the air that makes me think of too many things all at once.
AND hello again, I came back to this interview to edit it a bit and now it’s night time already. I’m also in bed again but now it’s dark and my girlfriend is next to me, sleeping. It’s quiet.
Your last single Close to You reminds me of UK 80s’ artists like Talk Talk and The Blue Nile, who or what’s influencing the music you’ve been making recently?
Thank you, I like Talk Talk and The Blue Nile!
Artists from that era and genre were a huge inspiration for me, especially when I started this project, as Better Person. For this record I was actually inspired by a whole range of different music, from old French and Italian movie soundtracks through Euro-pop hits and 70’s soft rock all the way to old school balladeers like Julio Iglesias. I think that because I use synthesisers and drum machines to make my music it often ends up being heard through the narrow lens of the 1980s. Ultimately though, I hope that my music sounds like it’s made in 2020 more than any other time.
Tell us about your upcoming album Something to Lose, what can everyone expect?
It’s nine songs, exactly thirty minutes of music. It comes out on October 23rd 2020. The whole album is a bit lighter in mood than my last EP and maybe it’s also my best work yet? I hope that it is! And that people can feel moved by it and use it for having a nice time in this shitty time that we all live in. Heartfelt ballads sung by a Polish man who fell deeply in love. I worked hard on this album and I think that I’ve managed to make something real.
If you could put the album in any one person’s hands to listen to, who would you choose and why?
When I write music I keep my friends and people close to me in my mind. This time I wrote an album specifically for my partner, Jane. She’s the person I made it for so it’s in her hands that the album belongs. She already was forced to listen to it about seven thousand times at different stages and claims to love it every time. So, mission complete!
What was the last book you read?
I re-read some of Raymond Carver short stories the other day, always a pleasure.
You contracted Covid back in March, that must have been pretty scary – how was it then and how are you now?
Yes that is true. Back in March both my partner and I got the virus. It has been a real ride, we ended up having to go to hospitals frequently and we haven’t managed to recover to this day. It’s been six months since I got infected and I still spend most of my days stuck in bed, crippled by extreme fatigue, heart problems and difficulty breathing. It is by far the hardest thing I’ve ever had to deal with and it’s extremely punishing both physically and mentally.
How has the experience changed your outlook? It’s made me really appreciate what a gift it is to feel healthy and be able to function normally. People that don’t believe in the virus or won’t wear their masks on (nose out = no mask) truly are idiots. There are online group forums for people who are still recovering and they have been the only valuable source of information and reassurance. I expect this to be a huge thing in the next couple months, more and more people simply not recovering from the sickness. I have no idea what the future holds and I can only hope that I get better in the next couple of months.
You’ve spent time in both Berlin and LA – those two cities seem so contrasting, what are the best things about each one for you?
Berlin is a place where I really came into my own, Better Person wouldn’t exist without it and I love the city for that. Los Angeles provides all the things that Berlin is lacking: great weather, amazing food, breathtaking views and a seemingly endless amount of inspiration and new connections to be made. It makes me devastated knowing that it will be a long time before I’m back again.
Looking forward, what are you hoping for over the next year?
I’m really only hoping to get better and be able to live normally again. After that I’d love to play lots of shows and make new music.
Something To Lose is released on Friday 23rd October via Arbutus Records –pre-order here
New releases – Badgers, Tugboat Captain, Deep Sea Diver, Pet Grotesque
Badgers – Why Am I Your Only Friend? (single)
It’s so hard when tracks that were made to be played live can’t be played live but everything suggests that, if anyone from Australia ever wants to come to UK again one day, Badgers will be a very welcome addition to the live circuit. The Melbourne quartet are producing scuzzy psych rock to the max and this new single is a kaleidoscope of riffs, sweet melodies and escalating chord structures.
Why Am I Your Only Friend? was released via Strong Island Recordings yesterday, blow the lockdown cobwebs away for a few minutes and listen here.
Following the release of a cluster of singles, Tugboat Captain’s album Rut comes charging into the world today. Opening track Check Ur Health sets the tone for their very own mini rock and pop opera. Think XTC meet Crosby, Stills, Nash & Young on a trip down Penny Lane with twists and turns throughout. There’s a lot going on here and it all slots together beautifully. Set some time aside, listen and enjoy.
Also out today, the latest album from Deep Sea Diver brings velvety vocals with tracks from Shattering the Hourglass to Switchblade full of emotion and personal sentiment. Jessica Dobson explains, “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel, I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own.” If music is the healer, this album is certainly part of the medicine cabinet.
Another fine track from Pet Grotesque, a further dimension added with backing vocals from Vanity Fairy and Tiña’s Adam Cartwright. There’s something very understated but nonetheless powerful about the music coming from the Pet Grotesque camp and this track has a feel of Europop mixed with something a little harder hitting. Cleverly mixed by PVA’s Josh Baxter, there are multiple layers to peel away , each of which is a pleasant surprise.
Look out for sophomore album Female Synth Player, due for release in November.
Capturing the city in his own innovative style, photographer Hugh Frizell’s images present a mesmeric view of Glasgow in all its urban beauty. Hugh is also a guitarist playing as part of Hippy, whose album was released on Friday. Here, he takes time out to share and talk us through some of his favourite shots…
I was born in Greenock but have worked all over the world, lived in various places in the UK but now find myself in Glasgow. For the last 8 years or so I have been fortunate enough to be based close to the West End of the city. I’m an engineer by trade but always interested in the creative arts so I’ve played guitar since I was a young boy and am pretty obsessed by music. Whilst never hitting the big time, I’ve managed to play over the years with some great bands and musicians and have played all over the UK. I also enjoy running, painting, drawing and obviously photography.
In terms of photography, I’ve probably always been around a camera of sorts. My late father, William, was a keen photographer and there’s literally boxes and boxes of old family photos and slides still at my Mum’s somewhere. The actual profile pic I use on Instagram for Shugzfilterz is his old Leica which I now own and it is a prized possession to be honest. Even if not worth much, it’s worth millions to me. It was something he always had with him really.
I got into photography a bit more seriously within the last 4 or 5 years – maybe even the age of the cameraphone was the catalyst. Not having to carry a larger camera around and wait for the processing I’ll admit is a bonus, I think. That said, I firmly believe analogue/ non-digital photography is an art and what I do is not really along those lines nor would I compare or put myself into that category or have those skills. I am (for the Shugzfilterz Instagram page and the images you see here at least) totally digital. I wanted to be totally digital and use the camera/ smartphone/ social media angle almost on purpose. That was really the idea – even the Shugzfilterz name is kinda a play on that.
Basically, the aim of any of the pictures I take is to take a good image first and foremost and secondly, if the digital image processing option or even social media ‘filters’ we use now enhance or take them in another direction or style, then so be it. Nothing more or less really. A good meal doesn’t always have to be from a 3-star Michelin restaurant. The photos you see here are a mixture of the street photography I enjoy plus a couple of studio/ band shots I’ve taken this year.
I am currently guitarist for Paul ‘Hippy’ Hipson who is a Glasgow based singer/ songwriter. Paul has been writing and recording an album Behind Every Song Is a Story since late last year and it came out last week (Oct 9th 2020) on all digital platforms.The singles, music and album info are all on his Instagram– we hope people enjoy the music when they hear it.
I play on 11 of the 12 tracks and it was a great experience to be a part of. Working in the studio with Paul meant I could try some of my own Shugzfilterz styled shots and I’ve included a few here. I enjoy mostly shooting in B&W and I think it lends itself to indoor studio/ musician shots well. The pictures here were taken over many studio sessions out at the HQ Recording Studios, Glasgow between November 2019 and September 2020. I really wanted candid and non-contrived shots. I have a thing, as I’ve been in a few of these type of shots myself, that the typical ‘4 or 5 people standing at a wall trying to look cool’ is a bit long in the tooth now. I only tried to get shots of Paul crafting the songs or working on a take and tried to get them as ‘real’ as I could. A lot of the music photographers I enjoy took a similar approach over the more ‘official band pose’ ones usually featured by many.
In terms of the other shots you see here, those mostly combine a couple things I really enjoy to varying degrees of success. Running and Street Photography. I regularly run, albeit I am no Mo Farah whatsoever, still pretty slow even after being at it years! That said, it’s good for health all round so I occasionally combine running with my photographs. I’ll get up early in the morning and go out into Glasgow and try to capture some shots of this magnificent city. I also occasionally run when I visit back home at Greenock and Gourock so sometimes take photos of there too. This year has thrown up some strange and interesting times for many, photography included.
When I go out for a ‘picturehaulin’ run (as I call it) then I’ll not have any pre-conceived ideas about what to shoot – it’s simply a case of running into the city or an area of the city and constantly looking around. I usually shoot in B&W, I feel those also work great in a city or street environment, but I am happy to use colour too. I think if I’m honest, I have a better flair for B&W than colour but everyone sees things differently. The images here are all taken either this year or last year – a lot of the emptiness in many of them can be put down to the early morning nature of when the images were taken – most are from 2020 but the Instagram page has a good few from the last few years. I enjoy taking images that might be classed as odd or obscure but my reasoning is there are many images from the city available already. I like anything interesting, possibly vintage or old and maybe things you’d not see in the official tour guide book.
Simply taking the same type of shots or subjects we’ve seen would be a bit boring, I think. Again – it’s up to others to judge I suppose. Being from Greenock, there was a celebrated set of photographs taken by Eguene Mehat; these were taken all over the town in the late 60s and capture a huge amount of detail and change in the town I grew up in. Whilst I’m not necessarily doing that with my pictures, I have to say I was inspired by his work and rate them highly and as a huge influence on me.
Thanks for taking the time to view these pictures and I hope you enjoy them Hugh Frizell
The tale of a young lad from Salford whose colourful life took some dark turns, where diction beats addiction and the hero battles with the heroin… I Wanna Be Yours is, perhaps unsurprisingly, a compelling read with highs and lows aplenty, in every sense of the phrase.
From the outset, Clarke gifts us with indicators of where he learned and developed the dry satire with which he made his name. Advice from his dad (‘Never leave a bookie’s with a smile on your face’), the family dentist whose name was Frankenstein, and his leap from Rupert the Bear annuals to waxing lyrical about Dostoevsky all sound like they could slot straight into his repertoire.
His descriptions of his surroundings conjure up the mysticism of the world seen through a child’s eyes; the Italianante building that housed their apartment with the West Side Story style fire escape, the chemist on the ground floor (‘a wearer of cravats, a drencher of colognes’), being traumatised by Vivien Leigh on a trip to the cinema with his mum, all culminating in his contracting TB aged 8 and a resultant recuperation period in Rhyl. Allowed to wander free until it fell dark, he was drawn to the fairground, ‘It was a zone of full-on sensory overload: the food had too much flavour, the light was too bright, the music too loud, the smell of onions all-pervading; everything was drenched in sugar and colour’. Music became as important as books and a happy combination of the two would eventually catapult him into his always intended career of professional poet.
Taking his punk-poetry to the stage, Clarke’s initial break famously came from the unlikely corner of Bernard Manning and moved on to him playing gigs with The Pistols and The Fall amongst many others. He also name-checks lesser remembered bands with exemplary monikers like Ed Banger and the Nosebleeds, and his mention of Johnny Rotten having ‘the complexion of a compulsive blood donor’ is typically sharp. It’s easy to see how some of the larger than life characters he encountered along the way might later have morphed into Vince the ageing savage, Salome Maloney and Gaberdine Angus in verse.
But if anyone thought he would skip over the extraordinary range of narcotics that interloped his rise to fame, they would be sorely mistaken. There are no holds barred as he unfolds his progression through every kind of fix imaginable, gun-toting deals, failed attempts at rehab and several short-lived dalliances with death. It’s always honest, never glorified and frankly a wonder that he’s still with us.
Thankfully, his ongoing survival has allowed poetry to crossover to many who would otherwise have rejected its once exclusive status. He references the importance of his English teacher, Mr Malone, making the class read poems aloud and how it taught him that, ‘The main consideration is what a poem sounds like. If it doesn’t sound any good, it’s because it isn’t any good’, a premise that went on to create the most notable bard of our time.
They say that every picture tells a story. Clarke takes that concept and turns it on its head as, from start to finish throughout the book, the words paint pictures so vivid you can see the Salford streets and smell the hair pomade. Take a dip into the weird and wonderful world of Dr John Cooper Clarke, he’ll be there if you want him, ninety degrees in his shades.
I Wanna Be Yours is published by Picador on 15th October 2020 and a UK tour is planned for next year –details for both here
With the global pandemic robbing us of gigs, festivals and so much more, the music industry has had little to celebrate in 2020, which makes stories such as indie label Clue Records celebrating its eighth year of productivity and a successful merging with fellow Leeds label Hatch Records all thesweeter.
With new signings on the horizon and the boat party to end all boat parties envisioned for their decade celebrations, I spoke to Clue boss Scott Lewis over Zoom to discuss all things Clue,beginning with a brief back and forth bonding over a local record shop which led us to consider the sustainability of the independent music business in 2020…
RB: So, speaking of longevity in the music business, was that something you had in mind when starting Clue? Were you thinking in long term ideals, plans…?
SL: I don’t know really. It’s funny, I’ve just started lecturing about business enterprise at Leeds College of Music, and it’s got me thinking back – I didn’t set up a business plan for Clue, no five-year plan, etc. We started with little bits, like if we could release a record, a vinyl record, then that would be mint, but it was more – let’s do it and see where it goes from there really.
RB: I suppose that’s why Clue has been successful, because as corny as it sounds, you don’t necessarily get into these things for the money, or ‘success’ in business terms.
SL: No, that’s bang on. It gets a little more difficult down the line – there’s a mid-point as somewhere it goes from being purely a passion project to a feasible, financially viable thing. But I mean I’ve always been doing it ‘cos I wanna do it, ‘cos I love the bands.
RB: With that in mind, is there or was there a criteria for artists to be on Clue, other than first and foremost you being excited about them?
SL: Yeah, I’ve got to be a fanboy, the buzz you get when you find something new and amazing… it’s hard to capture really and actually if I find artists who I love, and I find out that they are working with someone else I won’t mind, I’ll still follow them ‘cos I’m a fan anyway! Perhaps in recent years I’ve become more knowledgeable and I want bands to work alongside us for the best results, bands that graft and work hard – I can put energy into bands like that.
The origins of Clue come from Scott and fellow boss Ste Langton, school friends from Stockton who bonded over a love of music and, afterbeing in and out of bands anda brief stint in basic music marketing (Scott acted as marketing director for the Oxfammusic festival ‘Oxjam’), felt as though they had something to offer some of the exciting acts they were following.
SL: I came across these bands who were great and, for whatever reason, struggling and I felt that I wanted to help, maybe some admin or boring backroom stuff. So that was it, backroom of the pub, back of a beer mat – let’s do it. That was in 2012 and Narcs was our first band.
RB: Both being from Stockton, how did you end up in Leeds and how much of that locality was a driving force behind Clue?
SL: Well I had been wanting to move out of Stockton for a while, and Ste had just got a job in Leeds and had a spare room and there was just a great scene at the time going on; NME termed it “The New Yorkshire” – bands like Kaiser Chiefs, !Forward, Russia! and The Cribs were all a big part of it and it just seemed like a cool place to go. It wasn’t too far from Stockton, and whilst Leeds isn’t a small city, it wasn’t London – so it felt tangible that we could do something.
Hatch Records was founded a year after Clue in 2013 by Tony Ereira, (whose surname I embarrassingly require Scott to help me pronounce – which he does, with a chuckle) and the relationship between the two began through the Leeds based independent music publication ‘Come Play With Me’… (Header photo – left: Tony Ereira, right: Scott Lewis)
RB: So, talk us through the merging of Clue with Hatch, which is run by Tony Ereira – where did you first meet Tony? He’s involved in Come Play With Me, as are you I believe?
SL: I am! I’ve fingers in all the pies (laughs). I remember I went to the launch of Come Play With Me and so I met Tony then, and just kept bumping into him at events, gigs etc. in Leeds. We were planning to do a local profile on all Yorkshire indie labels, so Hatch, ourselves at Clue, (Wakefield based label) Philophobia, etc.
I had a job offer last year for another label, but it would have had to mean I would leave everything else I’d worked on; Clue, Come Play With Me and so on. And at that time Tony broached the idea of merging the two labels, and being in similar places it just felt like a natural thing to do and so we all sat down towards the end of last year, crossed the Ts and dotted the Is and it’s worked out brilliant.
RB: How does it work with the artists who were attached to Clue and the ones who were on Hatch, are they now all under Clue now?
SL: All previous Hatch releases are now under a Clue/Hatch heritage; we don’t ever want to pretend that Hatch never existed, they were two different things. I’m not sure what some of the artists are doing at the minute, but if the opportunities are there and it works out right for us to release with them then we’ll look at it when it comes round.
RB: Was there ever an arm wrestle between you and Tony on which label would retain the name?
SL: No (chuckles) we never had to battle, it was very civil, I think Clue had more on at the time and it felt natural to move into that direction.
RB: I suppose if you’re all under the same umbrella and working as a unit the name is just for ego’s sake at the end of the day…
SL: Exactly and considering it’s Clue which has kept the name that must mean I’ve the biggest ego out of everyone!
RB: All of these new exciting opportunities and of course releasing Team Picture’s debut album The Menace of Mechanical Music, it must have been disappointing to have been restricted due to the pandemic; how have you found it, what are some of the difficulties Clue has faced?
SL: Its hard, cos we are trying to get something across which is essentially entertainment when there is a lot of serious, heavy shit going on in the world and we’ve got to be considerate of that. In terms of Clue we’ve had a relatively quiet year, ‘cos a lot of the artists would have either been touring or recording and that just can’t happen. We’ve released Team Picture’s album this year and we’ve booked a tour for next year but with the way things are going, you’ve just gotta deal with it in the safest way. Some of our bands have been offered shows and come to me and the first thing I ask them is, “Do you feel comfortable with it? Do you feel safe? Don’t worry about the money or the need to perform, if you don’t feel comfortable don’t do it”. It’s more important for us to look after each other and focus on other things; write, record etc. Team Picture did something really amazing with their video for Handsome Machine, a 3D interactive space where if you watch it on your phone, you can walk around your room but you’re walking around in the video – which to me was brilliant innovation ‘cos everyone was obviously staying in their homes and it brought an experience to them.
RB: Aside from your own projects, what are your favourite things going off in Leeds now, what’s exciting you at the minute?
SL: In terms of bands, Yard Act are amazing. Culture wise, The Brudenell Social Club has just gone from strength to strength and what Nathan (Clark, owner) has done there is incredible, the community and culture created at Hyde Park Book Club is amazing and Chunk, who I think are looking at a new location, they had one of the best DIY spaces in Leeds, what they were doing was unreal.
A slight bias, but I’m working with a company called Music: Leeds, what they are trying to do is provide opportunities in Yorkshire for people who want to work in the music industryand I think what they are doing is accessible and vital for working class backgrounds. I’m from a working class background and one of the things that I do worry about in this pandemic is that money will come out of the industry and artists will massively struggle to be able to create, and so I think what Music: Leeds is doing is amazing.
RB: Mentioning money, I’ve just read today that apparently one third of musicians are considering quitting the industry due to Covid…
SL: I saw the post about that statistic, I have no idea if it’s accurate. I don’t think you get into making music or writing music to make money, it’s more because you want to do it, but I can see why it could be accurate in some respects, because it’s gonna be hard.
How do we make bands now? You can’t meet anyone to talk about putting a band together and even if youdid, you can’t get in a room to do anything! The accessibility and the enjoyment found in the community of going to gigs is just not going to be there in the same way it was and it’s worrying.
RB: On a positive note, going forward with Clue, where would you personally like to see the label go? Any concrete plans?
SL: Well we are about to announce a new artist we have been working with which we are reallyexcited about, and what would I like to see in Clue? Well in two years the label will be 10, and I’d like to have a big party on a boat with loads of bands playing! Open top deck boat party! In two years time it might be well needed after all this!
Alice in Wonderland (The Ballet) at Brighton Open Air Theatre, 3rd October 2020
In a year that truly has been ‘curiouser and curiouser’, it seemed fitting to take a step back into the world of live shows by rediscovering my inner child watching a balletic performance of Alice in Wonderland.
Postponed from its usual springtime slot in May, Brighton Fringe is currently putting on a diverse programme of events in socially distanced settings and it’s great to see theatre, dance and comedy on the city’s agenda once again.
At the weekend, London based Let’s All Dance made good on their promise of ’bringing the magic of dance to everyone’ with their trip to Wonderland, telling a familiar tale through a new medium for many and making ballet accessible to all ages with instantly recognisable characters, colourful costumes and a sprinkling of humour. The choreography made the dance look effortless, the children in the audience were mesmerised and the adults no doubt appreciated the addition of a liberal dose of hand sanitiser to the Mad Hatter’s spread of tea and Eat Me cake. It was heart warming to hear small voices around me gasp as Alice appeared twice as tall on hidden stilts and excitedly telling their parents, ‘I saw the white rabbit!’ in what, for some, may have been their first experience of live performance. At 40 minutes long, Let’s All Dance have really considered what works within the attention span of little ones and ensured that the show is entertaining for all ages. Brighton Open Air Theatre provided the perfect backdrop and, in an unexpected twist, the sun shone all afternoon.
2020 is very much the year when, if Alice were to utter, ‘Why, sometimes I’ve believed as many as six impossible things before breakfast’, everyone else would probably agree. Leaving the worries of the world aside for a while, an escape to Wonderland was just what was needed.
You can findLet’s All Dance here, including details of further shows this year. The full Brighton Fringe schedule is on theirwebsitenow.
With climate change at critical levels and a lack of action by world leaders, you might ask yourself how best to get the message heard. Amidst the cacophony of protesters waving banners on the streets, Funeral Lakes approach the subject through the wonder of music, their songs an ambient journey through hypnotic folk rock. Showing that a protest song doesn’t need to be shouted from the rooftops, the Canadian duo have plenty to say and make it a pleasure to listen. We chatted to them about their latest EP, Golden Season, and what’s happening in the world right now, for them musically, and for all of us on a wider scale…
Introduce us to Funeral Lakes, who’s involved and how did it all begin?
Funeral Lakes is Chris Hemer (he/him) and Sam Mishos (she/her). We started the project in the spring of 2018, self-producing music in our apartment in Vancouver, B.C., and then in Toronto, Ontario. The project started as a creative medium to express our fears and frustrations about the world we’re living in.
The world is in a bit of a mess right now, how are you both and how are things in Toronto?
Thank you for asking! We are both doing as well as can be right now. We’ve been reflecting a lot on the collective traumas we are all experiencing, oscillating between feelings of hope and hopelessness. We have just recently relocated from Toronto to Kingston, Ontario to start graduate school, which has made our personal lives pretty busy. It’s a much smaller city compared to Toronto, and we’ve come to appreciate the change of pace. It’s a real privilege to be able to get outside every day and access green spaces around where we live.
Your songs seem very much to be reflections of what’s happening around you, is it hard to stay creative at the moment?
Music has always been a way for both of us to cope and process the experiences in our lives. Our creativity is often tied to the realities happening around us, so our creative output hasn’t changed all that much. That being said, there are days where we don’t feel like singing about much at all. Ultimately, we try to relay whatever emotions we’re feeling – whether it be anxiety, sadness, frustration, hope – through our music.
Tell us about your new EP Golden Season, what was your inspiration for this record and who’s helped you bring it to completion?
Following our first album, which was a pretty somber collection of songs, we wanted to make something much more energetic and charged this time around. These tracks represent where we’re at, and right now it’s a place of transition, of restlessness and urgency, as well as a time of reflection. Many of the themes we address aren’t exactly new (i.e. environmental destruction, heteropatriarchy, petro-nationalism), but these things have presented themselves over the past year in extremely loud ways that have been impossible to ignore. We put some other material on hold as we had the opportunity to realize these tracks in the studio with our friends – Charlie Van on drums and Colin Spratt who engineered, mixed, and mastered the songs.
Do you have a favourite track that you could tell us the story behind?
Eternal Return is a track that is really meaningful for us. It has existed in various iterations for some years now, but took a long time to feel complete. It’s a song about boom-and-bust cycles, false promises, and rampant toxic masculinity – all those factors culminate into what some call petro-nationalism. We tried to paint a picture of this reality playing out here in Canada, but also around the world. The bulk of the lyrics aim to take the listener through a rationale, so that they are feeling the same anger as us when the song takes off at the end. It was exciting to realize this in the studio where we could make it sound as big as we had envisioned. Some of the vocals are done through an actual megaphone, and we had our friends join in with us to achieve a sort of rallying cry with the group vocals.
Who else have you been listening to lately?
There is so much incredible and inspiring talent at the more local level. We’ve definitely been enjoying the works of Zoon, Sunnsetter, Eve Parker Finley, and Tyler Jafelice, to name a few.
Favourite 3 albums ever?
It’s always hard to answer this sort of question, but 3 albums that we always come back to are The Velvet Underground – Self-titled, Typhoon – White Lighter and The Clash – London Calling.
If your music was going to be used for a remake of any film, which one would you choose?
There’s this really hilarious late-90s post-apocalyptic movie called The Postman with Kevin Costner. Tom Petty has a pretty bizarre cameo in it too. Not sure if you could quite call it a cult classic, but it’s become strangely relevant this year… If anyone’s planning to remake this movie, please give us a call!
If you had the power to change anything, what would you love to see happen to make the world a better place?
It would be great for our so-called leaders to stop politicking and address the climate crisis in a meaningful way. There is a terrifying lack of leadership on the issue. Canada has been a resource-based economy and an oil-rich country for a long time. Now that the world is changing in the face of a climate emergency, we’re having an identity crisis. Politicians are abusing this moment we are in for personal/political gains on both sides. On one hand, there is a promise of a clean/green future that never comes to fruition, as we’ve seen with Trudeau federally, or with Horgan in B.C. On the other hand, there is a promise of a future that no longer exists, as we’re currently seeing with Kenney in Alberta. There are too many promises and not enough action, and that needs to change.
And what are your plans and hopes for Funeral Lakes, what happens next?
This project has always been about voicing our thoughts and feelings, so that’s not going to change, but the realities of how we can share our music and play live shows has been put on hold for the time being. We’re always writing and recording in our home space, so you can probably expect another EP from us in the spring. We have another big project in the works that’s a way’s off, but we’re really excited about. Ultimately, making connections and feeling less alone in all this is our hope with this music – that’s why we started this project.
You can catch up withFuneral Lakes hereand listen to Eternal Return below. Golden Season is available now onBandcamp.
New releases – Teenanger, in earnest, Plants and Animals, The Strifes
Teenanger – Good Times (album)
A new album out today from Toronto post-punks Teenanger showcases their development as a band along with an eclectic bunch of very accessible songs. Opening track Beige has hints of Joy Division until the dual vocals take things in a different direction, while recent single Touching Glass plays more to the alt pop audience. As well as making music, Teenanger are keeping the DIY ethos alive, running their label Telephone Explosion and operating a pay-what-you-can studio. The album has been a long time in the making yet retains a sense of urgency, warning of environmental damage and the reliance on technology while giving us some energy filled tunes to ease the pain.
Good Times is available now on Telephone Explosion, watch the video for Touching Glass below.
We’ve previously featured the gorgeous tracks that Southend trio in earnest have released during the year and it’s a pleasure to see their debut EP coming to fruition next week. Fans of the band will already be familiar with the three singles and can look forward to another three equally compelling songs. Whilst the subject of mental health is far from being as taboo as it once was, it’s encouraging to find artists who are comfortable in being open about the difficulties around the struggles involved. Closing track The House encompasses all that in earnest are about, Sarah’s vocal sitting perfectly with from the heart lyrics, ‘These walls remember all that’s said and done, and my heart has chambers where the sadness runs’.
in earnest release their self-titled EP on 7th October, listen to 29 here.
Ahead of the release of their latest album The Jungle later this month, Montreal’s Plants and Animals have shared new track Love that Boy this week. From the outset, it creates a dreamlike atmosphere with hazy layers of guitar and a soft drumbeat. The song contemplates growing from childhood to becoming part of a different family unit, Warren explains, “It’s a song about my family, present and past, but it feels more like a meditation. I was upset, frustrated and feeling like no one knew me – the kid me, the me I still feel I am. And then writing the song chilled me out and put me right. It was a way to connect with my dead parents and with my new life as a dad, and to give everyone a proper hug.” The musical hug it provides offers a good indication that the album will be a welcome addition to the chaos of 2020.
Plants and Animals have live dates planned for February 2021. The Jungle is out on 23rd October on Secret City Records, watch the video for Love that Boy below.
Hailing from the Southampton scene, The Strifes release debut single All Day and Night today. Pitching classic indie with a hint of Dandy Warhols-esque nostalgia, the three piece have captured a fresh energy filled sound that suggests there are festival anthems to come when that’s a possibility once again. A strong shot from the starting blocks for a band that only formed in May – keep an eye out to see what comes next.
The life and times of David Bowie have been documented more than most; tales of wonder and imagery to match across an incomparable 50 year musical career, from the hedonism of Haddon Hall to the augury of Black Star via the darker hours of the Thin White Duke, it’s hard to find a patch that hasn’t been sewn up. However, in this photographic exhibition of the early to mid 70s’ era, we see Bowie though a different lens, with all the pictures having been taken by his close friend and travelling musician, Geoff MacCormack.
There is no shortage of iconic images of Bowie in the world; hanging out with Iggy and Lou Reed, unfazed by the enormous dog rearing up next to him on the Diamond Dogs shoot, the manequinned Pin Ups’ cover all reflect different sides of his life and work, and he has often been the muse of world renowned photographers including Mick Rock and Terry O’Neill. The beauty of this collection is that it captures some moments of intimacy that a staged shoot never would, and the opportunity to see these in person is something to absorb and appreciate after a long enforced absence from galleries and museums; what a wonderful welcome back.
Geoff MacCormack’s close friend from the age of 8 years old was David Jones, the boy who would become David Bowie and one of the most influential performers in music, fashion and theatrical stage craft of the twentieth century.
In 1973 Bowie called his childhood friend and suggested he may join his band, The Spiders from Mars, and go on a worldwide adventure, travelling first class by sea to New York and then on to Japan, from Japan to Siberia, through Russia by Trans-Siberian Express to Moscow for May Day Parade, Poland, East and West Germany, just in time for tea at the George V Hotel in Paris, followed by a relaxing holiday in Rome, just to chill out.
And just when Geoff thought the fun might be over, Bowie said; “Would you mind being a Diamond Dog and coming back to New York on an even better ship, eating caviar every day and joining another band, then another band, helping out on a few albums and generally hanging out and having the time of your life for a couple more years?”
Geoff did not hesitate and became Bowie’s backing singer and percussionist in 1973 on the Ziggy Stardust/Aladdin Sane world tour. Arriving in Japan, Geoff ditched his Kodak Instamatic camera in favour of a Nikon and began taking a few images here and there, starting in Siberia on the Trans Siberian Railway and ending two and a half years later in Los Angeles during the Station To Station sessions.
Because Bowie disliked flying they travelled together by cruise liner and trains across the world giving MacCormack and his camera the opportunity to capture Bowie at his most informal and relaxed.
From Ziggy Stardust and Aladdin Sane of Britain’s Glam Rock years, the ground-breaking Diamond Dogs tour across the USA and their obsession with American Soul music, to Bowie’s first major film The Man Who Fell to Earth (1975) and the recording of Station to Station and his Thin White Duke persona, this exhibition of intimate photographs, some of which have never been seen before in a public exhibition, gives a glimpse of a close friendship, travel and life on the road with one of the greatest rock stars of all time.
The show will be held in the museum’s three large galleries and will include 60 large original framed photographs of Bowie by MacCormack. These photographs will be complemented by a short film never seen before in the UK shot by Bowie on their trip to Moscow in 1973, music videos of Bowie and MacCormack on stage together, film excerpts and music in the galleries.
Michael Bedingfield, Chair of the Royal Pavilion & Museums Trust said, ” Bowie was one of the most influential and captivating artists ever and we know this show will appeal to his many fans of all ages. The images offer a rare glimpse into a fascinating time of his life spent with one of his oldest friends. We are thrilled to be able to offer this show at Brighton Museum as our first major show on reopening after the lockdown. Don’t forget to book your tickets online on our website.”
Rock ‘n’ Roll with Me – Bowie/MacCormack 1973 – 1976 runs from 17th October 2020 – 6th June 2021 – as with all galleries and public spaces, some restrictions may be in place so please check details before attending and, if you’re feeling unwell, please stay at home for everyone’s safety.
Brighton Museum & Art Gallery,Royal Pavilion Gardens, Pavilion Parade, Brighton BN1 1EE The museum is currently preparing for re-opening so please check back onthe websitefor opening times and ticket information/pricing – tickets will be available to book from 2nd October
All images and exhibition details are reproduced with permission from Brighton Museum & Art Gallery and remain the copyright of Geoff MacCormack
Sounding a little as though someone decided that they would indeed ride that white swan all the way to 2020, new release from Premium Leisure, Remedies, is a psych infused indie-pop tune that momentarily takes away the troubles of the world. Its feelgood factor is high and the recurring mantra of ‘Do whatever makes you feel good’ is infectious (chocolate for breakfast is fine, you heard it here first).
Premium Leisure is the solo project of songwriter and producer Chris Barker, who will already be known to many of you as guitarist for Willie J Healey. An EP is planned for early 2021 and with a supporting cast of fellow Oxford musicians including Ash Cooke of Be Good, Casper Miles & Jack Kendrew of PETSEMATARY, Bassist Harry Deacon and Willie J Healey working with Chris on the project, it looks to be a promising prospect.
“Remedies considers a more laid back and outward looking mindset,” Chris explains, ‘to do what makes you, and people around you, feel good.’ And that seems like a pretty fair idea.
The track is the first release on new label, Plum Cuts; watch the video below and look out for more from Premium Leisure and Plum Cuts soon…
Drawing inspiration from a different era, Better Person, aka Adam Byczkowski, has released new track Close to You, a soulful single with wafts of 80s’ decadence and Europop. The vocal adds a hypnotic layer to the equable backing music, the result is easy listening with an edge, something to close your eyes and relax to with a strong feeling of nostalgia in the making.
Adam says of the track “While I was writing this song in Berlin, I started feeling tormented by never ending obligations to go out and socialize every night. I would force myself out, get way too drunk and waste a lot of time talking to random people. What I was really longing for was a quieter night with someone I truly care about.”
Close To You is taken from Better Person’s upcoming debut album Something To Lose, due for release on 23rd October via Arbutus Records, listen below.
The peaks and troughs of appreciation for IDLES have been especially prevalent in the news (or at least the slightly more spurious headlines) lately. It’s been interesting to see how a mass of readers generally happy to slate the NME for its progression into clickbait journalism can be equally swift to transfer that judgement onto its subjects based purely on the fragments of conversation it chooses to print. Following last week’s piece, social media focus was very much centred on IDLES’ lack of female support on their previous tour. No more than a few days later, the band announced an impressive string of female acts to support at next year’s shows and those same detractors seem to have been deafening in their silence in voicing this as a positive move. Mixed reviews of their new album have at times lauded their genius and alternately called out the simplicity of the often shouted lyrics, so what do people want from IDLES on third album Ultra Mono?
As a unit, they’ve never tried to present their music in any way other than raw and rough around the edges other than on the occasional more poignant track. And these guys have been around a long time, years longer than they’ve been in the public eye, and their sound has never been anything but unapologetically confrontational. It’s never going to be everyone’s cup of Earl Grey but IDLES have amassed a huge collective of supporters for whom their music has been a comfort and an opportunity to be part of the ever expanding community that surrounds them. At times, this can play to their detriment as there is an element of their following that has a bit of a pile-on approach if anyone criticises something they do but this is possibly true of any band – no artist can control how their fanbase grows; all they can do is keep making the music they love and hope that it speaks to people (or shouts at them sometimes, why not). Ultimately, whatever your views on the music, IDLES have responded to the criticism and invited some absolutely class acts on tour with them including Big Joanie, Cate Le Bon and Sinead O’Brien, Ultra Mono has some solid tracks on it that beg for the return of live music and their songs will continue to be an escape for many who are struggling with social restrictions, and that’s really no bad thing.
Produced by Nick Launay (Nick Cave, The Yeah Yeah Yeahs, Arcade Fire) and Adam Adam Greenspan (Anna Calvi, Cut Copy) and featuring guest vocals from an unexpected collection of artists (Jehnny Beth, Warren Ellis, David Yow and Jamie Cullum) Ultra Mono brings IDLES’ third album release in only slightly more than as many years. Additional programming by American rap producer Kenny Beats takes the mood to a harder place, less singalong, more single minded. ‘How’d you like them clichés? Let’s seize the day, all hold hands, chase the pricks away’ snarls Joe Talbot on what is maybe the most transferable track from earlier days, Mr Motivator.
Throughout the album there are pace changes aplenty. Kill Them with Kindness jumps out with a thumping drumbeat and pure punk riffs and collab with Savages’ Jehnny Beth Ne Touche Pas Moi will doubtless be a live favourite, particularly if social distancing continues, as the references to everyone having their own dance space will be ironically appropriate. Carconogenic showcases IDLES doing what they do best, addressing social issues against adrenalin filled guitar bursts, berating the minimum wage and overworked nurses while providing an apocalyptically fine tune all in less than four minutes. A Hymn carries the role of quieter, reflective track, ‘I want to be loved, everybody does’ showing the universal underlying vulnerability that is often masked with bravado. The accompanying video documents a trip to the supermarket and if anything sums up this year it’s that.
Is there still a place for IDLES? Of course. Will everyone like this? Shouldn’t think so, but for many it will be the horse to their carriage. Does it matter? Not really, just enjoy it if you want to, let it make you happy if it does and don’t believe everything you read in the papers.
Drawn in by The Clockworks’ balance of angst, humour and spiky tunes, we asked vocalist James McGregor about their music, influences and what’s going on in their world right now…
How are things with The Clockworks, where and how have you been spending lockdown?
We’re all well, thankfully. Three of us went back to Ireland for a bit to spend some time with our families over lockdown, but all four of us are back living together in London again now and working as much as possible on music.
Your Galway roots are often mentioned alongside the flux of new bands coming out of Ireland – what do you think’s driving the Irish music scene at the moment?
I’m not sure to be honest. There just seems to be lots of great bands from Ireland at the moment. It’s funny because we were writing and playing for years in old sheds in the West of Ireland, oblivious to the world and planning how we’re going to someday ‘make it’. Now years later you realise there were loads of other bands in Ireland doing the same thing at the same time and not only that, but they’re starting to make it actually happen too.
You’ve been signed to Creation 23 by Alan McGee, how did that come about and how much were you aware of his previous work and reputation when he made contact?
Sean sent McGee an Instagram message the week we arrived in London. He was really enthusiastic and a couple of weeks later he was at a rehearsal, and that was it.
We were completely aware of his work and reputation. Sean and I had both read his book Creation Stories and were massive fans of his work. I think it was a complete shot in the dark to message him, but that’s the whole game isn’t it?
Tell us about your latest single Can I Speak To A Manager – what’s the story behind it?
The story is basically about being delivered a faulty laptop, and the existential crisis that follows. Lyrically it started off with “My God what a palaver, I swear you could not write it”. I just liked the irony and how dramatic it was and I knew the story that followed it had to be really prosaic.
You’ve been championed by the likes of Steve Lamacq and Annie Mac, how does it feel to hear yourselves on the radio and get that kind of support?
Yeah it’s great. We really appreciate the support from BBC, they’re playing us quite a bit now and radio still seems to have so much pull even in this modern, streaming world.
It’s nice to see John Cooper Clarke regularly noted as one of your influences – do you have a favourite poem or line of his?
Yeah, to be honest he was the first poet that bridged the gap between my love of words and my intimidation in the face of poetry. One line I always wish I’d had is from I Don’t Want To Be Nice: ‘What you see is what you get You only live twice A friend in need is a friend in debt I don’t want to be nice’
What are some of your earliest music related memories and which artists have stood the test of time for you?
One of my earliest memories is from listening to David Bowie – Starman with my family and being swept away by it. I always loved it. I think his music has stood the test of time. My parents used to play a lot of funk, and I think Nile Rogers seems to be as popular as ever which says a lot. The Velvet Underground, The Rolling Stones, Gil-Scott Heron…
First and last gigs you went to?
The first gig I can remember was a Pride Festival “Big Gay Out” in Finsbury Park in 2004. My whole family went and Fun Lovin’ Criminals were playing. It was either that or Busted in Wembley. I think the last gig I went to was The Libertines in Brixton Academy with my girlfriend. It was mental.
2020’s been a harsh year in many ways, what’s been good for you despite everything?
To be honest, despite the tumult, we’ve had a lot of good moments and we’ve been lucky so far this year. We’ve had the opportunity to write loads which is great, and we’ve released two songs over lockdown which have both been received well. Our first Radio 1 play earlier in the Summer felt great. And it’s just been amazing to see our music connecting to people more and more.
And lastly, assuming restrictions continue to lift, what are your hopes and plans for The Clockworks in the coming year?
Keep writing and releasing, and hopefully get back on tour for some gigs. It’s impossible to plan too much at the moment. We’re just looking forward to gigging as much as we can.
October 2020 sees Breaking Glass hit its second birthday – enormous thanks to everyone who has contributed over the last two years; it’s genuinely been a pleasure and privilege to have all your talent on board. As a new feature, we’re introducing cover images to head up the website for each month; if you’re a photographer and think you have an idea for an image that might work, drop us an email to discuss. As this is web rather than print based, the picture needs to be landscape format, have enough background space for text, as above, and should fit with the month, season or something topical.
This year has been a challenge for sure and I’ve loved all the In Lockdownfeatures that offered a personal insight through photos into the impact on people’s lives. It’s heartening to see exhibitions opening and, after a long absence, it looks as though live music and performance are edging their way back into existence, albeit in a slightly different form. Here’s hoping that the music community will be able to pick up again soon, despite the ongoing and highly short-sighted lack of government backing. Keep supporting artists and venues where you can, stay safe and please wear a mask.
Breaking Glass Magazine 