Photos from A Few Old Tunes last night

Photos by Emma Gutteridge from last night’s Boards of Canada-inspired do, ‘A Few Old Tunes’.
A great time was had by all, the atmosphere was relaxed, unhurried, the DJ booth set up shambolic at times, people drank and chatted, some even danced. A hell of a lot of great music was played with enough decent visuals to draw attention away from the fact that we were in a very basic bar in the middle of Shoreditch.
Of the four of us playing, Mach V, Tom Central, Josh Posthuman and myself, there were absolutely no expectations, no money involved and no idea how it would be received. Which is what made it so nice when people turned up and stayed, some until 2am, and packed the place out with smiles and familiar faces everywhere. Some had come quite far, I heard of people trekking from Oxford and Kent, one guy was in town with friends from the West Coast too. Complete ambiance and spoken word skits were dropped in the middle of the dance floor and no one batted an eyelid, there were no requests for Daft Punk and it was one of the most enjoyable London gigs I can remember since the old Solid Steel days at Ruby Lo.

Posted in Gigs, Photography. | 7 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, FuturismThe 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 |

New ‘Art of ZTT’ blog online

I’d like to bring your attention to a new blog I’ve set up about the Art of ZTT Records (or ‘Who’s Afraid of the Art of Zang Tuum Tumb’ to give it its full title).

For years I’ve been collecting everything I can find from the early 80’s incarnation of this label and tracking down the designers and photographers responsible for some of the artwork. It’s a constant work in progress, starting off as a possible magazine article then progressing to a book idea and now, finally, I’ve decided to make it a website.

Inspired by Paul Gorman‘s rehabilitation of Barney Bubbles‘ work into today’s design community I hope the same can happen for the work of ZTT as it was hugely influential on my own desire to design for the music industry. XL, Accident and The London Design Partnership aren’t exactly household names in the same way as Vaughn Oliver and Peter Saville are but I think that the work they produced for the label in their golden age is at least an equal of the Factory and 4AD portfolios.

The site will eventually feature sleeves, promo posters, print ads, photos, exclusive interviews and associated ephemera connected with the label, its artists and designers. At the very least it should be an exhaustive gallery of an innovative label with a host of rare and forgotten imagery.

iPhone image dump – 2012 end of year version

I neglected the iPhone image dump this year so here’s a little selection I always intended to post but never got round to. Top to Bottom, L-R: Cabaret Freaks backdrop and Eyeball prop, France, Occupy stencil, Paris, Matt&Jon&Kevin&Darren T-shirt by Megatrip, Zaku toy by Ashley Wood, Kissbot toy, Jamie Hewlett Absolute vodka for the Olympics – bottle and tube poster, London, Swiss architecture, UK Hip Hop legends poster, Switzerland, Science Museum sculpture, London, inflatable alien heads, France, Space Invader, France, Lego DJ minifigure.

Posted in Photography. | 2 Comments |

Drumsound & Bassline Smith cover

Love this cover and I was talking to the photographer who shot it the other week because he was explaining that it’s all real, not CGI as some people might think. They’ve been lugging it about all over the place photographing it in different locations but I’ll be damned if I can remember who it was I was talking to? Frazer Waller maybe?

Posted in Design, Photography. | 2 Comments |

Sacrum Profanum – more photos

[singlepic id=4112 w=640 h=480 float=left] [singlepic id=4101 w=640 h=480 float=left]

More photos from the recent Sacrum Profanum concert in Poland – this time by the excellent photographer Bartosz Holoszkiewicz. These go right through from our arrival, rehearsal, backstage banter and make up (B&W) to the final performance (colour). There are even more over on Bart’s site but this is my pick of the bunch, also that’s Prof. Penderecki with Skalpel below.

[singlepic id=4120 w=640 h=480 float=left] [singlepic id=4124 w=640 h=480 float=left] [singlepic id=4098 w=640 h=480 float=left]

 

Castles made of Sound

In the last week I’ve played in the grounds of three castles – well, two were Forts actually – in Italy, France and the UK. Salerno was the first, actually playing on a rooftop terrace overlooking the sea on the Italian coast (above). Secondly the Nuit Carrées festival in Antibes, France, playing on a stage by a small amphitheatre next to the Fort Carré (below). The sound at this festival was unbelievably clear, most probably due to the acoustics of the amphitheatre and the fort was lit up as a backdrop.

Finally, last night, I played at the Kelburn Garden Party in Scotland on a stage overlooking Kelburn Castle, an incredible site being that two sides are completely covered in art from Brazilian artists Os Gemeos and Nina & Nunca. It is quite a sight to behold, Sau Paulo street art meets Scottish heritage, and was completed in 2007, a year before the same artists covered parts of the Tate Modern in London. Sadly it seems that the render on the castle is being affected by the paint, which is causing it to crumble, so the mural will be lost soon much to the dismay of the owner Patrick Boyle, The 10th Earl of Glasgow.

Apparently parts of the castle are haunted, Tara, one of the organisers who picked me up from the airport, told me she’d been woken the night before by the feeling of being cuddled in bed by something unknown. When he told it to go away she’d been scratched three times on the back of her head and other guests had reportedly had their ribs squeezed and bum pinched whilst staying in the same room. Another time a handbag had flown across the room and hit her on the head and it’s widely believed that the ghost is a mischievous female who was a guest at the castle at one time and liked it so much that she didn’t want to leave. Supposedly there is some kind of vortex in one corner of the room through which spirits can come and go and the temperature is noticeably lower in that part.

Talking of vortex’s, to add to the incredible scenery surrounding Kelburn and nearby town Largs, out between two islands just off the west coast is one of the world’s largest whirlpools. Called The Corryvreckan Whirlpool, it is formed around a single rock jutting up from the seabed, several small whirlpools exist, occasionally widening to form one giant vortex which has been deemed unnavigable.

The grounds of the castle are something to behold, recent winds have caused several huge trees to crash down, one of them taking out a bridge across a stream just a week before. Plans to project my AV set onto the castle were unfortunately scuppered when it appeared that my technical rider hadn’t made its way to the right people and the right cables weren’t available. After my set I got a cab to the hotel in the next town, only to find that everything was locked up and I had no key (we hadn’t checked in, going straight from the airport to the festival). Fortunately a couple with a key arrived shortly afterwards and let me in and I managed to find an unlocked single room to crash in.

Posted in DJ Food, Gigs, Photography. | 2 Comments |

Flint & Food at Factory Road

So much to say about the last few days and the opening of the DJ Food & Henry Flint exhibition at the Factory Road Gallery in Hinckley, Leicester with my friends Sarah (aka Inkymole) and Leigh. I’ve known them for around 15 years now and always enjoy their company so it was a no-brainer when they asked if they could host the work I’d got together for the Pure Evil Gallery earlier this year. What’s unique about this is that the gallery is in their own home, on the corner of a quiet suburban street, not in the middle of a hip part of a big city. A few years ago they did some major architectural restructuring and turned the downstairs of their home into a workspace cum gallery, dependent on what was on at the time. This is the third or fourth exhibition to be held there and, with the help of their intern, Brook, and amazing chef Jed Smith, they managed to make it a very unique event.

The difference between this and the Pure Evil show is that they were keen to feature a sort of retrospective element of my design work with Ninja Tune over the years alongside work that Henry and I had generated for ‘The Search Engine’ album, his book ‘Broadcast’ and past comic work. This took the form of a whole wall running the length of the downstairs plus a tabletop collage under glass of all manner of flyers, sleeves, proofs and other ephemera. Two sides of the central supporting wall were taken up with Henry’s past comic work with prints and original art from the album near the entrance. Near the rear of the gallery we set up a turntable and zoetrope disc to project animations that were also meant for London but didn’t happen as well as a 55 minute mix with visuals based on my planetarium show of the same time.

To add to this Sarah and Leigh always do special merchandise to go with each show, a regular item being a tea towel – or rather a visor / helmet polishing cloth (ooer) – printed locally and hemmed by Sarah’s mum. Also for sale was a limited edition ‘Skullstronaut’ giclee print and locally sourced chocolate bars, cleverly playing on the outer space theme and packaged like freeze-dried astronaut food.

Speaking of food, the killer addition of the night was Jed Smith in the kitchen, whipping up amazing bite-sized, space-themed eats for everyone. The cubed chips, baked pea shells and sauce were the hit of the night, a bowl of ‘space dust’ (homemade sherbert) looked like a moon surface and the dried rice and beetroot dip was literally out of this world (sorry). Everyone who came looked uncertainly at it all, took the plunge and were instantly in for seconds.

It’s rare to attend an opening and to ask the guests if they’ve been to the toilet yet (unless it’s for some sort of nose up) but the bathroom had it’s own charm in the form of Will Cooper-Mitchell’s press shots of me in an astronaut suit, alongside a hand-painted shuttle (by Sarah’s sister, close family ties going on here) and a short musical loop of space-themed sounds.

This, alongside a big barrel of local ale for refreshments, rounded the whole event off beautifully and added to the homely vibe of the exhibition. A steady stream of visitors arrived, both local and from further afield from 6pm until midnight and I talked to everyone from fans to friends, university professors to the local record store owner. Having been there since Thursday afternoon setting up and rearranging things I was beat by then and we had an early start the next morning but that’s another story.

Thank you so much to everyone who came but especially Sarah, Leigh, Jed, Brook and everyone who helped to make it such a success, some of the photos here are by their friend, Nigel, who was also the architect who helped them build the gallery. We realised, once it was all hung and arranged, that we’d fitted in twice the content than in London, in a smaller space too so there’s twice the reason to go and have a look. The show is at 71 Factory Road, Hinckley, Leicestershire, it’s free and on until June 15th, all merchandise is on sale on the Factory Road Shop now.

Spotted in Kid Koala’s studio

I visited Eric San yesterday (aka Kid Koala) and got co-opted into drawing a piece of artwork for his new album (I didn’t mind a bit). While I was there I took these shots around his ridiculously packed studio.

Eric loves anything odd or kooky that makes a noise, he owns a cutting lathe to cut his own tour records, a vintage rhythm machine that plays drum beats on 8-track cartridges and a customised jukebox that plays cassettes!

Posted in Photography, Toys. | 2 Comments |

Pure Evil Gallery artwork photos

[singlepic id=3645 w=640 h=480 float=left]

Yesterday I finally had time to go back to the Pure Evil Gallery to take some photos of the work in situ, I didn’t have time on the night as there were too many people and we didn’t finish setting up until the last minute. There are a few reviews online of the show by Contemporary Talks, Scraffer and Inkymole with one promised by Art Review too.

Jean-Paul Goude Retrospective, Paris

I found an hour to visit the Jean-Paul Goude retrospective at Les Arts Decoratifs whilst in Paris over the weekend (two gigs in France and I managed to forget my Serato controller discs!) after a tip off from Steve Cook. You will probably know Goude’s work from the iconic images of Grace Jones he produced in the 80’s but he has photographed and mutated everyone from Bjork to Naomi Campbell to Vanessa Paradis. The retrospective features original photos, models, clothes and a huge steam train in the main hall (that looks like it was made for a parade of some sort if I understand correctly).

His cut up images are simply stunning, where he slices people up and repeats parts of their body, turning them into graphic works of angular abstraction. My biggest thrill was seeing the original cover photo for Grace’s ‘Slave To The Rhythm’ album, a record that I adore and have held the master tape of, all I need now is to see her perform it live and my life will be complete (or something).

Anyway, I’ll let some of the images do the talking and just recommend you try and catch it before it ends on March 18th.


Steve even found time to shoot a short film on his phone while he was there:

Goudemalion from Temporal An0maly on Vimeo.

DJ Food & Henry Flint exhibition opening – Thurs

[singlepic id=3556 w=640 h=480 float=left]

The day had finally arrived and the first problem to be solved was the audio/video one, re-exporting wasn’t an option as there wasn’t the time so I decided to copy both parts to an external hard drive and just hope Charley (Pure Evil gallery owner) had enough kit to play both back separately. Next was the name cards, they were printed but had to be mounted on foam board and then cut out, also there was the matter of framing one of the postcard records I’d made specially for the show. They’d arrived the week before but, with the planetarium gig and others, I’d not had time to put them in for a mount to be cut so that they could be framed. I tried several different backgrounds but decided in the end to just screw the card to the wall and hang a frame around it sans anything else.

[singlepic id=3569 w=640 h=480 float=left]

Anyway, time ran out and I left for the gallery, when I got there it was looking fantastic as Charley and Molly had done a great job with the painting and hanging, just the AV thing to sort now and, with the help of Aneek and Mark, who I’d met through Matt Black, we set about trying to find the best combination with the laptop we had. Downstairs was a little stark so the guys hired in oil projectors and it was nearly time to open when we finally got the audio and video projection to synch. The Ninja staff had arrived to set up banners, beer and merch tables but no sign of Henry yet as he’d said he’d be there around 6pm with a box of forty ‘Broadcast’ books.

[singlepic id=3560 w=640 h=480 float=left]

Just time to frame one final piece that I’d found and give the pictures a wipe before people started coming in and a queue quickly formed to buy the postcard records. As with every event like this, the rest is a blur of beer, catching up with friends and people asking questions, all the while keeping an eye on the artwork, straightening the odd picture or resetting the audio. Matt Johnson popped by with his girlfriend, Nathaniel aka Natural Self turned up, Matt Black from Coldcut and Pete Quicke, Ninja Tune label manager, with his boys in tow. Tons of friends I’d not seen for a while and a few I knew but had never met in person too. Steve Cook, Rian Hughes and David Hine turned up to represent the comic contingent and soon Steve was tapping me on the shoulder to tell me Henry had arrived. It was great to finally meet him in person as we’d only ever emailed before and he is the nicest, most unassuming guy you’ll ever meet, so good to meet your heroes and not be disappointed.

[singlepic id=3566 w=640 h=480 float=left]

The whole thing went on way past 9pm and, right at the end, Mat Ducasse from Skylab, an old friend of Charley’s, dropped in having jut played a 6 minute gig round the corner. Drunk and on cloud 9 with relief that it had all come together, I staggered home and watched the new Noel Fielding luxury comedy which was just what my addled brain needed after the previous four days. I crashed out, only to be woken by a steaming hangover at 6am before getting ready to go to France for two more gigs.

Thanks to everyone who helped out to make it happen and came down to have a look and wonder what it was all about. Most of all I’ve got to thank Charley and Molly at Pure Evil, Will Cooper-Mitchell for his outstanding photos of me in the astronaut suit and of course, Henry Flint, for his amazing artwork which kicked all this off and his continued help and support (donating personal work for the event). Also thanks to the various people who let me use their photos here: Matt Black, Steve Cook & David Hine but if anyone else has shots I’d love to see them.

[singlepic id=3545 w=640 h=940 float=left]

It’s on for three more weeks, the last day is Feb 12th and you can pre-order the gicleé prints there, including two which are exclusively available from Pure Evil during the exhibition – ‘Octopus’ (from the ‘Magpies, Maps & Moons’ cover) and ‘Beats Per Second’ (from the ‘Shape Of Things That Hum’ – below). These are both editions of 33, come signed by the two of us and anyone can order via the web or phone too, you don’t have to go to the gallery personally. The previously released prints are on sale too, including the new ‘Cosmonaut’ one featured on the album cover that made its debut last week, plus limited copies of Henry’s book, ‘Broadcast’, which features the original drawings and tons more – on sale for £12.99 which is a bit cheaper than retail price.

[singlepic id=3568 w=640 h=940 float=left]

Secret Oranges blog ping pong

I have to big up my friend Steve Cook who took this amazing picture of me at home with (some of) my records. The picture has already been printed full page in a couple of mags and we set it up to make just such an impact (had to use a pretty extreme lens to get it all in). The reason I’m highlighting it again is that it gets printed but magazines rarely credit the photographer so I’m just showing off his work as a thank you. Steve is another one of those annoyingly talented people who can do everything from graphic design, photography, retouching, colouring, teaching and whip up a mean blog piece every once in a while (well every day actually).

He also runs several self-designed web sites of his work, my favourite being his latest one, Secret Oranges, that focuses on his collection of comic or comic-related ephemera. From the first time I featured it though, shortly after it had debuted online only 2 odd months ago, the hits have gone haywire on the site and it’s quickly built an avid fanbase, keen to see what’s in Steve’s cupboards. I thought I had a collection but his is ridiculous, not only obscure fanzines, magazine cuttings and original stats used to colour B&W artwork but also personal scribbles from the artists he’s worked with and amazing items rescued from the bins that would fetch hundreds on eBay these days.

He has several different regular features running as well like ‘Largin’ it’ where he blows up a comic panel so you can see all the fine detail and print process, ‘Mint.Fine.Good.Fair.Poor.Well Loved’ where he scans some of his oldest, most well-read comics with all the trademarks of time intact, and ‘Other People’s Cupboards’ where he highlights fellow collectors’ storage spaces, of which I’m no.3.

He’s also preparing a book of his photos from the 70’s, 80’s and 90’s clubbing and comic days and runs a section of his main site called Alternity where he blurs the boundaries of the present and the past with altered photographs. Also, also, also, he has the best ghost stories ever…

DJ Food in Record Collector magazine

After months of ‘will it be in this issue?’, I’m finally in the Christmas issue of Record Collector magazine (with Led Zeppelin on the cover), in ‘The Collector’ article and it was worth the wait. For the first time I can remember they’ve gone from the usual two pages to three to accommodate the ‘Wall of Sound’ photograph Steve Cook took specially (full image above).

I’m so pleased with this and I get a chance to show off some prize pieces from my collection. Several items mentioned aren’t shown because of space but I’ll be posting some of them in the ‘Originals’ posts on this site all week.

iPhone image dump October

Last month’s best of, the Studio One picture is in the Bitte Club in Milan, Italy, the figures are made entirely out of screws, the collage images are from the same club. The ripped faces and figures are inside the Case á Chocs club, Neuchatel, Switzerland where I played with Neneh Cherry as is the ceiling typography. The Tiny World photo of South East London is taken from the top of Greenwich Park.


 

Posted in Photography. | No Comments |