News update from the Allen family in Australia: “Daevid Allen has passed on. He left today, this Friday the Thirteenth, at 1:05pm.”
The RIP list for 2015 is already stacking up (Terry Pratchett passed away yesterday) and it’s only March. Sad to see so many innovators leaving this mortal coil, breaking out the Camembert and making a pot of tea in his memory. RIP Daevid.
A new The The album is always a cause for celebration and today is such a day. As usual with Matt Johnson, you think he’s disappeared and then there’s a flurry of activity that confirms that he’s been very busy indeed. His brother, Gerard’s new film, ‘Hyena’, is out on general release in cinemas today after showings at selected film festivals and already winning a couple of European awards. The Brothers Johnson, as they are fast becoming known (call the lawyers!), are appearing at the Watershed in Bristol on Sunday March 8th for a Q&A with Mark Cosgrove about ‘Hyena’ and the power of the score in cinema.
Matt’s own Cineola label is releasing the soundtrack on CD in the usual hardback book format which is slowly forming a beautiful series of releases. The 20 track album comes with an 84 page photo book and is available now from the The The shop. A vinyl version will follow shortly on Death Waltz Recordings.
Last summer I interviewed Matt at Rough Trade East about his classic album, ‘Soul Mining’, and today you can get a free download of ‘Soul Food’, our one hour chat, newly edited by myself with added instrumental accompaniment. Also check out the previous installments of Matt’s Radio Cineola series which contain all sorts of rare and unreleased moments from The The‘s back catalogue as well as interviews with his collaborators.
The photos above and below were taken by Gerald Jenkins, during the interview and on Brick Lane shortly after.
Thursday night saw the launch of Trevor Jackson‘s first release in 14 years, ‘F O R M A T’, hosted at the Vinyl Factory space under Brewer St. car park on the heart of Soho. The release consists of 12 tracks and is initially being made available on 12 different kinds of media with 1 track per format.
These range from 12″, 10″ and 7″ vinyl, CD and mini CD, DAT, VHS, Cassette, USB card, Minidisc, 8-track cartridge and 1/4″ tape reel. The numbers of the edition drop as the format gets more obscure so while the 12″ is pressed up at 500 copies the 1/4″ reel is in an edition of only 10 available with the complete box set of all 12 formats. Prices start at £10 and slowly creep up as the numbers get more limited until you get to the full box set at an eye-watering £850. There is also a poster of all 12 formats available in an edition of 100 with each piece signed and numbered. See, hear and buy the full line up at www.formatvf.com
At the opening last Thursday guests were directed into the car park and downstairs to a space with a free bar at one end and a table selling the various formats that make up the album at the other. A second dark, enclosed space housed a wall of 12 huge screens opposite corresponding plinths with two sets of headphones. Each format and track was represented by a different film of it being played on the corresponding equipment, not a one shot YouTube-style video but varying close ups of the act of loading the format as well as associated graphics such as time displays, VU meters, rotating spools and platters etc.
What’s different about how this album came to be is that Trevor had over 100 tracks that he’d worked on over the past 14 years but only finished last year. This isn’t an album in the conventional sense, none of the tracks were intended to work together, they’ve been cherry-picked from the archive and exist in isolation from each other at the exhibition, preview-able via the headphones. Likewise (at the moment) each track exists in isolation if you buy it physically. Even the spaced letters of the ‘F O R M A T’ title suggest a disengagement from each other or maybe that’s just the graphic designer in me reading more into it. There was no playback of the full record and it will be interesting to see how the tracks hang together when the collection is released in two months time.
About the music, as it’s not been mentioned as much as the packaging and concept yet: everything I heard was instrumental, electronic, stark, minimal and very brittle sounding. Knowing Trevor’s methods and tastes I’d guess that a lot of this has been made using original kit rather than samples and his ‘Metal Dance’ compilations point the way to the sonic palette he’s using. Baring in mind I’ve only heard approximately two thirds of the record (it was a very busy night with only two heaphone sets per track) my description above may be a little skewed.
The 7″ track, ‘They Came From NY’ for instance, features an unidentified voice intoning a few lines and the ending disintegrates into random background sounds that slowly coalesce into a mutant jazz ensemble before being abruptly cut off. ‘In Your Hands’ - the VHS format that also includes the video – was my favourite from what I heard, an edit of a 7 minute plus ambient piece with a film of a dancing form that had been forced through some sort of video distortion technique.
My friend Frode Heieren pointed out that if you added up the 11 separate formats they would cost over £300 and yes, the pricing is crazy if you look at it like that. It aligns the work with the art and fashion worlds rather than the music industry, way out of proportion to the majority of similar objects sold elsewhere. The way each piece is sold is in the same manner as the art world too, these won’t be available in shops, only at the show and online, and each piece comes with a signed, numbered card that states which number you have and there’s the difference.
You’re buying part of an edition and the art world dictates that the lower the edition the higher the price. If you want to get into that side of things then you’ll spend the money – personally I bought a 7″ and cassette as well as a poster, certainly the most I’ve ever spent on either of those formats new. You’re getting 1 track per format and I don’t think anyone is under the illusion that that’s a good deal but you’re buying an artifact here on a format of your choice and it’s more about your preferred media than the track it contains.
If you don’t want to get into that then the whole album will be released in 2 months on vinyl, CD and download. Realistically very few people are going to be able to play a DAT, tape reel or 8 track cartridge so the editions are low and the prices high. That’s going to frustrate the completists but it’s also a very clever way to stop the album leaking in full as it’s unlikely that anyone is going to buy the box set and stick it online.
The full box set is inordinately expensive though, I thought it would be £2-300 tops and that’s the only bit where the pricing seemed out of whack to me. It puts it into the realms of the 1% and that’s something I’m personally not a fan of. But then again I have no idea how much it all cost to make, source and produce and the Vinyl Factory have never been known to be cheap which is why they’re one of the best at what they do. Trevor has said that there is no way he’s making a penny from it unless the box sets sell as sourcing things like 1/4″ reels and 8-Track cartridges aren’t exactly cheap or easy. Anyone who has experience of pressing records will also know that the lower the pressing, the higher the cost per item. From my own experience, I made 30 playable postcard records for the launch of the ‘Search Engine’ album exhibition in 2012 and, even selling them at £8 each, I only just broke even. But let’s not get into the crass subject of money and costings…
Most of all, the whole concept and execution is excellent and has had me thinking about music packaging from a different perspective in the same way that a good exhibition or film leaves you questioning things. I found the most successful presentation of the set was actually a framed version hanging on the wall, displaying each format rather than hiding them away in a box. I’d wager that those who bought items on the night probably acquired them more as artifacts of the show and, after a cursory listen, are more likely to display them than play them, certainly with the limited numbered formats. This has been happening for a while now if you speak to record shop owners who quiz their customers on their buying habits with many physical releases.
It will be interesting to see how much makes its way to the secondary market and how they appreciate in value over time, something I don’t think we can discount in this age of investment buying and flipping. A quick web search shows nothing on eBay or Discogs which is refreshing but will these prices seem like chicken feed in years to come? I know that Trevor’s intention couldn’t have been further from any thoughts of long term fiscal appreciation and would have been focused on the concept and presentation and ‘F O R M A T’ is a love letter to the physical in a time when more and more people are interested in owning a tangible manifestation of what they’re paying for again. In terms of innovative ways to present an album Trevor has broken new ground here and, despite the elitist pricing, I think that makes it a success.
I was sad to hear of Leonard Nimoy‘s death over the weekend. Although I’ve never been a Trekkie his appeal for me was always his voice and I’ve dug out three records from the collection that feature him. The classic is ‘Mr. Spock’s Music From Outer Space’ album, a direct cash-in LP from the TV show that made him famous. As well as a groovey version of the theme from ‘Star Trek’ it also bizarrely features covers of themes from ‘Mission Impossible’ and ‘Oliver’ but the gold is in the spacey spoken word tracks were Nimoy shines, especially ‘Twinkle, Twinkle Little Earth’ and ‘A Visit To A Sad Planet’.
The second album is a 1987 release entitled ‘Whales Alive’ by Paul‘s Winter and Halley with narration by Nimoy. This is essentially a New Age record with voices of Humpback Whales accompanied by Leonard reading relevant spoken word passages. In the early 90’s I used to play selections from this over my ambient sets, one track in particular, ‘Queequeg and I’ extracted from ‘Moby Dick’, was a favourite. Unfortunately the record obtained a scratch at some point and you can hear it during one of my first ever Solid Steel sets from 1993. Near the end of the piece, just as it builds to a crescendo, Nimoy reads, “as he stood…” and the record jumps back to a perfect loop of the line, as I realised what was happening in the middle of the live mix you can hear me quietly fading the line out.
Probably the best known use of Leonard in one of the mixes I’ve been involved with though is the Ray Bradbury ‘Marionettes, Inc.’ story used during the ‘Taking of Pelham 123′ section of ‘Now, Listen’. I can’t lay claim to this as it was 100% PC‘s inclusion and arrangement but it stands as one of the most memorable moments of the mix. Someone has uploaded it to the web and it starts at around the 10 minute mark. I can’t recommend this 1976 Caedmon LP enough being that it contains Nimoy reading two other classic Bradbury sci-fi stories. RIP Leonard.
It’s been a bad week for deaths in the music world, first it was Tangerine Dream-founder Edgar Froese, then Demis Roussos and now Rod McKuen, the spoken word poet dubbed ‘the King of Kitsch’. He wrote over a thousand songs, several books and released hundreds of records in his lifetime and there’s sample gold in that silky voice.
Listen to one of my favouties by Rod, ‘The Mud Kids’ from ‘The Earth’ LP and tell me it’s not genius, transports me back to a time I never knew but can imagine existed. Keen-earned listeners might also recognise the opening strings from a certain mix I did with PC and DK way back.
Guilty pleasure, ‘Seasons In The Sun’, the 70’s hit by Terry Jacks, was an adaptation of a McKuen piece which was itself taken from a Jacques Brel song that he translated. He jumped on many bandwagons, aligning himself with the Beat Poets on ‘Beatsville’ and the Hippies on ‘Rod McKuen Takes A San Franciso Hippie Trip’ but the results were never convincing.
The Rod McKuen disco LP? Sure, ‘Amor, Amor, Slide… Easy In’ has at least one decent break on it and was also as used by Christian Marclay in one of his album sleeve assemblages (the hot pants side).
There’s going to be lots of Star Wars activity this year isn’t there? These polaroids are from the collection of continuity expert Ann Skinner who was on set for Star Wars: A New Hope (as it’s now known). They are on display in London as part of BFI’s sci-fi season, Days of Fear and Wonder, in the Southbank’s atrium until Jan 4th, 2015.
Another day, another legend gone, RIP Demis
a sped up Demis features on Vangelis‘ classic Blade Runner score too
I’ll never forget hearing this track on a tape at school aged 13 or 14. Nick Canning played it to me, swearing blind that his uncle made it and that it was called ‘Flight Through Metamorphic Rocks’. I loved it and only later found out who really made it and the actual title (the track before is called ‘Cloudburst Flight’).
Funnily enough, the tape started the track at about the same place, the first half of the song is pretty average but then it breaks down and comes back with this pre-techno monster, not bad for 1979.
Of course, come the early 90’s and the resurgence of ambient music I was hoovering up LPs like the classic ‘Phaedra’, ‘Zeit’ and ‘Stratosfear’, even ‘Electronic Meditation’ but I lost track around the mid 80’s soundtrack period. And then there was this album where the truth was revealed… RIP Edgar
A decade ago this week (I think it was a Monday or Tuesday) I debuted the expanded ‘Words & Music’ version of ‘Raiding The 20th Century’, this time lengthened to an hour and featuring specially recorded voice overs from Paul Morley. It was an attempt to chronicle a fragmented history of sampling from the advent of music concrete through to tape cut ups, sampling and finally the Bastard Pop/Mash Up phenomenon at the turn of the century.
Paul’s inclusion was through his book, ‘Words & Music’ that I’d read shortly after completing the first 40 minute version of ‘Raiding…’ the year before. The two mirrored each other so closely in places that the opportunity to revisit and revise was too good to pass up. Also the fact that I’d cribbed the title from a piece of text Paul had written nearly 20 years before didn’t go unnoticed, sometimes there are too many coincidences to ignore.
Since then it’s had a cease and desist take down notice from EMI and an attempt made at a video version but still, through the miracle of the internet, it endures. Here’s a collage that I started back at the beginning of 2006 and finally finished this morning, based on the Sgt. Peppers cover, of Paul and I alongside Alvin Lucier and Kylie, surrounded by some of the cast of thousands that make up the recording.
You can still listen to the mix here via UbuWeb but it’s out there in all sorts of corners of the internet.
This isn’t a ‘best of 2014′ list – just the things that I liked more than most, they’re not definitive or in an order other than the one I thought of them in.
• New Music:
The Soundcarriers – Entropicalia LP (Ghost Box)
Ghost of a Sabre Tooth Tiger – Midnight Sun LP (Chimera)
Jane Weaver – The Silver Globe LP (Bird)
Heliocentrics & Melvin Van Peebles – The Last Transmission LP (Now Again)
Jeremy Schmidt / Sinoia Caves – Beyond The Black Rainbow LP (Death Waltz)
Jokers of the Scene – End Scene LP (Throne of Canada)
Nico Motte – Rheologia EP (Antinote)
An-I – Kino-i 12” (Cititrax)
The Advisory Circle – From Out Here LP (Ghost Box)
Temples – Sun Structures / Sun Restructured LP (Heavenly)
Andy Votel / Doug Shipton – Polivox Orthodox mixtape (Finders Keepers)
Daniel Haaksman – Duck Rock – A Sonic Essay (mixtape)
tUnE-yArDs – Water Fountain 7″ (4AD)
Pye Corner Audio – The Black Mist EP (Front &Follow)
Mac McRaw feat. Audessey & Oxygen – B-Boy Bionics / Dust 12″ (Cold Rock Stuff)
Ukkonen – Change Time EP (Uncharted Audio)
Syd Arthur vs The Amorphous Androgynous LP (Monstrous Bubble Records)
John Carpenter / Alan Howarth – Halloween III (updated version) LP (Death Waltz)
Frankie Goes To Hollywood – Inside the Pleasuredome box set (ZTT/USM) (biased obviously)
The The – Soul Mining box set (Sony)
Z – Visions of Dune LP (Infiné)
• Sleeves / Packaging:
Astralasia – Wind On Water LP (Fruits De Mer)
Jack White – Lazaretto LP (Third Man)
(Not so much for the cover but for the whole package and vinyl cutting extravaganza)
Joe Mansfield – Beat Box: A Drum Machine Obsession (Gingko Press)
Andrew Lilies – The Equestrian Vortex 10″ (Death Waltz)
Temples – Sun Restructured LP (Lenticular sleeve) (Heavenly)
Various – Wild Style Breakbeats (7″s + book) (Kay-Dee)
Sage Francis, B. Dolan, Buddy Peace – Epic Beard Men 7″ (Blunt Force Trauma)
Rave Wars 3 – The Return of the Old School (7″ + Star Wars figure) (Balkan Vinyl)
Clone – Son of Octabred (Finders Keepers)
Sculpture – Plastic Infinite
The Soundcarriers – Entropicalia LP (Ghost Box)
• Books / Comics:
Prophet – Simon Roy & Brandon Graham / various artists (Image)
B.P.R.D. – Various (Dark Horse)
Punks – The Comic – Joshua Hale Fialkov & Kody Chamberlain (Image)
God Hates Astronauts – Ryan Browne (Image)
Black Science – Rick Remender, Matteo Scalera, Dean White (Image)
Hip Hop Family Tree 1&2 – Ed Piskor (Fantagraphics)
Sandman: Overture – Neil Gaiman & J. H. Williams III (Vertigo)
Discovering Scarfolk – Richard Littler (Ebury Press)
Dust & Grooves – Eilon Paz (self-published)
The Art of Smallfilms – Oliver Postgate, Peter Firmin, Jonny Trunk (Four Corners Books)
Urban Archaeology - 21 Years of Mo Wax – James Lavelle (Rizzoli International)
2000 TC – John Higgs (self-published)
2000ad / Judge Dredd The Megazine – Various (Rebellion)
Moosekid Comics – Various (self-published)
For Whom The Cowbell Tolls – Dan LeRoy (6623) (biased again)
• Films: (I didn’t watch too much this year sadly)
Blade Runner (finally saw it at the cinema)
Guardians of the Galaxy
Jodorowsky’s Dune documentary with Jodorowsky Q&A
The Cobbler & The Thief with Richard Williams Q&A
Future Shock: The Story of 2000AD documentary with Pat Mills, Kev O’Neill & crew Q&A
The Lego Movie
Ghost Box Night at the ICA
Plastic Galaxy: The Story of Star Wars Toys
Jet Propelled Cinema – How Psychedelia Infected Hollywood Sci-Fi at the BFI
Touring the 3-Way Mix with Cheeba & Moneyshot
Cosmic Trigger – The Play
Meeting Brian Eno
Kid Koala‘s ‘Nufonia Must Fall’ show at the Roundhouse
Interviewing Matt Johnson at Rough Trade East
Future Shock gig at the Watershed, Bristol with Cheeba & Tom Lumen
Designing for Frankie Goes To Hollywood / ZTT
Space In This Place gig at the ArcelorMittal Orbit in London
Welcome To The Pleasuredome playback at Sarm West Studios
Digital Revolution exhibition at the Barbican with the family
Visiting underground caves in Switzerland
4 deck AV show at Madrid Espacio with DK
One of my sons getting a drawing printed in the Phoenix comic
Ryoji Ikeda‘s ‘Spectra’ installation in the Queen Victoria Park
Adam Ant playing Dirk Wears White Sox at the Hammersmith Odeon
Crazy DJ weekend in Eketerinberg and Samara in Russia
Mike McMahon finally finishing my Dredd commission after 2 years.
Ben Coghill (agent)
DJs Cheeba & Moneyshot
Philip Marshall (designer), Ian Peel (writer) & Steve Bunyan (USM organiser)
Eilon Paz (photographer)
Carlos Ezquerra (artist)
Rob Williams (writer)
Jamie Smart (childen’s comic creator)
Hope & Greenwood (East Dulwich branch of the sweet shop)
• Looking forward to:
Renegades of Rhythm tour (DJ Shadow & Cut Chemist)
Mad Max : Fury Road
21st Century Tank Girl book
The Writing On The Wall – Roger Perry book
John Carpenter – Lost Themes LP
Create A Mess
Trevor Jackson – Format LP
The The – Hyena soundtrack
Prophet: Earth War
Avengers: Age of Ultron
Star Wars: The Force Awakens
As we all know, the life of the international DJ is exciting and glamorous, which is why I was back up at 5am after a 1am bedtime on Friday morning so that I could get to Heathrow for an 8.40am takeoff to Moscow. Add a 3 hour stopover in the airport and another two and half hour plane ride to Yekaterinburg and I arrive at 9.30pm their time (lost 5 hours). I’m met by two mysterious girls in oversize shiny black army-style peaked hats who ask me where my space suit is, what I think about aliens and would I like to do a parachute jump sometime? So far so good.
We’re whisked to the Lynch Club, a warren of cleverly decorated corridors and small rooms at the top of an old cinema complex that smells of sickly sweet popcorn as you ascend the stairs. It’s named after David Lynch as I soon realise when being led into a recreation of the famous dark red curtained room from the final episode of Twin Peaks – the only thing missing is a backwards talking midget. They also have a thing about rabbits taken from Lynch lore, remember the rabbits.
Another room – the library is blindingly white with padded walls and a bookshelf full of design books from around the globe. I’m met by a photographer, Ildar Ziganshin, who has a book open on the table with my face on one page… It turns out that when I was in Yekaterinburg before – six years ago – I had been photographed by him for a project called Photorobot and this was part of the result, a book of faces, split across the middle so that you could flip and combine two different halves to make a third like a children’s book. He had made only 50 copies but saved one for me, still wrapped in its original hessian packaging from six years ago. See here for some examples, it ain’t pretty :). We agreed to repeat the experiment later in his photo studio which is elsewhere in the building and I eat dinner in the white room whilst a beautiful but silent girl sits reading a book opposite and a couple lounge on the nearby sofa.
After a checking into the hotel I return and am led upstairs by the promoter, Stas, to find that the girls from before have transformed into aliens and are silently writhing around in the corridor, whispering in Russian to each other. They want to put me into a large bag, take me down to the dance floor as my guardians and then reveal me to the crowd before I start playing (I’m not making this up).
After initially laughing it off and then getting a little scared after realising they were serious (they had the bag and everything) I settled on a different plan – I would wear a plain face mask with my hood up and they would lead me through the (smoke-filled) room to the decks and do their alien thing in front of the crowd as I set up before revealing my face and letting rip behind the decks. It was surreal but fun and they had gone to so much effort with their costumes that I couldn’t not play ball.
The gig was great, tiny room, decks set up on a table on the floor in one corner, proper underground house party style and really great fun. One drunk guy who wouldn’t stop bumping into the decks with his crazed dancing was pinned to the floor at one point by another punter (thanks :)) and I had to school another who wanted to stand at the front and tell me how to play half the night. After I’d finished, a friendly face appeared out of the crowd, Mr Armtone aka Anton Kibeshev, from St. Petersburg who had come all that way to check it out and was traveling on with me to also play in Samara the next day.
After a quick drink in the library it was up to the photo studio to have some more snaps taken for Ildar’s next project. Finally one of the girls appeared and asked me to come upstairs as there was a final surprise waiting (yeah, I know what you’re thinking, glamorous international DJ life). As we made our way upstairs into the tungsten lit corridor above the dancefloor and rounded the corner I was confronted with a life size rabbit, standing silently against the wall, waving. It’s now 4.30am, I’m coming down from the high of the DJ set, the sleep deprivation is starting to kick in and I’m seeing a Donny Darko-like apparition in front of me. There was only one thing to do, hug the rabbit, grab a quick selfie and head for bed. I made it back to the hotel and checked my watch, 5am, I had to be up at 8.30 to grab some breakfast before leaving at 9 for the airport.
Anton arrives for breakfast, feeling like death from the night before (too many cocktails) and we grab a ride with his friend whilst checking out his latest toy – a telescopic stick with a camera holder on the end which enables you to take photos from over a meter away. The iSelfie stick was used all weekend in various ways and became the source of much amusement, I predict it won’t be long before they’re everywhere. Anton is feeling really rough and sleeps on the flight with a sick bag at hand and when we arrive in Samara we have to wait an hour in the lounge as the pick up had the wrong time of arrival. The taxi drivers there are like vultures, hovering in packs as you come into the baggage area from the runway, muttering ‘taxi?’, ‘taxi?’ and working the crowd. Eventually Basil and Alex arrive to pick us up, apologising profusely, we are nearly dead from lack of sleep (and alcohol in Anton’s case). Alex is the designer of the excellent poster and flyer for the gig which he tells me has been made into some 2m x 2m posters too. This is one of the best flyers I think I’ve seen for one of my gigs, promoters take note, this is the standard to beat from now on. They offer to take us on a sight-seeing trip of the city but we have to decline as we will surely die of sleep deprivation if we don’t get to the hotel rooms soon.
It’s good to travel and visit new countries and cities but sometimes you don’t see much of them, half of Saturday in Samara was spent asleep in the daytime and we were a little more refreshed by 8pm by which time it was dark. Actually Anton wasn’t feeling refreshed at all, in fact he was really feeling bad, so bad we had to pull over on the side of the road to let him out on the way to the gig a few times. Then he complained that he couldn’t feel his hands and we realised we had to get him to a doctor before anything else. Close to 2 hours driving around to find someone who could help (the first hospital refused, apparently common in Russia) and we finally got him some medication and headed to find food. I had a nagging travel headache which had started in my shoulder, worked it’s way up one side of my neck and was making its way to my left eye but I tried to keep it in check. So, we’re not in great shape but the venue is as they have a huge screen for the AV show and we meet the promoters Vadimir and Alex (DJ Proton) who has bought some records to trade.
Anton was, by now, feeling better and played first, rocking it with a great mix of garage and UK Funky (joke Anton) – definitely taking his cues from classic DK sets and with top quality visuals too. By the time it’s my turn to play it’s 2am and my head feels like it’s about to take off my headache is so bad, but I build up to a thundering drum n bass set which the crowd lap up. By 4.15 I’m fit to die though, the headache so bad that I can hardly think (sometimes it goes but not this time) and I step down so that Alex can take over. I don’t think I’ve ever had as many people asking for photos and autographs after a gig than in Samara, it was relentless for about 10 minutes, a pretty great end to the night even if I did feel like death. Eventually Anton and I are in a taxi by 5.15am speeding towards our out-of-town hotel with some of the worst RnB rave pop I’ve ever heard playing on the radio.
Next morning at 11am we’re met at the hotel by Alex with a bag of records and a Soundburger portable turntable for an hour of listening and music trading. He gave me some excellent 45’s and an LP and I traded a couple of albums for a 45 by a band called Modo which has three killer funk / jazz /psych cuts on it.
At midday it’s the start of the long trek back home – 3.30pm flight to Moscow, change for London and arrive at 7.15pm (bear in mind all the hours the clock went back during this journey). Unfortunately I ended the trip by leaving my laptop on the plane but luckily realised before I was too far back into London on the tube and was reunited with it within the hour thanks to the excellent BA baggage staff.
Finally got home at 10.15pm Sunday night, phew, what a weekend, seems like half of it was a dream which is why I felt I had to write this all down. The final words from Boney M‘s disco classic ‘Rasputin’ echoed in my head more than a few times over the course of the weekend, “oooh, those Russians”. Except in my mind I always had it that he said, “ooh those ‘crazy’ Russians”, which would be very apt for what turned out to be a weird and wonderful weekend.
It’s been 15 years since the release of the first ever Scrawl book. Curated by Ric Blackshaw (with some contacts from yours truly) and Liz Farrelly, it was one of the first books to collect what later became known as ‘urban art’ or ‘street art’. Work that was informed by graffiti, comics, Hip Hop, film and more but strayed outside into new places. Vol.1 boasts an incredible line up of artists: Mode 2, Futura, She One, Kid Acne, Delta, Will Bankhead, David Vallade, Oscar Wilson, The Light Surgeons and some chancer called Openmind.
Shortly after compiling the first book (there were 2 volumes) Ric formed the Scrawl Collective, a loose affiliation of some of the artists in the pages to help them get work. Now, three of the artists who also came to prominence from the book – Mr Jago, Will Barras and Steff Plaetz are holding a ‘Scrawl Collective’ reunion exhibition of sorts. It’s called Triumvirate and opens Dec 4th at Rockwell House, 10-14 Hewett St, London, EC2A.
More details here:
The crowdfunded play ‘Cosmic Trigger’ opens in Liverpool and London this weekend and next week, based on Robert Anton Wilson‘s follow up to the Illuminatus trilogy but also taking in his life story. It’s being staged by Daisy Eris Campbell, the daughter of Ken Campbell who staged a version of Illuminatus in Liverpool back in 1976 that was pivotal for many people involved.
Being that I already mentioned Liverpool and the Illuminati then it follows that The KLF can’t be too far behind and Bill Drummond built the scenery for the original play. Jimmy Cauty is also somehow involved in the new version. There are a little too many intersecting factors in all of this so here’s some further reading if you’re interested:
The Cosmic Trigger Play – sets out what’s about to happen, it’s complicated.
Bill Drummond – 5 Things I learned from Ken Campbell – essential read, very funny.
Greg Wilson - The Gateway Drug – extensive, make some tea and settle in for the long haul
John Higgs‘ – Chaos, Magic and the Band Who Burned A Million Pounds – absolutely fascinating book chronicling the KLF‘s history from before and after they formed/disbanded, taking in the Illuminati, Dr Who, the number 23, JFK, Alistair Crowley, the banking crisis and much more. Buy it, even if you’ve no interest in the KLF, they’re just the springboard for a romp through the latter half of the 20th Century.
Following on from the brief exhibition at the Southbank (featured here) ‘Build & Destroy’ is an exhibition of rare art works, proofs and merchandise from the Mo Wax archive. It will also feature new works and limited editions by various artists like Swifty, (who has been posting things on his Instagram recently) Futura and 3D who have worked with Mo Wax over the past 21 years. Build & Destroy also coincides with the major survey exhibition Post Pop: East Meets West at the Saatchi Gallery.
All of the works are available to buy and the exhibition is a rare opportunity for people to obtain original works and limited editions produced throughout the history of the label to date alongside newly commissioned pieces. More details here