Music

David Bowie – The Next Day

When the cover image for David Bowie‘s ‘The Next Day’ appeared earlier this year I was firmly in the ‘dislike’ camp. Designer friends raved about it but I just couldn’t agree, although it was nice to have a debate raging over a piece of graphic design – brilliant PR move there. Jonathan Barnbrook‘s defacing of Bowie’s classic, ‘Heroes’, did nothing for me visually despite being a bold move from Bowie for allowing such an act to become the cover of his new album. Supposedly signalling a need to move on and obscure the past from which any artist is always judged, Barnbrook said, “The obscuring of an image from the past is also about the wider human condition; we move on relentlessly in our lives to the next day, leaving the past because we have no choice but to.”

Fair enough, I can get with that but the result is dull and ugly to me, the casual scoring out of the original title and insertion of a white square seemingly designed to provoke. The use of a classic image reminds me of lesser designers who take other’s established icons as part of their own to bolster their visual cred, the equivalent of someone wearing a faux-distressed Led Zeppelin T-shirt they bought in Top Shop last week. The dull typeface across the middle… there’s just nothing to say about it. I would have liked it if they’d have physically stuck a white square with the title onto actual Bowie albums from the past, not just ‘Heroes’ but any of them, that would have had some impact.

The moment passed, as all internet ‘storms’ do, and the first single emerged to rabid fanfare, which I was also unmoved by. I like Bowie but I can’t say I could remember a song he’s done since the ‘Let’s Dance’ era if I’m honest and I stopped checking him out a long time ago. Then, last week, I was at dinner with some friends and one recommended I listen to it as it was, ‘the best thing he’s done since ‘Scary Monsters’. Really? But the single was a maudlin ballad, sung by a man who sounded like he was reminiscing about his glory days – although excessive plays on 6 Music over the past month have softened me to it somewhat. ‘No, that’s the only thing like it on the record, the rest is just a great rock album, said the friend. So I went home and checked the stream on iTunes. My god, he wasn’t wrong.

After hearing the single, the album is a revelation, not only is it full of killer hooks and inventive arrangements, it’s Bowie in full flow. Opener, ‘The Next Day’, kicks straight in and within 70 seconds roars into the chorus with Bowie hollering for all his worth, “HERE I AM, not quite dying, my body left to rot in a hollow tree!” As opening tracks on a comeback album go, that takes some beating and immediately silences all the pundits who were sure the album would be a melancholic glance back at the past by an aging icon. You’d never know it was the same record to feature, ‘Where Are We Now?’, which is a huge curveball of a lead single if ever there was one. ‘Dirty Boys’ skanks along sounding like he’s being backed by Fishbone at a New Orleans wake, ‘If You Can See Me’ is just intense, his voice pitched into alien dimensions whilst navigating a time signature that would tax any competent player. ‘Dancing Out In Space’ recalls the best parts of the 80’s pop like ‘Modern Love’, a joyous, bouncy song with doo-wop backing vocals whilst ‘Boss Of Me’ alternates hard and soft that even the saxophone can’t spoil. There are shades of both 70’s and 80’s Bowie, the ghost of Robert Fripp‘s guitar (although he doesn’t actually play on it), the mood is generally uptempo and his band is tight as… It’s chock full of singles and you wonder whose idea it was to lead off with what is essentially the breather you get after the first five tracks. The closing track, ‘Heat’ sounds like ‘Low’-era Bowie meets Scott Walker doing ‘The Electrician’, a chilling piece to end the album. If you get the deluxe download edition there are three bonus tracks too, none of which are filler in any way.

All that to say, I love it, I’ve played virtually nothing else all week and, inspired by the music, I decided to do my own take on defacing ‘Heroes’ which I’ve posted above.

Posted in Design, Music. | 6 Comments |

A Case of mistaken identity with AJ Barratt Pt.1

Below is a post from my ‘other’ blog – ArtOfZTT.com – where I post artwork relating to the ZTT label and interview the people who made it.
I arrive early, at a pub just outside Hither Green station in deepest South East London, to meet Tony ‘AJ’ Barratt, renown music magazine photographer and key ingredient in the early days of ZTT image-making. His photos of spanners, statues, masks and landscapes gave an identity to (the) Art of Noise as well as gracing the first release from the label, ‘Into Battle’. He also did many live shots, promo and video stills for Frankie Goes To Hollywood and Andrew Poppy.

It’s Friday evening and the place is filling up, the only photo of Tony I’ve got for reference is 30 years old and he’s told me to look out for ‘a hairless Glenn Gregory, ex of Heaven 17 lookalike’. After about 10 minutes a guy comes in who might fit the bill and I catch his eye, ‘Tony?’, ‘Yes’, he says, shaking my hand but with a very puzzled expression on his face. ‘Tony Barratt?’ I enquire, ‘ah, no, you’ve got the wrong person, he says, ‘but my name IS Tony though’. With perfect timing, the right Tony walks through the door holding a copy of the Ambassadors Theatre program for ‘The Value of Entertainment’.

He does indeed look like Glen Gregory, albeit without hair, and is instantly warm, engaging and candid about his early experiences in the music business. We’re joined by his partner, Jan, and after a couple of pints we repair to his house nearby where I notice the 12″ picture discs for both ‘Relax’ and ‘Two Tribes’ amongst the many pictures hanging on their walls.

FGTH War Hidden 12" Pic Disc AFGTH Relax 12" Pic Disc AHow did you get it touch with ZTT? Presumably you knew Paul from working at the NME or was that later?
No, it’s much more personal than that, I moved down to London with Paul’s sister, Jayne (they were an item). I knew Paul in Stockport, vaguely…
Is that where you’re from?
Yeah, and he bought out a fanzine – ‘Out There’ – sent it down to the NME and they said, ‘you’ve gotta come down and speak to us as soon as you can’. He went down and started off his career, this must have been early eighties so that kind of fits in. I moved down to London with Jayne in ’83 and I was a photography student at Harrow. In my second year there, obviously Paul Morley was (at) the NME and he was doing all this great stuff, (so) I took my stuff to the NME. This was before the Art of Noise or whatever. I was shown the door.
I went to the Melody Maker and started doing work there, concert stuff and photos and things, and then as time went by, Paul suddenly started to get involved with… I’ve no idea how that whole thing came to be – that he met with Trevor Horn, you might know a bit more about it or it might be mythologised by Paul or whatever.

The accepted story is that he interviewed Trevor when he was in the Buggles…
Yeah I remember that.
…he slated them, but when Trevor got the opportunity from Chris Blackwell (head of Island records) to start a label, he remembered Paul and got in touch. That would have been at some point in ’82 or ’83 presumably so you would have done those Art of Noise photos in the summer?
(Laughs) It’s awful to say but I have no memory of when or how, you have to remember that I was coming to the end of my photography course, I don’t think I’d actually left and there was this vague idea of some vague photos that might be needed for this vague idea of a group. And it was never something that was kind of like, ‘here’s a brief, we would like you to go out and do this’. The record label started and there’re all very exciting PAs at the Camden Palace with the Frankies, all sorts of bands were signing and people were interested and it was going to be the artist event of the… which it turned out, in some ways, to actually be.

AJ, PM +friends 1AJ (with cable release), Paul Morley (with phone) and friends circa ’83 – AJ: “I took this from across the room with the cable release, if I remember, Paul was on the phone to Trevor sorting out the ZTT thing.”

But I can’t actually remember. I remember it being a great time, I’d moved down to London, I was on the guest list of these great parties and it was free drinks and I thought, ‘oh my god I can’t believe this’. And then there was this record label and there was the Frankies and this vague idea of this thing called The Art of Noise and it was never like a… Because the members were so busy all the time, it was never like, ‘the group are going on tour now, etc.’ So there was no real sense of urgency.

They weren’t a group in the classic sense were they? They were producers, studio engineers and arrangers, which is commonplace today, but back then… They were ‘the music’ and Paul was ‘the image and the words’ and he knew how to present them.
Yeah, I’m not sure how you’d describe it, and he would chuck things in, he really did chuck things into the mix there, but there was never any sense there of… a plan. I got the impression that the music they made was at the end of a hard day producing whoever the hell it was.

The initial ideas for the Art of Noise apparently came from producing Yes, they stole a drum track which was going to be wiped, which then became the basis for ‘Beatbox’.
Well, if you listen to ‘Owner Of A Lonely Heart’ by Yes, there’s a bit in the middle where it kind of flips up and I remember that being crucial to the Art of Noise. I think that’s when Morley kind of went, ‘that’s what the Art of Noise should be’.

AON Spanner 2

When you took all the images like the hand with the rose and the spanner, that was just you on your own or did Paul come with you, did he give you those props?
My memory of that is that, at that time, I would just go out and take photos. When Paul was talking about the Art of Noise, what kind of came into my head was like Russian Constructivism, Futurism… The Human League did an EP called, ‘The Dignity of Labour’ and I always thought of this idea of labour being a fantastic idea to get into, you know, the ‘strength through joy’ kind of thing.
I know what you mean, like SPK, imagery of spanners and hammers, almost acting out Russian Constructivist posters.
So, I would just go out on a Saturday afternoon, go down to parts of London that I didn’t know and I’d just wander about, climb into things and take photos of things and mess about. Where those photos were taken, where that crane was that I climbed into, the same place as the van (from the ‘Close Up’ sleeve). It has obviously been a scrap metal yard at some point but you can see Tower Bridge in the background and when you think about London 30 years ago, there’s a piece of scrap land that you can see Tower Bridge from, that’s unbelievable.

It’s fascinating for me to see the contacts for the original Art Of Noise spanners etc., just seeing the outtakes or different shots. (AJ had provided me with original contact sheets for some of these shots).AON232 Spanner 1
The spanner photo (above) is my favourite of all time because it’s my arms, I set the shot up and I judged how high up I should put the spanner and I did the cable release with my foot. Strange but true, when I saw it, I just thought, ‘wow’. It’s very rare that, you know yourself as a graphic designer, that you do something and…‘bosh’, it works. I was fairly pissed off when Morley didn’t put it on the cover. The one with the van is at a completely different time when I took my mate Phil down.

AON Close Up 12" front
I’d figured that, I was going to ask, who was that in the mask?
(Laughs) In those shots it’s a friend of mine from college called Phil Priestman, where is he now?
Because you’d assume it was Paul.
Really? Do you think so?
Well, if there’s an image of the group, he was presenting that so you’d assume (that). It doesn’t matter who’s behind it though. Was that the same with the figure on the beach?
No, that was Jayne (laughs)
I’m not sure I want to explode any of these myths (laughs). This is the thing, I’m very aware that by explaining all this stuff it could just sort of pop the bubble. I don’t necessarily want to do that.
Well, I think it’s all well and good actually, the shots on the beach were at a place called Birling Gap, up between Brighton and Newhaven, very nice because of all those rocks and things. Me and Jayne went for a nice day out and…
“Put this cloak and mask on love…’ (laughs)
It was a cape actually, Jayne used to work at the National Theatre as a dresser and she borrowed it (laughs). If memory serves I was given the mask at ZTT and we took it down with us, or Paul dropped it around to where we lived back then. It had never crossed my mind that people would take for granted that that was Morley.
Well, who could it be? No one knew who it was… it was The Art Of Noise in some respects.
(raucous laughter from Tony) Trevor Horn?

AON seaside 1AON208
You would assume he’s the guy in the cloak, you know? ‘Don’t look behind the screen’, kind of thing. So there’s me thinking it’s Paul and it’s actually his sister!
That’s great.
I didn’t know who it was, there’s one on the back of ‘Close Up’ and there’s someone holding the mask and you can see some slicked back hair…
Yeah, that’s Phil Priestman (laughs). Who happened to have the same kind of haircut but that’s really interesting, I’d never thought of that.
In all the Art of Noise sleeves – their greatest visual asset (to my mind) was the masks and they dropped that completely once they’d moved to China records.

AON Close Up 12" back

‘Close Up’ is my favourite Art Of Noise 12″ bar none. For everything about it – the music, the cover, the photos, the colours – that epitomizes them for me.
I’d say you’re right actually.
I would stare at that record, like many other ZTT sleeves, and just try and find clues because that was what ZTT was about, it never gave you the answers it just posed the questions and that was half the fun of it.
Well that was part of Morley’s…mystic.
Because he got so much stick over other things, he hasn’t really gotten the credit for the art direction.
Having known him since… when I first met Paul he had hair parted down to here. Tangerine Dream, Nick Drake, reggae, he loved all that. I have the utmost admiration for him, but having said that, I have watched him chance it and throw it out there so much, actually to the detriment of his health. Like all his heroes, he believed that if he kept that up, he could keep throwing out those great ideas, ‘their fourth number one’, let’s put sperm on the cover, this’ll go. And it got to the point where actually, Jill Sinclair and Trevor were saying, ‘well look, we need to make some money here’.
You can kind of see that in the sleeves and such, that playfulness, ridiculously indulgent whilst the coffers are filling up from Frankie’s success. He had a couple of years of ‘the dream’, the honeymoon period, if you like, and then he was reeled back to reality.
AON240 statue mask

The cemetery pictures for ‘Who’s Afraid of the Art Of Noise’, was that Highgate with all the statues?
I don’t know which one because there are a few, I think the cover is Anton‘s (Corbijn), that’s nothing to do with me. I used to get really pissed off at it actually because I’d be ‘Art of Noise photography: AJ Barratt’ and then there’d be this image that wasn’t mine – Anton Corbijn. Because there was no real brief… there’s a photo of a statue holding up a mask, I can’t remember what it’s on? (Moments In Love 12″ sleeve). That’s in a Paris cemetery, I thought, ‘mask, statue, that’ll do for me’ and off you go. There’s another one in Paris from the same time where there’s a wall and a bit of graffiti and a statue behind, that’s at the Eiffel Tower, it was the same time. But the whole thing with the Art Of Noise was, if you see a little image like that, from my point of view, ‘take it’ and take it to Paul who would say, ‘I like that, we’ll see what we can do with it’. And the next week it’d be on a sleeve and you’d go, ‘er, alright Paul, should I chuck an invoice in?’, ‘yeah’, ‘alright, thanks’.
So, what would happen with this? Would you ever meet the designers or would you give the stuff to Paul and he would sort it?
I didn’t have much contact with designers – I was a photography student at the time. I remember going to a design studio in Soho in, maybe, Carnaby St. and I’d take stuff in and talk to them about it. They were really nice actually.
That would have been XL
It was XL, it wasn’t Tom though (Watkins) because he was the manager. I remember taking some stuff in and them saying, ‘what was the brief with this?’, and I said, ‘hey, this is ZTT, Paul Morley’..., you know? See if you like it and work around that.
He was famous for coming in with little things like beer mats with scribbles on and then working from that.
He directed the ‘Moments In Love’ video and I remember doing the stills on that and getting a picture of JJ (Jeczalik) who had the make up on, holding a rose. And then going round to Paul’s house once when he was sick to get permission to use it and him shouting, ‘AJ, what were you thinking?’.
You did the shot of the three of them and they’re made up as, almost clown / marionettes? It looks like it’s in a hairdressing salon.

Art+of+Noise+ARTOFTUBE2No, no, that’s backstage at The Tube (80’s TV music show) when they were on it, I did take those, yeah. We flew up to Newcastle, it was a horrible flight, bumpy all the way.
I love that photo, that’s the nearest they came (whilst on ZTT) to ‘being the group’, Anne and Gary have face paint and JJ has a mask. It’s interesting that when the Art O Noise signed to China records they made lots of records with guests – Tom Jones, Max Headroom, Duane Eddy – and they needed a front man because Paul had previously provided that.
I think they suffered from that, there was no guiding voice.

Who has these negatives then? ZTT?
Um, you see, when we moved abroad a lot of stuff got destroyed and lost but I would love to say that everything was filed up beautifully from A to B, but it isn’t. But yes, they did go to ZTT and they might well have disappeared.

At this point we have to disappear too so we’ll end part 1 here having sampled AJ’s memories of the Art Of Noise. Part 2 will be along shortly where we conclude with tales of Frankie tours and frustrating videos shoots.

All photos except the backstage of the Tube scanned from AJ’s negatives, © AJ Barratt. All sleeve and picture disc art scanned from my personal collection, © ZTT. All text © ArtOfZTT 2013.

Postscript: “Trevor Horn once told me, every studio in the land has a cupboard, where they’ve nicked all his samples” (laughs).

Posted in Design, Music, Photography. | 3 Comments |

Madlib Medicine Show download comp on Rappcats

Over on the Rappcats site there’s an 8 track Madlib album to download for free, compiled from his ‘Medicine Show’ albums 1-12. He’s about to embark on an Asian tour (he dropped off one of his 13 CD ‘Bricks‘ in Tokyo today) and here’s the fantastic cover art for the compilation, ‘Pill Jar’.

The tour starts this Friday and takes in these dates:

Feb. 15: Tokyo with Egon at Sound Museum Vision
Feb. 16: Nagoya at Mago “Audi”
Feb. 17: Osaka at Grand Café
Feb. 21: Beijing at Yugongyishan, Beijing, Dongcheng district, Zhang Zizhong Road 3-2.
Feb. 22: Chengdu at Chengdu East Telecast Hall, East Music park, Jianshezhi Road, Chenghua District.
Feb. 23: Shanghai at The Shelter, 5 Yongfu Road.

Posted in Art, Music. | No Comments |

Kraftweek 6 – ‘Computer World’ for Clash Magazine

The piece below was written for Clash Magazine who are running articles during the London concerts Kraftwerk are playing at the Tate Modern. I was among several other artists asked to choose my favourite album of theirs and write about it.

Kraftwerk appeared in my life at the beginning of 1982* when ‘The Model’ scored a freak No.1 in the UK during the post-Xmas lull. In the middle of your Gary Numans, Human Leagues and other assorted synth pop of the day were a new band, from Germany this time. Magazines articles featured the four piece with tales of building their own instruments, mannequins on stage and turning calculators into synths. The local record shop also suddenly confronted my 11 year old self with a variety of different back catalogue LPs from this ‘new’ group, re-released to cash in on the sudden interest.

With only limited paper round funds I had to choose which one to buy first and the fluorescent yellow of ‘Computer World’ won the day (on cassette no less, with an equally acid yellow tape inside the case). It couldn’t have been a better choice because whilst ‘The Man Machine’ and ‘Trans Europe Express’ give it a run for its money it’s a scientific fact that there are no duff tracks on CW. It’s an album which starts strong with the urgent intro to ‘Computer World’ and, incredibly, retains that strength and momentum to the dying notes of ‘It’s More Fun To Compute’.

‘Pocket Calculator’ is one of my favourite songs they’ve ever written with the oft-sampled bubbling arpeggios of ‘Home Computer’ coming a close second (alongside its sudden jump-cut to a faster tempo midway). Even the sudden return of ‘Computer World 2’ out of ‘Numbers’ isn’t a cop out, rather it reinforces the overall concept and softens the impact of the melody-less countathon before it. My brother and I used to listen to the eerie blizzard of whispered voices that end side 1 and try to discern what they were saying. To this day I swear there’s a little phrase in there that repeats, “don’t say it so quick”, every so often.

That the group dispensed with minimal verse/chorus/verse/choruses quickly before taking off on an extended ‘jam’, adding layers of melody in strict eight bar measures, was something that was new to me. Having only ‘got’ pop music about two years before, I was unused to songs extending much over the three minute mark – remember this is 1982, the 12″ was still a new format and the idea of extended remixes still largely an underground club thing (and I was only 11!). Here were tracks of 5, 6 and 7 minutes in length, some blending into each other, all sounding like they were played with the precision of a factory car assembly line rather than human beings.

The sounds were gentle too, aside from the stuttering crush of the beat to ‘Numbers’ and the subtle menace of the melody in ‘It’s More Fun To Compute’, the album was most definitely not Rock in any way. Depeche Mode‘s debut, ‘Speak & Spell’ – released the same year as ‘Computer World’ and named after the children’s toy that Kraftwerk utilised on the title track, was about the nearest thing I’d heard to their softly spoken style. Later in ’82 The Human League would release their largely vocal-less League Unlimited Orchestra remix album, ‘Love & Dancing’, and by then I was completely hooked on this kind of synth pop or new wave as it became known. If I had a time machine the first destination on the dial would be one of their gigs supporting this album back in ’81. The classic line up of Ralf, Florian, Karl and Wolfgang, performing their masterpiece, even coming to the front of the stage for ‘Pocket Calculator’, the closest they would ever come to their fans before withdrawing into their own computer world.

*I was actually aware of ‘Autobahn’ in the mid 70’s via a compilation tape my dad made from the Top 40 countdown each Sunday, the track scared me whenever it appeared but I wouldn’t put two and two together until later.

Posted in Kraftwerk, Music. | 2 Comments |

Classic Pop magazine – 4 pg XLZTT design article

Just out is issue 3 of Classic Pop magazine with a 4 page article I co-wrote with editor Ian Peel about the 80’s music design work of the XL design studio. You don’t hear much about them but they’re a big passion of mine because they largely defined the look of the Zang Tuum Tumb label from 1983 through to the end of the decade, greatly influencing myself in the process.

Whereas some had Saul Bass, Hipgnosis, Peter Saville or Vaughn Oliver, I had XL who, in conjunction with press officer Paul Morley and another group, The London Design Partnership, created the look of my favourite record label of the 80’s. They did many other sleeves for pop acts on other labels as well but the combination of their work with design briefs from Morley (collectively XLZTT) really stands out from the pack and it’s this that we focus on.

Posted in Design, Magazines, Music. | No Comments |

John Rydgren anthology now out on Omni Rec. Corp.

I am SO pleased with how this came out, The Omni Recording Corporation‘s reissue / compilation of John Rydgren‘s best material. Over 2 CDs you get more than four album’s worth of material (one of them a double too), hundreds of pounds worth of some of the rarest spoken word records for around $25.

Imagine a super-hip disc jockey priest with a baritone deeper than a well, caught in the middle of the swinging sixties, keeping the faith whilst also being down with the kids. Rydgren embraced rock n roll rather than damned it as the devil’s music and his observations on the sex, drugs and hippy movement he saw around him were shot through with an eye on the bigger picture.

Tracks are mostly short and to the point, from one minute to three on average so you can dip in wherever you like (one concentrated listen may be a little too much). But there’s also the side long sermon-like ‘Cantata Of New Life’ which is quite a trip.

The whole package has been immaculately put together by David Thrussell with materials from my collection (those label, cover and photo images are all largely scanned from my records and books). It joins the short list of reissues I’ve worked on over the years from Sesame Street‘s ‘Pinball Number Count’, to The Dragons‘ ‘B.F.I.’ LP to Double Dee & Steinski‘s unfinished ‘Lesson 4’.

Check out one of his most celebrated pieces, ‘Hippie Version of Creation’

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Themes For Great Cities

After visiting Dusseldorf last month and being introduced to the Themes For Great Cities vinyl-only label from the city I can’t get enough of certain releases from them. Wolf Muller produces the kind of afro-centric beat driven electronica I’m sure exists but never seem to find. His ‘Lagerfeuer Tanz EP’ is a fantastic 4 track trip into an undiscovered land where shamanic drum rituals have been picking up broadcasts of minimal techno mixtapes and weaving them into their own groove.

The multi-artist ‘Mogul 2’ 12″ has a motorik mix of retro electronica courtesy of four different bands and comes in a striking Neu! 2-homaging sleeve. A mysterious 10″ under the title ‘Edits Des Amateurs’ features three rhythm tracks oozing pure funk but never much deviating from their mission to stay in the pocket until they reach their destination.

The sleeves are screen-printed and stamped in collaboration with the local Slowboy record store, which has one of the finest collections of music old and new I’ve ever seen. Check out some of the releases below and visit their Soundcloud for more.


Posted in Music, Records. | 2 Comments |

Terminal Radio Transmission: FSOL 2 hr tribute mixes

A new mix series called Terminal Radio has just launched by fans and musicians from the FSOL online message boards. Members from around the globe were asked to make a 15 minute mix each and eight of these were collected and mixed together into a 2 hour trip.

Each volume will feature eight more alternate universes converging into one super quadaural meta-brain: (says Craig who has organised all this). If you’re a fan of the Future Sound of London there’s a lot here that will be right up you’re street.

Transmission 1:

Transmission 2:

Posted in Mixes/Solid Steel, Music. | 1 Comment |

John Rydgren on the Omni Recording Corporation

Earlier this year I was contacted by David Thrussel who runs the Omni Recording Corporation label in Australia. He was interested in reissuing John Rydgren recordings and – knowing that I had a pretty decent collection – needed someone who knew the material. He also needed imagery and good quality scans of cover art, which I provided from the LPs I had and the super-rare book Rydgren published, ‘Tomorrow Is A Handful of Together Yesterdays’ .

Finally after months of additional research, liner note editing and remastering in NYC being halted by Hurricane Sandy – the 2CD 64 track reissue of the bulk of John’s best work is here.

For anyone familiar with Rydgren’s work, ‘Silhouette Segments’ is the album to get, originally a double LP sent only to radio stations but later edited down and bootlegged as a single record, it is restored and remastered in full here on the first CD. The two other LPs on many collector’s wants lists are ‘World of Youth’ and ‘Cantata For New Life’ – both feature here in their entirety too and, whilst not as ‘hip’ as ‘Silhouette…’, they are full of great material.

Even rarer, so much so that it’s virtually unknown, is an album titled, ‘They Say’, full of 20 Silhouette Segments for radio broadcast and, along with the two former albums, never reissued or bootlegged before. The release comes with a booklet packed with photos, cover scans and liner notes from collectors and those who worked with ‘Brother John’ before he passed away.

I’m very pleased to be rounding out the year having had a hand in this release. Check out some of the other reissues via Omni or the vinyl counterpart, Roundtable.

Posted in Music. | 4 Comments |

Skeewiff – Pinball Number Count (Combo Breaker remix)

I only just heard this, a great remix of Walt Kramer‘s ‘Pinball Number Count’ by Skeewiff. With all the 12/12/12 malarky yesterday someone posted it on my Facebook page and it’s excellent. Hop over to Skeewiff’s YouTube Channel and check it out along with many of their other releases. They do a great line in cover versions as well as their own tracks, I’ve ended many a night with their version of ‘Soul Bossanova’.

Several others have also done 3D animated versions and put them on YouTube



This one has ADD with the pitch control


and of course, there’s the Family Guy version. If you still need more after this there are some hilarious versions from foreign Sesame Street episodes with dubbed counting in different languages on YouTube.

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Smithsonian Folkways Recordings

Did you know that almost the entire Folkways label is available online to order and nearly every one of over 2,000 releases isn’t ever supposed to be out of print?

When the label was acquired by the Smithsonian Institute one of the wishes of founder, Moses Asch, was that virtually all of the catalogue was to be kept in print.

You can currently order any release on their site as a custom CD, a download or even a cassette! No vinyl as that just wouldn’t be practical but there’s eBay, Discogs and used stores for that. This is just a handful of my favourite sleeves from nearly 100 pages of releases.

There’s also a nice little feature on Ronald Clyne who designed over 500 of the sleeves and is widely recognised as the originator of the Folkways house style. Unit Editions did a beautiful newspaper-style release about his work a few years back which is now sadly sold out.

Posted in Music. | 1 Comment |

Ed Piskor’s Hip Hop Family Tree comics

This is so well done, the unfolding history of Hip Hop, drawn by Ed Piskor in the style of old 70’s underground comics by Crumb or Pekar. Starting in 1975 and continuing on into the 80’s Ed has been putting chapters on Boing Boing and they will be collected next year in print form. Love the yellowed paper, faded ink and retro vibe of it all, I wonder if he’ll change style as he moves along to mirror the historical changes in art?

Posted in Comics, Music. | 2 Comments |

A graphic tribute to Pete Namlook and Fax records

I can’t begin to pretend I’ve heard even a couple of dozen releases on Pete Namlook‘s Fax +49-69/450464 label (to give it its full title). But those that I did hear, and own, have stuck with me. Releases like Air (not the french duo who came later), Alien Community, Silence, Dark Side of the Moog, Sequential, Sea Biscuit and Dreamfish are all part of the ambient resurgence of the early to mid 90’s. Dreamfish was the moniker of Pete Namlook’s collaboration with Mixmaster Morris, who was a huge champion of the label and got some of it licensed to the Rising High label in the UK.

Namlook (Kuhlmann backwards, see what he did there?) was releasing an album a week at one point, starting off at around 500 copies on CD and progressing to 1-2000 at one point. He had a bewildering array of colour coded releases on various sub-labels, at least half of which he either recorded solo or collaborated on. The poster above is only a select number of titles, probably ranging somewhere from the early to late 90’s and doesn’t include any vinyl from the same time. Constant collaborators like Bill Laswell, Klaus Schulze, Ritchie Hawtin, Dr Atmo, Atom Heart, David Moufang and Charles Uzzel-Edwards (aka Pure Evil) are just some of the names you can find in the credits on the many releases from Fax.

I’d been thinking of doing a poster like this for some time, just to see what it would look like to put a ton of the earlier Fax releases together. Unfortunately it took the early demise of the label’s founder and driving force to make it happen. At one time you could spot a Fax record a mile off by the circular design, the Bauhaus font and an image that usually had early Photoshop filter experiments :) When out-sourcing design work to other people (in the case of Daniel Pemberton‘s ‘Bedroom’ album that I laid out) there were strict instructions and templates that had to be adhered to, everything had to fit into the label look. These instructions arrived by fax of course…

R.I.P. Peter Kuhlmann / Pete Namlook.

Download a high-res version of the poster HERE

Posted in Design, Music. | 20 Comments |

Jim Mahfood ‘Ask For Janice’ Paul’s Boutique mag

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A new remix edition of Jim Mahfood’s classic, out of print 2007 mini-comic all about the ‘Paul’s Boutique’ album has just been released (see cover of the original version, left). For serious music heads and comic book fans alike, the man who did the illustration for our ‘Caught In The Middle Of A 3 Way Mix’ has updated his ode to the Beastie’s classic LP.

Each track is dissected with lyrics, samples and making-of facts alongside illustrations referencing the subject matter. It’s a beautiful tribute to the album, which Jim has said he listens to at least once every week, and made him the first choice for an image when we were compiling our mix.

The new version features a brand new wrap-around cover, new inside front and inside back cover art, 32 pages, black ink printed on light yellow paper. Signed and numbered by Jim. Also available, the new ‘Paul’s Boutique’ Limited Edition Giclee Print and the ASK FOR JANICE Funk Pack. Dig it! Available here…

Posted in Comics, Music. | No Comments |

Pepe Deluxé – Queen of the Wave Deluxe version

When Pepe Deluxé do anything they don’t do it by halves, in fact they go the whole nine yards and then add a load more into the mix for good measure. What emerges is music and imagery so multi-layered it requires repeat listens to pierce the surface and process the motherlode of information contained within.

One of the reasons I love Pepe is because there is genuinely no one like them, they are a one-off and a band seemingly working in and across separate time zones whose records sound so out of place you wonder if they’ll ever even find reappraisal 20 years down the line. This isn’t a criticism, it’s to be admired that a band can strike out so single-mindedly whilst ignoring any current forms of music that are deemed ‘hip’ and ‘cool’. In fact it’s testament to Pepe and Catskills for leaving off the many remixes they’ve had over the last releases as, with the exception of Husky Rescue‘s cover of ‘Supersonic’, none of them came close to Pepe’s vision and sounded like they were trying to force the band into a modern day setting (sorry guys, just my opinion).

The new Deluxe version of their ‘Queen of the Wave’ album is no different, in fact it ups the ante considerably and throws everything AND the kitchen sink at you over 2 CDs, a DVD and a 64 page booklet inside a hard backed book. The original album is present but the ‘Esoteric Pop Opera In Three Parts’ has suddenly expanded to three discs, the second with versions, new and unused tracks and an easy-listening style EP of selected songs. The DVD includes videos for singles both new and old as well as stems for budding remixers. Everything about it says EPIC, the original album is one in itself but bolstered by the 2nd disc, DVD and a book that has crammed enough material for 100 pages into 64 then the deal is sealed.

No space is left un-filled and we learn everything from recording history to how they shot the video for ‘Night & Day’ with real magic tricks and all. The book shouldn’t work, it breaks so many rules of what good design is with up to 10 different fonts competing for space on any one page and a layout that’s more scrapbook than grid. Yet it does work and adds to the music is so many ways, placing the album visually between steampunk and psychedelia with nods to Tiki and Analogue electronics from the golden age. One minute you think you’re looking at an issue of Practical Electronics then it’s a poster in the style of a traveling circus or a Richard Hamilton-esque collage.


Anyway, enough of me blathering on, check the video below as it’s another brilliant Pepe production with the classic ‘Virtual Chicken Little Funk Operator’ set to become legendary. You can BUY the deluxe package from Catskills HERE.

Posted in Books, Design, Music, Packaging. | 1 Comment |

Love, love, love!

It’s been a bit quiet on the blog these last two weeks because I’ve been busy finishing the fulldome show for this weekend’s FulldomeUK2012 (tickets still available) and gigging in Tel Aviv, Berlin and Bucharest. There’s loads of stuff to come when I can find time to photograph and upload it all though. The studio is a mess, I can’t find anything without moving piles of crap, I need a day to sort stuff out but today won’t be it unfortunately.

Also this Sunday sees an appearance at The Regeneration Festival at the Tabernacle in London that runs for Saturday and Sunday and features Time & Space Machine, Wolf People, Bardo Light Show, talks and films on the psychedelic experience.
Besides that there’s all sorts of things going on behind the scenes as we prepare for 2013 and Solid Steel being 25 years old, starting with a new residency in Brighton at the Blind Tiger, starting this Friday with DK with support from 2econd Class Citizen and Banks.

Coming up: The 4xLP repress of ‘The Search Engine’ – yep, still not done, we went back and changed the cover from a heavy card gatefold to a quad foldout gatefold (remember the limited edition Paul’s Boutique LP? yes, like that), so I have to reconfigure the artwork this week.

Currently finishing a mix for Solid Steel that has a high proportion of music I was given in Israel, both old and new that is up there with the best of anything currently released on labels like Finders Keepers or Now Again (see the post of Markey Funk‘s ‘The Mystery of Mordy Laye & The Group Modular‘).
On Saturday I was lucky enough to get a ticket to the ‘Man Machine’ performance by Kraftwerk in Dusseldorf next January (thanks Tony Morley!) so I will be doing Kraftwerk Kover Kollection vol.8 to coincide with that early next year (the group are doing their 8 albums over 8 nights thing in their home town in case you didn’t hear, tickets sold out in less than 2 hours).

Posted in DJ Food, Gigs, Music. | 1 Comment |

Beta Hector – Trust Me (The Simonsound Remix)


Wow, this is right up my street. A video collage for The Simonsound remix of Beta Hector‘s ‘Trust Me‘, featuring clips from Psychomania, Mala Morska Vila mixed with oil projections performed on overhead projector. The original song, featuring Rosi Lalor on vocals, is re-imagined by The Simonsound as mythical adventure story, told using analogue synthesisers, Optigan orchestra, home made percussion, pre recorded flute replayed and performed on reel to reel tape machine, and a scattering of voices plucked from the ether.

Available as a free download from Tru Thoughts Records

Posted in Film, Music. | No Comments |

The Mystery of Mordy Laye & the Group Modular

I’ve just come back from Tel Aviv and while I was there I met Markey Funk, whose ‘Go Ask Alice’ image and mix I posted by complete coincidence earlier this week. He gave me a load of records including his latest album ‘The Mystery of Mordy Laye’ as well as a DVD with 3D glasses.

If you love radiophonic / moog / library / space beats then this is the album for you. The nearest I can pitch it is The Simonsound LP by DJ Format & Simon James on First Word last year. I definitely recommend this record, check out the album and the intriguing back story on their bandcamp page. On the same label, Audio Montage – also the home to The Apples – are a number of 45’s of old and new psyche, funk, surf, sitar material and the same goes for the Fortuna label which is only 2 releases old.

Posted in Music, Records. | 1 Comment |