Thanks so much to Fiona for the interview! Some time ago I wrote a small piece about her old band The Hill Bandits and Fiona was kind enough to get in touch and answer to all my questions! If you’ve never heard about them before, The Hill Bandits were a band from Leeds that released two 12″ and have this beautiful and great song called “Nowhere Train” too. If you want to learn their story, sit down, and enjoy!

++ Hi Fiona! Thanks for being up for the interview! You are still making music these days as Itch. Care telling me a bit about your new project?

Yeah, Itch is my main project here in France. Itch plays melting pop. Lyrical adventures wrapped in contagious melodies. We have a wonderful blend of many different influences from different continents and epochs.

++ Also now you are based in France, am I right? How long since you left the UK? What is that that you miss the most from Leeds and England in general?

This is quite a long story. I said goodbye to the Hill Bandits and Leeds, UK in 1988. The Hill Bandits record label went bust, the bass player, Paul Staniforth wasn’t well (unfortunately our mate Paul passed away a few years ago. R.I.P.) and HB’s just just come back from our German tour, I’d fallen in love with the exciting city of Berlin and decided to move over for a while. A while that lasted 18 years. I came to France in 2007. I had finally quit Berlin. I bought a very large suitcase, a tent and 2 tickets for Amsterdam for me and my then best friend, my dog – Medina. Talking of which I had to wait until October before I could get the dog through quarantine. That’s why I chose to spend the summer in Amsterdam,where I went to a campsite on the outskirts of the city. Tranquille! There after 1 week I was working in the snack bar and one day a man walked in. Yes there you have it, a man! From France just arrived. He had been invited to work at the
university during the summer and our paths crossed. The second night he took out his guitar and played some French songs. Until that moment I didn’t know he was a musician too. I told him I sing and I sang and he accompanied me on guitar. The idea for me to go back to Paris with him and forget all the UK plans seemed like a typical Fiona thing to do and I did. That’s how Itch started. We are going in the studio next week to record our 3rd CD. So there you have it. But you don’t. I’ll send you a copy of our last album Cool Breeze if you like. You know one thing I really miss is the Yorkshire humour but I do really miss the town itself as a whole. Oh and a good curry I miss my evenings with Kevin and friends eating in a good curry house.

++ Let’s go back in time  a bit. Were The Hill Bandits your first band?

No HB’s wasn’t my first band. I left home pretty early at the age of 17 and started looking for bands more or less immediately. I auditioned to sing in a synthesizer group that I met at The Warehouse wasn’t with them long. They were too shy to play in front of an audience. I was invited once to guest with a group from Hyde Park, Leeds, cant’ remember the name. We had a gig upstairs at the Astoria (I think). Pete Master was there with my sister and after the show he asked me to sing with his fantastic 15 piece band the Magnificent 7. I think I was still singing with them when we started the HB’s. Sang with the Yahoo Family too but I think that started around the same time as the HB’s.

++ How did the Hill Bandits start as a band? How did you all meet?

Another long Fiona tale, I’ll keep it short. We were all in the music scene in Leeds. I worked at my sister hairdressing salon and Kevin came in to get his hair cut. When I was drying his hair I told him I wanted to start a new band and would he like to join me in setting it up? We went for a beer in the pub next door after (he was the last client) we talked and formed the Hill Bandits. Paul came just after to play bass and the first drummer John. Hill Bandits rode over the top of the hill at sunset, so to speak.

++ Where does the name of the band come from?

The band name comes from our town and it’s curves up and down and the fact that we were all outlaws together in a new gang hence bandits.

++ You seem to have been equally influenced by the sounds of the guitar pop bands that were appearing in the mid and late 80s as well as country music, am I right? What bands would you list as influences during that time?

Well to be honest it was Kevin who opened the treasure chest named country for me. I started listening to a lot of Patsy Cline. I also listened a lot to Billie Holiday and Ella Fitzgerald. Music from the ’80’s that I personally liked for example were the Eurythmics but then I listened to loads of different groups – to many to mention.

++ Were there any other like-minded bands in Leeds that you followed at that time?

I don’t think there was anything like us in Leeds at that time.

++ How was Leeds back then? What were the venues that you used to go to? Your favourite places to hang out?

Leeds was brilliant back then I was in my early twenties then and was quite wild (still am I suppose) it was all very exciting for me. We played at the Duchess of York a few times and went to see lot’s of bands there too. We could often be found in the Faversham. With the choice of pubs it’s difficult to pin point any really but the areas we socialized in were Hydepark, Headingly and the city centre for gigs.

++ I’ve always heard stories about Jumbo Records by Leeds bands, maybe you have one to share?

Jumbo records, yes in the Merrion Centre. Still exists. I used to DJ in a club back then and bought a lot of my records at Jumbo. I don’t have any juicy stories to tell though.

++ You released two records on Ediesta Records. How did you sign to them?

Ediesta was a sub label. It’s big sis was Red Rhino Records who Kevin was with at the time. He was a rung or two higher up the musical ladder than me. It was through his connection to RRR that we had the opportunity to get intouch with the right people and sign.

++ Were there any other releases? Or perhaps compilation appearances that you remember about?

We did record a 3rd  record but it never got released. Kev has the master tapes. It’s quite amazing that they’re in such good condition.

++ I read there was a third record planned, what happened to that?

It never saw the light of day, I’m afraid.

++ I’ve never heard your first release, “Hotrod Buckboard Boogie”. How different is it to your second 12″, “Nowhere Train”. Is it similar sound-wise? And what similarities and differences were there in the recording sessions for both?

When we first started we played cover versions. Hotrod Buckboard Boogie is a 12″ EP we recorded our versions of Love Me Or Leave Me http://www.youtube.com/watch?v=1xiD8vFjs4I, Aragon Mill, really nice guitar on that one,
You’re Gonna See http://www.youtube.com/watch?v=N5EgFTbj-K4 and Out Amongst The Stars.

++ Tell me a bit about the photo on the cover for “Hotrod Buckboard Boogie”. Did you all always wear hats and baseball caps? :p

The cover was designed by Kevin. In those days we didn’t have computers. Kevin took photo copies exposing them differently making them lighter or darker then he added the colour. We definitely didn’t wear caps all the time. All too proud of our hair cuts 😉

++ Talking about the songs, I wonder, how did the creative process work for you?

In those days I was just starting out on the lyricist adventure. Kevin would have an idea for the guitar for example and then we’d either write together or he’d already have ideas that he’d suggest to me and we’d work on the ideas together to create a song and then present it to the bass player and drummer. By the time we were recording the 3rd record I was writing songs all on my own. Songs that not many people have heard.

++ There’s a video on Youtube for “Nowhere Train”. Where was this recorded? What do you remember from that day? Any anecdotes?

Nowhere Train video; yes I remember it well. We asked at the venue Coconut Grove, in Leeds city centre, if they thought it would be OK to film there and they said yes.

++ You seem to have gigged a lot. You even went touring in Germany. How was that experience? What towns did you visit?

Going on tour was an amazing experience I loved it and still do. That whole traveling in the van thing, hotels and be together as a group now that’s something that I really love. People lining up after the show for signed copies of the album. A taste of stardom if you like. I would have to say, for me, one of the most memorable gigs we played was in Berlin in the Niagara. Memorable because although it was quite a small place there were loads of people there that later became friends and colleagues when I moved there. What towns did we visit? Well the first gig was in Dortmund. We played as opener for Thin White Rope. After the show we drank enormous amounts of something, maybe vodka and I ended up cutting the bass players from Thin White Rope’s hair. I can’t remember all the places but I do know we played in Zug in Switzerland. All a bit hazy 25 years on.

++ And in general, what would you say were your favourite gigs you played as The Hill Bandits?

We used to drive up to Carlisle every so often to play at The Frontpage. Great place. We had nowhere to sleep so ended up sleeping on the floor of the pub in sleeping bags. Imagine after a gig how wonderful that smellt of spilt beer and cigarettes.

++ Who were your favourite bands to share a bill? And what would you say was the strangest gig of all?

I loved the show in London at the Mean Fiddler supporting Brendan Croker and the 5 o’clock Shadows. I think the strangest gig of all was in Newcastle I think and we were double booked. The Landlord suggested that we play upstairs in another room. The first set there were 3 people who brought morefriends to the second set and in the end nearly everyone there bought a record. Strange and fulfilling.

++ And then when and why did you call it a day? What did you all do afterwards?

Hill Bandits all came to an end quite suddenly. Pauls news about his illness. The record company Ediesta Records. That was all so dramatic. And I had then the offer to go and live in Berlin so I took it which was then the abrupt end. In Berlin I sang alot at the beginning for bands as a session musician in variuos studios and eventually formed my own group the Barflies. The others HB’s continued with their numerous other projects.

++ Last year, 2013, you did a reunion gig in Leeds. How was that?

The reunion gig consisted of Kevin and I and a couple of fellow musicians who we invited. We thought if it went well we might start it up again which is quite difficult considering the fact that I’m here in France with my own projects. It was nice to be back on stage playing some of those wonderful tunes we penned in the 80’s.

++ Do you think there will be more Hill Bandits gigs in the future?

You never know 😉

++ And looking back, in retrospective, what would you say was the biggest highlight for the band?

The Hill Bandits were the complete highlight. There was always something just about to happen.

++ Let’s come back to the present now, what’s in store for Itch? I heard you just put out an album out?

Well the album Cool Breeze was released last year and we’ve been travelling around in France, Belgium and Germany, not so much the UK, promoting it. In fact next week we’re going in the studio again to record the next album. A little different from the last one in that we have invited 2 brilliant musicians to join us. Double bass and lead guitar. We’re very excited about it.

++ And aside from music, what other hobbies do you have?

I love life, that’s my hobby – enjoying it. I love organising and have just started a project – Idolize – I rent a place, a craft beer brewery, where I’ll be putting on bands.  I write also for other bands I’m in the studio with a group in November as guest singer. I keep busy.

++ Thanks again for everything! Anything else you’d like to add?

Thank you so much for inviting me to do this interview. One day you never know, we might meet. That would be nice.

Here’s a link to the itch website: http://itchmusic.free.fr and our clip: http://www.youtube.com/watch?v=yippEfVydmM

Take care of yourself. See you around sometime.

Thanks so much to Ulf Cronheim for this interview! I wrote a bit about Matilda Mus some months ago trying to find more information about this fab Swedish band from the 80s. Happily Ulf was up for answering some questions and telling the story of the band! After listening their songs you’ll be wondering, how haven’t I heard them before?!

++ Hi Ulf! Thanks so much for being up for the interview! How are you? How is the holiday season shaping in Varberg?

Everything is just great. It’s been a fantastic summer on the west coast. Now I’m spending my days with my girlfriend Sofia and our 3 kids: Adèle, Harriet and Sixten. We live in Södermalm in Stockholm, 500 km from Varberg.

++ I must say you are the only band I’ve ever heard to come from Varberg. Are there any other bands from your town that are worth checking out?

No.

++ Was Matilda Mus your first ever band? And since when had you been playing bass?

I started playing the bass 1980 at the age of 16. My friend had a Rickenbacker that I could use until I bought my first Hagström. I played in a couple of bands before Matilda Mus, mostly punk rock, but also pop. 1983 I joined some friends in Boston to play in a band called New Tarbideon. I spent 6 months in the US trying to make it as a musician. We got to know Ric Ocasek of the Cars and his producer Ian Taylor, and they helped us out. We weren’t that great though, and eventually the band split up. I managed to get a job selling unicorn t-shirts and stickers from a pushcart in Downtown Crossing to save some money for the trip back home.

++ How was the recruiting process in the band? And who came up with the nicknames for each member of the band?

I started the band together with Pär Mantéus who had also played guitar in New Tarbideon. We persuaded my ex-girlfriend AnnaMaja to learn how to play the drums, and then I asked my girlfriend at the time to play the keyboards. She had two friends that liked to sing, so they became the choir. The nicknames were mostly my idea. Zadie Mc Zymbal came from the Beatles song Sexy Sadie.

++ The name of the band comes from the children books, right? Do you own any of them?

No. I think we formed the band before the books started to come out. The name was inspired by two new wave groups from Stockholm, Ebba Grön and Dag Vag. Our six year old daughter Harriet has one of the Matilda Mouse books, and I tried reading it with her a while back. We both found it a bit boring.

++ And who would you say were the influences of the band music-wise?

None of us actually listened to the kind of pop music we played in the band. I was a huge fan of Specials, Cure, Buzzcocks, Police and a lot of other more obscure new wave bands. Whenever I tried singing in English it sounded like a poor imitation of Terry Hall or Robert Smith, and after the US Disaster Trip, I needed to do something completely different. The others were also into the alternative scene, but the girls were more into goth.

++ Something that strikes me is your DIY approach, self-releasing your record and doing the artwork yourselves. So I wonder about two things. Was there any interest from bigger labels from you?

We were never contacted by any record labels at all. I once happened to run into the Swedish pop star Per Gessle. He is the singer of the Swedish band Gyllene Tider (Golden times), and he later went on to form Roxette. He had bought our first album, and he liked the songs but not the production. He offered to help us out, but I never took him up on his offer.

++ And second, how important for you were the DIY ideals and aesthetics and why did you decide to go down that route?

They were and still are very important. I really love the whole DIY thing. I try to do almost everything my own way, it’s often more important than success. I don’t like it when other people make decisions for me, and I want to have full control over everything I do.

++ I love the boy/girl vocals and the structure of the songs, so I wonder how was the creative process for you? Who wrote the songs? What came first, lyrics or music?

I wrote both the lyrics and the music, and I also showed all the members what and how to play. It was only Pär the guitarist that really knew how to handle an instrument. Most of the time It started with a catchy chorus and developed from that.

++ Your first release was a 7″ EP with the cracker song “På Sommaren” opening, and closing the melancholic and catchy “Intill Min Död”. If you don’t mind, would you care telling the story behind about these two songs that are among my favourites?!

They are both about teenage love. The lyrics of “På Sommaren” (In the Summertime) tells the story of two young people falling in love on the beach. The EP was released in the early summer of 1985, and the song was a local hit. I can’t recall the lyrics of “Intill Min Död” (Until Death Do Us Part). I don’t have the record here in Stockholm, but I’ll try to listen to it when I go down to work at Majas the next time.

++ Your sleeve covers came in different colours, but the artwork also caught my attention. Who was in charge of doing the sleeves?

The whole band took part in the artwork of the first EP, but I guess I did most of the work with that and just about everything else.

++ And doing things on your own, I wonder, was it easy to finance your first vinyl record?

When we started recording the first EP, we took part in a local music competition. We were quite successful so we managed to book a lot of shows. All the money went into the making of the record. Then we actually won the competition just in time for the release of the record. Quite good timing.

++ Your second release was a 7″ with a Christmas theme. It’s Christmas eve now that I’m writing these questions. Is this your favourite holiday? What’s that that you love the most about “Jul”?

In the end of 1986 we had about 200 members of our fan club, and they all received that single as Christmas gift. The lyrics for the song “Nu e de jul” is all about the stress everybody feels before Christmas. Nowadays I spend Christmas with at least 8-10 small children. It’s totally crazy! My favorite holiday is the traditional Swedish “Midsummer Eve”, a fertility rite were you gather all your friends to eat pickled herring, drink aquavit and dance around a pole.

++ Since this release you started recording your music in Halmstad. Why was that? And what did this Out of Control studio offered you that you stuck to it?

I started playing with a band from Halmstad called Dead Flowerz. We rehearsed in their studio that was somewhat out of anybodies control. Very nice people, easy to work with. They ended up playing and singing in the band.

++ In 1986 you release your only album “Pussar Mjölk å Pop’n Roll”. For this release some more people joined the band. What did they bring to the table that was unique about them? And also, what about that first track, “Sagan Om Matilda Mus”? Where does that recording comes from? A radio?

The first track is called “The Story of Matilda Mus”, and it was performed by the Swedish actor Jojje Jönsson that had a character called “Ivan Boring” on the radio. The only new member was the guitarist Johan that replaced Pär. He had more of a rock ‘n roll background, but we managed to keep most of that out of the record. He remember that liked guitar solos and that he was into Neil Young. Not really our style…

++ In 1987 you released your last record as Matilda Mus, “Sodapopkid”. It was another 7″ and in it you covered The Archies, well, a Swedish version of it. Did you play any other covers perhaps in your live set?

No. During our first concerts we could only play the 4 songs from the EP. We used to play them two times and then we asked the audience which one they wanted to hear a third time. It must have been quite a strange experience when you think of it! We asked the publishing company if we could make a Swedish cover of “Sugar, Sugar”. They said no, so we released the song as our own. Nothing happened. I still think it it’s a great version and it works good in Swedish.

++ Talking about playing live, what were your favourite gigs as Matilda Mus? Any anecdotes you could share?

We had a memorable gig supporting the Swedish singer Ulf Lundell. There were 8000 people in the crowd and I remember I started the show by saying “Hi, here I am. It’s me, Ulf”. The crowd weren’t very amused. The Ulf they were waiting for was lying totally wasted behind the stage, and his performance was delayed by two hours. Meanwhile we did our thing and played all our songs two times and our major hit a third time. We sold almost 100 copies of the EP after the show, mostly because the sales were carried out by 3 young beautiful Swedish bunny girls. There is a video recording of the whole show, but the camera woman forgot to connect the sound cable, so it’s mute.

++ So then what happened? Why did the band split?

I don’t think we ever did split up. We just didn’t have any gigs, so there were no need to rehearse. We had planned to throw a big party for our friends, with a british band called Pop Will Eat Itself. The day before the gig there was a boat strike in England, and the band missed their ferry. We managed to book another band for the party, but the crowd thought they were rubbish. It was a cult band called Union Carbide Productions. I think they were great, but they were drunk and they played a bit too loud. We rescheduled the show with PWEI to the day after the party but hardly any people showed up. We had to sell our van to cover the loss, and after that some of the members were a bit tired of the whole music scene. I met the singer of PWEI some years later in Copenhagen, and the first thing he said was “Hey, Ulf! Did you ever get your van back?”.

++ After the band you formed De Nissan Badpojkar. Care to tell me a bit more about this band? Was it much different to Matilda Mus?

It was my friend Peter Wahlbeck and I that recorded a song called “Sommardag”. It has a Swenglish translation on the flip side called “Summer Day”. I played all the instruments except the guitar that was added by the Matilda Mus guitarist Thomas “Svarta Faran” Klint. I like the song, but we had some problems with labels so all the records came back crooked from the printing. We managed to get new copies, but by then the summer had passed and we actually never released the record. We gave some copies to our friends but the remaining 500 are still stashed away in my garage with some of the Matilda Mus gear. It could easily have been recorded by Matilda Mus.

++ These days you run a cafe in Varberg called Majas Strandcafé. I hear many indie bands have played there. So far, what would you say have been the top five gigs at your place? And how do you like running the cafe?

We changed the name to “Majas vid Havet” (Majas by the sea). The old name translates into Majas Beach Café, and I thought it sounded too much like My Ass Bitch Café when foreigners said it. It’s hard to pick only five gigs. We’ve had just about the whole Swedish indie scene performing during the 20 years since we started. Håkan Hellström, Bob Hund, The Soundtrack of Our Lives, Veronica Maggio, Miss Li maybe? Hmm… that’s six. Majas of today is a pretty decent organic restaurant and it’s only open in the summertime. It’s great fun!

++ Do you still play music by the way? And aside from it, and running the cafe, what other hobbies do you enjoy doing?

I play ska, rocksteady and reggae in a band called “Good Staff”. We only play at Majas. That’s one of the best things about owning your own venue. You get to decide the line up. Otherwise I spend all my time either with my family or planning and working with our organic farm at Tången, just outside Varberg. We have sheep, chicken, pigs and a duck. A lot of work of course, but fun…

++ Are you still in touch with the rest of Matilda Mus? What are they up to these days?

Pär plays the guitar in Good Staff and he´s also a silver smith. I sometimes meet Zadie the drummer and Paula Purple. Zadie is a reporter on Swedish television and Paula is a music teacher. Johan, Thomas and Jackie are cover musicians. I don’t know if the others are still doing music.

++ Alright let’s wrap it here Ulf. Thanks so much! Anything else you’d like to add?

Thanks. It has been fun thinking about what we did and how we did it. I tried playing some of the songs for our kids but they told me to shut up as they went on watching Monster High on their computers. The times they are a changing…

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Listen
Matilda Mus – Nu E De Jul

Thanks so much to Jörn Wuttke for this interview! Last year Blue Records released the fabulous compilation by this German band including all songs that were recorded on LP and CD! It was definitely one of my favourite releases then and listening to it again today it feels so fresh still! Wow! It’s so strange that only some of these songs were properly released on a 7″ back in the day. But happily, if you haven’t yet, you can still get this record! I interviewed their label some time ago, and since then we’ve had this interview waiting to be published. Now at last we get to know the story behind one of the best indiepop German bands ever!

++ Hallo Jörn! Thanks a lot for the interview. First things first, how long has The Sheets album been waiting to be released? Why did it have to wait this long?

Well, I think we were a bit depressed that nothing really happened, after recording the stuff.
We recorded at Hotline Studios in Frankfurt. To mix the material in a way to sell it to a major label would cost a fortune. So we just did this rough mixes and sent the tracks to all our favourite record companies. CBS and Warner-Germany were interested but they forced us to remix the songs in a more ” UK”- Rave style. They was some interest by smaller Labels , they wanted a rougher “alternative rockfeeling”. Also we needed someone, to buy us out of the contract with Hotline as our publisher.
At that time, maybe because of the frustration, maybe cause we listened to the songs to often, we were not happy with the situation at all. At the end of that period, Frank Röder my songwriting partner and co-founder of The Sheets, left the band to become an actor in Switzerland. I started 1990/91, inspired by listening to Bands like The Primal Scream and early Techno at Sven Väths club The Omen, a more electronic based sound, as you can hear in “Candyman”.
But at the point when Frank left the band, for me the real “Sheetsvibe”, based on our two guitars and vocal harmonies, was gone. I didn’t wanted to recreate it with some studio guitar players.
At the same time I started my techno project “Acid Jesus” on my own label “Klang Elektronik” with Roman Flügel. The first single “Move My Body” was becoming a worldwide club hit. We toured with our first album all over Europe. We did everything as a duo really independent. I didn’t had the nerve to discuss with big , slow and arrogant Record companies anymore and thought about bringing out The Sheets by myself one day.

++ The album is truly amazing, I’ve been listening to it a lot since I go it. A couple of things to those who don’t know about it yet. Where can one buy it? Is there any difference between the vinyl version and the digipak version? And are there any plans for some sort of reunion gig perhaps?

I think the easiest way is to buy it is over discogs or directly at Michael Wille’s label address, formosapunk@hotmail.com
The CD- Version included two more songs.
“Such A Pain” a very early track, recorded around 1987 at the legendary Hansa Studios, directly at the Berlin Wall and “No Thing To Say” a Hotline Studio-rehearsal live version. Taken from our last demo sessions 1989/90 as a classic five piece band. I’m sorry, but there is no reunion gig possible…

++ As I said, I’ve been loving the album. I wonder though for you, what are your favourite songs in it? And if you can tell me a bit of the story behind the recording of this record?

My favourite songs are the short three minute pieces like “Candy Mountain Blue”, “Peter Pan” and “Crashing”. But I also love that laid back summer bongo grooves of “Jamboree” or “Walking In The Rain”. After listening to bands like The Drums, two years ago I thought it would be maybe important to remaster our old stuff. That it worked out that good is for me still unbelievable! When we started our sessions at Hotline, we really had to fight for our sound. We plaid a lot of records to the recording producer. Before us he mixed Milli Vanilly and a swedish number one metal band. He was a major Aerosmith and Metallica fan. He really hated me when I said that my “Feelies” or “TV Personalities” records are sounding better than his mixes. To please him a little bit and to bring him on a different way, I said to him : “Listen to Tom Petty, he had a number one hit and is sounding like an updated version of the” Byrds”. After that, he left us working and we engineered the tracks more or less by ourselves…

++ Also, what’s the story behind the cover photo of the band? You don’t see many people with a cigarette on these days album sleeves!

Beside me all members of The Sheets are chain-smokers. We always had problems with our wimpy look, so maybe Thomas wanted to make a statement. Always give a hand to the addicts…

++ Let’s rewind a bit. I know your first release was in 1991, but when did the band start as such? Who were The Sheets and how did you all met?

I think we started end of 1986.
I knew Lolo and Frank from the very famous club “Die Goldene Krone” in Darmstadt. This was the first discotheque, beside the “Batschkapp” in Frankfurt, having a real new wave and punk following. I saw some of my first rock live concerts there. The program was very diverse. One day Eric Burden, strange krautrock from Germany or Ian Dury And The Blockhearts, The other day Nina Hagen and Johnny Winter.
I really wanted to found a band after listening to very minimalistic German avant-garde pop like Palais Schaumburg, Der Plan, DAF, Die Zimmermänner and Andreas Dorau. I realised that they couldn’t really play their instruments properly but they had style and attitude.
At that time fantastic new wave – pop came from Düsseldorf (Ata Tak) and Hamburg (Zick Zack!, What’s So Funny About).

++ And who came up with the name The Sheets? And what’s the meaning behind it?

I started writing Songs with Frank Röder as an acoustic guitar duo under the name “The Silken Sheets”. The name is from an early Jacobites (Nikki Sudden and Dave Kusworth) song. We really did street music at that time, played in parks and parties all over the place at the Darmstadt / Frankfurt area. We played Bob Dylan, Van Morrison, Velvet Underground, Johnny Thunders, Green On Red and Long Ryders songs. Also the complete Nikki Sudden, Jonathan Richman and Jazz Butcher catalogue. Than I wrote “Poppyfield Smile” and decided to search a rehearsal room. I knew Thomas from recordshopping. He had a very good taste in music, was a bass player and had a bunker room in Offenbach. He was my man. After the first session we were happy, Lolo joined on drums and The Sheets were born.

++ Tell me, whereabouts in Germany were you based? How was the scene there? Were there any other like-minded bands in town or in Germany?

We were really lucky having such a fantastic scene between Darmstadt and Frankfurt when we started out.
We met every Friday at the record shop when the news from “Rough Trade” and all the other distributions came in. I could listen to all the great new stuff from all over the world. Our meetings there were very inspiring. We learned a lot from older music freaks at that time. I read “Sounds” and later “Spex” magazine. I was amazed that they promoted exactly my style of music. I knew from 1987 on, that this kind of music will be the next big thing.

++ Your sound seems to have the influence of the C86, indiepop, bands from the late 80s UK. What bands were you listening at the time, and do you still listen to them?

Beside record shopping and songwriting we went every week to the Frankfurt “Batschkapp” listening to new live bands.
The sound system was very good and i saw loads of legendary shows out there. We saw nearly every cool band at the time. The Feelies. The Go Betweens, R.E.M, Jesus And Mary Chain, The Cramps, The Flaming Groovies, The Triffids, all the American Paisley Underground bands, the C-86 bands, New Zealand bands, Postcard Records-bands like “Orange Juice” or the early Lloyd Cole. On other nights, legendary artists like Screaming Jay Hawkings, Psychic TV and Johnny Thunders. Every Monday were night concerts at the “Cookys” club. It was more like a pub and much smaller than the “Batschkapp”. It holds around threehundert people. Nikki Sudden solo, The Jazz Butcher or The Fleshtones were playing there. There was also a very popular radios how every monday at 10 PM, promoting all those happenings. Klaus Walter, also a well known music journalist, did interviews and played records of all the bands performing later at night at the “Cookies”. The networking between labels, tour promoters, press, record shops and artists was very tight at that time and created a big following till the end of the nineties. I still listening to guitar pop a lot. I love the last “Pastels” album with “To Rococo Rot”. I still love all my “Felt” records. Martin Duffy , the “Felt” and “Primal Scream” keyboard player recorded an interesting solo album !

++ Your 1991 release, the “Candyman” 7″ came out in Blue Records. I heard Michael’s (Blue Records) story of how he approached you to release the record. Now I’d love to hear your side! How did this record came about?

I think I met Michael on all good concerts around Frankfurt. He saw us playing at the “Batschkapp”, so I thought the man has to have an incredible good taste! There were also some friends of him, “Die Blinzelbeeren” recording a single, at my first eighttrack recordingstudio.
That was at my grandparents garage in maybe 1989. We had a nice chat here and there, so the idea came up to remaster some Sheets material and cut this record.

++ You wrote a song called “Manchester”. I assume you’ve been there, right? Would you say that’s your favourite city or which is it? And this might be silly, but I wonder if you were to do a top 5 Manchester bands, which ones would they be?

I had a girlfriend from Manchester. She was living in Berlin, but we were several times in Manchester, visiting her parents. Maybe the song is based on the mixed feelings I had at that time. Later on we played some wild gigs with Alter Ego at a club called “Sankeys”.
Acid House started there in the U.K. and Alan McGee moved with Creation Records to Manchester because he fell in love with that new sound directly.
The Happy Mondays, Primal Scream and My Bloody Valentine changed their sound completely after partying with MC Gee and recorded, after that experience, some of my most favourite albums. Even The Pastels, The Jesus And Mary Chain or The Loft were selling more records during that Creation / madchester-hype. Sad that the success of Oasis ended up this very experimental and inspiring time.
Funny that a band from Manchester ended up the Manchester sound…

++ And then there’s “Candyman” and “Candy Mountain Blue”. Is the “candy” just a coincidence or? Also, I have to say that my favourite song of the album is the latter, “Candy Mountain Blue”, would you mind telling me the story behind this song?

In “Candyman” Candy is a coincidence for drugs.
The title is inspired by a very funny Bob Dylan song, about a famous New York cocaine dealer, called “The Mighty Quinn”. “Candy Mountain Blue” plays around the same area, but the name was inspired by a “Hüsker Dü” title called “Candy Apple Grey”.

++ And just to make sure, there are no more unreleased songs by The Sheets? Everything is in the album?

They are all on the CD…

++ Tell me about gigs, did you play many? What were your best gigs? Any anecdotes to share?

“Hammerconcerts”, the “Batschkapp”- booking agency, managed us at this time. So we could open as a support band some very cool nights at the club. My personal highlight was a German package tour with “The Wedding Present”. We plaid in all the great venues all over the country, following The Wedding Presents tour van, in our old Volvo station wagon. They paid for our gas and gave us their backstage food, while they went to a restaurant. We slept in the car or on the floor at some friends places but The Wedding Present were real gentlemen and helped us wherever something strange was happening. For the last gig at the “Loft” in Berlin we had to cross the East German border, which was quite an adventure during that time. For the first time I realised what the work of a touring musician is meant to be.

++ I know you were involved with ‘Alter Ego’, ‘Acid Jesus’, ‘Sensorama’ or’ ‘Warp 69’, and some more. What about these projects of yours? Care telling me a bit about each of them? How different where they from The Sheets?

With Alter Ego we plaid worldwide in over seventy countries over the last twenty years. So that was becoming my touring ” band” over the last twenty years. It’s real techno for real dance clubs. Producing and performance is absolutely different to the work as a rock band. We do jam sessions with our instruments live on stage.
With our” Krautrockproject”, Sensorama we are first writing real songs and deconstructing them with the computer to abstract pieces. Thats why Sensorama is a pure studio project. We worked with loads of interesting loops. We sampled everything, from “Yo La Tengo” to the “American Music Club”. Than we playing over it with our own Instruments and giving it the special, Sensorama style. We used the vocals of Robert Owens (Fingers Inc.) , Jochen Distelmeier (Blumfeld) and Robert Forster(Go Betweens).

++ You collaborated with Robert Forster of Go-Betweens for the 2000 album of Sensorama. How was that experience and how did it happen?

First we wanted to work with Peter Hein from the legendary German band “Fehlfarben” but he hated our tracks. Than we asked Robert. He was living with his family, close to Augsburg in Germany, so our label was ringing him up. He liked the music so he came, just with his guitar, by train to Frankfurt. He looked like a French poet, when he stepped through the railway station. Very impressive!
Than we drove to the studio. He plugged his guitar in my amp, listened to our basic idea and wrote the lyrics in half an hour. Than he plaid his fantastic jingle-jangle guitar in one take. Pure magic, or maybe a real proffessional? After finishing the song he said “Now you have to invite me to an expensive Italian restaurant”. We were all laughing and went with him to dinner.

++ You are such a music person, but I wonder if aside from music you have any other hobbies?

I like all kinds of pop culture. I love art. I collect pieces by young German artists from Berlin and Frankfurt.
I love to restore old cars especially from the sixties and seventies. I’m a big soccer fan. I follow all the games of Eintracht Frankfurt, my favourite club. To refresh my ears, I run everyday six to ten miles, at a forest close to my apartment.
Since three years I’m into cooking. Sometimes it feels a bit like meditation to me.
I like hardboiled detective and crime novels. Jim Thompson, James Ellroy, Iceberg Slim, Dashiel Hammet and Raymond Chandler.

++ And do tell, music-wise, what are you up to these days?

At the moment I’m into pure acoustic music. Just a good microphone, western guitar and my voice. My record faves (this month…) : Caribou – “Our Love” , Robyn Hitchcock – “The Man Upstairs” , Aphex Twin – “Syro”, The Jazzateers – “Don’t Let Your Son Grow Up To Be A Cowboy” , J-Mascis – “Tied To A Star”, The Pastels – “Slow Summits”, Toy Love – “Toy Love (1980)”, Roddy Frame – “The North Star”,
The June Brides – “There Are Eight Million Stories” , Trümmer – “Wo Ist Die Euphorie”, Schlammpeitziger – “What Fruit ?”

++ One final question. How do you see the chances for Germany in the next World Cup?

I’m far too late for this one, but I have to say it was a thrilling Worldcup! It really surprised me how big soccer became in the states.
The US-Team did very well ! I like Jermaine Jones. He played over ten years for Frankfurt. He’s a real dirty fighter. The Eintrachtfans called him “Bad Boy”.

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Listen
The Sheets – Crashing

Thanks so much to Michael Knowles for the interview! I wrote about The Catchmen back in March, trying to find out anything about this obscure Stockport band. Gladly Michael was got in touch and was kind enough to answer a bunch of questions. Now The Catchmen are a bit less of a mystery to me. Back then they only released one 7″, but as you’ll see on the many links Michael shares with us, there were many other great recordings by the band. Also, make sure to check out his new band, Wintergreen, as it’s pretty good!

++ Hi Mike! Thanks so much for being up for this interview. When was the last time you picked up your guitar? Are you still based in Stockport?

5 mins ago. Always strumming a guitar/ banjo/ uke a little out of time. Based in the beautiful Peak District in Derbyshire

++ These days you are involved with Wintergreen. I really enjoy what I’ve heard on Soundcloud. Tell me a bit about this project of yours? When did it start? Do you have any releases? And how different is this band compared to The Catchmen?

This is the first band I have played in for some time (though I have continued to write songs and record).

An old friend of mine (Pete McGrath) with whom I played in a band post Catchmen (Grifter) saw I will still involved broadly in the Arts and got in touch and asked if I wanted to be in a band again. He is great in that he does the hard part of bands- organising etc so I can concentrate on the fun bit (though it is a very collaborative band). It’s a 3 piece band (the first time my guitar has been so prominent) largely because as you get older it’s a logistical nightmare to do anything larger. It was great that Ian from the Catchmen (who I have played off and off with over the year) added some keyboard to Whole (sent over the internet – wonders of technology)

++ Have you been involved in any other bands aside from Wintergreen and The Catchmen?

Yes – Grifter – see above. Also did an ‘electronic’ studio project with Ian Livingstone from the Catchmen and a female singer Jennifer Brett called Casino. See here on Soundcloud https://soundcloud.com/casinoband-1

Ian and I also still record together and I am always demoing acoustic tracks.

++ Let’s go then back in time, to the days of The Catchmen. Who were they? Tell me a bit about the members of the band and how did you all knew each other?

They keys members of the band (and the constant) were myself and the keyboardist Ian Livingstone. On the recording you have heard I am singing and playing guitar. On drums is Colin Brennan who used to play with a Chrysalis band called Rex and bass is Darren Martin

++ Where does the name of the band come from?

The film Barberella

++ I know this is a bit of a cliché question, but it’s always interesting, what bands would you say influenced you?

For me a clichéd answer I am afraid. The Beatles, but then Squeeze, XTC, Costello, Nilsson, Kinks- songwriters mainly

++ And were there any like-minded bands in Stockport at the time that you really liked?

I liked a guitarist called Steve Finn. There were a lot of good bands around at the time but mostly up the road in Manchester

++ The only thing I really know about The Catchmen is that you released the one 7″. I really love both songs on it. What’s the story behind them?

Everybody’s Looking for the Sun is about growing apart from my childhood best friend (who gladly I am back in touch with).

Wet Than Dry is a rather extended metaphor about appreciating the past without drowning in it (i.e. the bath!)

++ Was it an easy choice these two songs to include in your 7″? Were there any other song options that you considered?

There were a few songs that we had recorded previously that could have been good singles- Wide Open Eyes, Come On Home, Hurricane, Alice is Blue Again. Have put them up here (with others) https://soundcloud.com/catchmen It was just the timing of going into the studio that meant we picked this one (and that it was irritatingly catchy!)

++ What do you remember from the recording session of the single?

I was at university. It was recorded in the Lymm studio of keyboardist Ian Livingstone in the evening so I often slept through most lectures.

++ Were there any other recordings by The Catchmen?

A lot. A few of them are here https://soundcloud.com/catchmen

None released properly (we didn’t have the internet then just cassettes!)

++ How did the creative process work for you guys?

Usually I would come up with a song. Usually about whatever heartbreak I was going through at the time. I would play a few song. Everyone would take the mickey and then we would play it until we found the right feel

++ Who were Taking Liberties Records?

A label we set up for this.

++ And how come there were no other releases by the band?

We tried to get a deal but despite interest from Chrysalis and some major labels it didn’t happen. This was before the internet so we ‘released’ other tracks but on cassette tape really (got that makes me sound so old!)

++ What about gigs? Did you play many? What were your favourite gig?

We play a lot of gigs locally. Oasis supported us and we played with the Rhythm sisters featuring Bruce Foxton from the Jam. Also opened a university with Candyflip. Some of the best gigs though were at the Band on the Wall in Manchester

++ And when and why did the band split?

We had tried to get some interest but it wasn’t happening. Ian left. I tried to soldier on but post university I had to try and earn a living!

++ Are you still in touch with the rest? What are you guys up to these days?

I still play music and still record with Ian occasionally. Have written some songs for my films. I am a film producer http://www.imdb.com/name/nm1624973/?ref_=fn_al_nm_3 and Ian is writing the music for my new film (I might provide a song)

++ And aside from music, what other hobbies do you like doing?

Film. Reading. Family. Running. Screaming

++ Looking back in time, what would you say was the highlight of The Catchmen?

Getting a note from Chrysalis saying they loved our demo and to call them on Monday to discuss our future. A glowing review from The Word front man Terry Christian. Some great gigs. Recording. Writing songs. Always comes back to the songs

++ Thanks again Mike! Anything else you’d like to add?

Any help getting tracks distributed old or new in the States/ anywhere greatly appreciated.

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Listen
The Catchmen – Everybody’s Looking for the Sun

Thanks so much to Del Kwai for this great interview! I wrote some time ago about his band Mexico Red, trying to find more information about them. Happily Del was kind enough to get in touch and answer a bunch of questions and so retelling the story of this great mid-80s guitar pop band from London! Time for you to discover them!

++ Hi Del! Thanks so much for being up for this interview. The first question has been hunting me for ages, have you ever been to Mexico?

Hi Roque. No I’ve never been to Mexico but would love to get there one day.

++ So where was Mexico Red based back in the 80s and where are you based now?

We were based in London. I am still living and working in London.

++ And are you still making music these days?

Unfortunately not.

++ Let’s go back in time, when did Mexico Red start? Who were the members of the band? And how did you all knew each other?

We formed in 1986. The band members were: John Richies, Drummer, from Canning Town in East London; Mike Danks, keyboard player, from somewhere near Manchester; Simon Wring, base player, from Tredegar in Wales, sadly Simon died in April 2011 age 45; and myself, guitar and vocals, from Poplar in East London.

++ Where does the name of the band come from?

In the 80’s the Ford Car Company had a popular car called the ‘Escort 2000 Mexico’ and one of the car colours was called Mexico Red. John found the name in a Ford catalogue and we all agreed it was a name that suited us.

++ Was it your first band ever?

No, my first band was called Graphic. I formed it when I was 17 with a group of friends.

++ During those days there were many guitar pop bands in the UK. Did you feel part of a scene? Were there any other bands from that period that you followed?

We were part of the live scene, playing gigs in most of the known venues in and around London travelling around the country when possible.

There were a few bands playing around then: The Hurt, Icicle Works, Scarlet Party, Danny Wilson to name a few.

++ Talking about guitars, what was your first guitar? How old were you when you learned to play?

I started to play guitar when I was about 12 at school. My first guitar was a cheap Strat copy. I managed to get a real Strat at 17 which was another world for me.

++ And who would you say were the biggest influences of Mexico Red?

None of my family were musical in the least. However growing up I was a big fan of Bill Nelson.

++ You only released one record, in 1988. It was a fantastic 7″ with two songs, “Eternal Flame” and “Follow Me To Heaven”. Care telling me in a few sentences the story behind each song?

I wrote Eternal Flame in 1986 on the way home from a trip to Wales. While we were there everyone was walking along some cliffs and an enormous wave came over the top of us. The whole group got soaked but somehow the water never touched me which gave me an invincible feeling (sounds corny now) but that’s the truth.

I wrote Follow Me to Heaven in 1985. It was my attempt at writing a ‘commercial/chart’ song and it was the only song which was not recorded live.

++ What do you remember from the recording session for the single?

We were determined to record Eternal Flame live. Not having much money for studio time we managed to record it on the second take.

++ Were there any other recordings made by Mexico Red? Why weren’t any more releases by the band?

Yes we recorded other material. There was only ever one other song released on a compilation LP called ‘Vox Nouveaux’. The song is called ‘Colour Field’ and was recorded at Abbey Road Studios in London.

We were working towards releasing our own album but unfortunately we did not have the funds to complete all the recordings.

++ The 7″ came out on Hummingbird Records. Who were they? And how may copies were made?

Hummingbird was the band’s own record label. Once we established a good ‘live’ following we also attracted a few con men. We tried hard to get a publishing deal and a recording contract with all the London based labels, Polydor, EMI, etc, but most of the companies would not entertain us without official management. From our negative experiences of PR men we decided to get a bank loan, create our own label and release our own record, which we did. We pressed 2000 copies of Eternal Flame and had an official release gig at the Hackney Empire in East London which was a sell out and packed to the rafters. We sold 1500 records at the gig (which paid for the venue). Most of the other copies were distributed to radio stations and record companies.

++ I really like the artwork for the single. What’s it about and who made it?

The artwork is by Carl Jenkins from Tredegar in Wales. He was a friend of Simon’s. Carl had his own band and we would meet up with him on our trips to Wales. He is a great artist and his work appealed to us and he offered his work for free. He also designed our name logo and the artwork for posters and t shirts.

I hadn’t seen Carl for 25 years but met him recently when he turned up at my workplace as he is now working as a roofing contractor. It was great to see him again after all that time.

++ So, what’s the best song you’ve written? and why?

My favourite song, because of the guitar solo, is ‘Sailing on the Ocean’. My most memorable songs are ‘Colour Field’ and ‘Brave New World’ because in 1987 we were invited to compete in Battle of the Bands competition organised by the Arts Council which was held at an open air music festival in East London. There was 10,000 people there and it was a real buzz to get all the crowd to jump at the same time. We won the Battle and our prize was 2 days recording time at Abbey Road Studios in London, where we recorded these 2 songs.

++ Tell me a bit about gigs, did you play many? Which was the best one? Any anecdotes that you can share?

We played over 200 gigs and I honestly enjoyed all of them (apart from one) but the one that stands out to me the most was one of the gigs we had at The Rock Garden, Covent Garden, London in 1987. It was packed with a great crowd who were all up for enjoying themselves. We were the support band to (can’t remember) and when we came off the stage the lead singer of the headline band said to me “how the f*** are we supposed to follow that”. I jumped off the stage and played guitar and danced amongst the audience. It was a fantastic night.

Another one which stands out is one at the Cranbrook in Ilford, London. One of our roadies got into an argument with a gang of mods and knocked out a guy’s front teeth. The place erupted while we were playing and the only way I could stop it was to offer everyone in the venue a drink. The fighting stopped but it cost me a week’s wages paying for everyone’s drinks. We never used that roadie again!!

We even went down well at known rock venues and were asked back on several occasions even though we were considered to be a ‘pop’ band.

The one gig which was an absolute nightmare was in a large tent at an open air music festival in Wales in 1987. There was an awful sound delay and we couldn’t wait for it to finish. Never again! Simon was destroyed by that experience as it was his home town so lots of his friends came and we sounded crap. He was so embarrassed.

++ I haven’t seen the single, but on a website it says that it included an insert. What was in this insert?

I’ve attached a copy of it. I sketched and wrote it so as to give more information about the band.

++ And then what happened with Mexico Red? When and why did you split?

By 1989 we were all skint and in debt. John and Simon had finished University and we all needed to get proper jobs. We were becoming disillusioned by all the promises and bullshit from various directions and so in 1989 we decided to split up. Me and (I think) Mike would have carried on but John and Simon were adamant that they had had enough. There were no massive arguments or any bad feelings, we just all went our separate ways.

The music was mine so I could have formed another band and carried on but I just didn’t have the heart to start all over again.

++ Were you involved with music afterwards?

No. I still strum the guitar most days but I’ve never written another song.

++ And all in all, what would you say was the biggest highlight for the band?

Definitely releasing the single. Last year we were going through old boxes and I discovered my collection of old (some limited edition) LP’s. I asked my sons to get on the computer to find out how much they were worth out of curiosity. Turned out our record was the most valuable and rare, go figure?

++ Thanks so much Del for everything, anything else you’d like to add?

I’ve attached a photo of the band from left to right Simon, Mike, me and John.

I’ve also attached a copy of the cover of the Vox Nouveaux compilation LP. I’ve attached a recording of ‘Colour Field’ hope you enjoy.

Its been great to reminisce and I really appreciate your interest.

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Listen
Mexico Red – Colour Field

Thanks so much to Stuart Williams for the interview! Some time ago I wrote a small piece about this Kent band and Stuart was kind enough to get in touch and shed some light about his band. The Lemon Sleepers released the one 7″ back in the early nineties and included in it was the fab A side, “The World’s Too Loud”. If you have never heard about them before, well, it’s time for you to discover them!

++ Hi Stuart! Thanks so much for being up for an interview! You were telling me that you have been playing together for 23 years now?!  And that you just call it a day last April? How come?

We are not quite ready to call it a day just yet, out guitarist decided he didn’t want to carry on playing anymore. We are currently rehearsing with a new guitarist so we will see how that develops.

++ But in these time you’ve changed the name of the band, right? I mean, there’s no information of a contemporary Lemon Sleepers band online!

Although up until recently the band line up had not changed in all this time, the name has had several changes. Following the The Lemon Sleepers we went under the names ‘Swell’ and for a short time ‘Hannah Park’ and for a while now ‘The Very Wonderful Long Teddies’. Don’t ask where that one came from!

++ So will you continue or not playing? What do you think will happen?

As I said earlier, we are not ready to give it up yet so we will continue one way or another.

++ You also told me that “The World’s Too Loud” was the only vinyl you ever released but that you had put out a couple of CDs. Care telling me a bit about these CDs?

These were just self made CD’s that we would sale or mostly give away at gigs. From memory one was titled ‘Ulibang Molash’ which contained three tracks and others were just compilations of various tracks.

++ And last but not least on your comment you linked me to a promo video for the A side of the 7″, for “The World’s Too Loud“. How did this video come about? And what do you remember from the filming session?

We used to gig at a college in Canterbury, Kent where they did media studies courses and we managed to convince the students to use us as part of their course work. They filmed us at a studio on site just playing a set of songs and then the video sort of came out of that. The concept was our idea where the van which we used to carry the gear around in was a nightclub. It was fun to make and they did a pretty good job with the resources and experience they had. It’s certainly something to look back on with fond memories.

++ Let’s go back in time Stuart, were The Lemon Sleepers your first band?

Yes, mine and the guitarists. The drummer, bassist and keyboard player had been playing together for about 7 years already and the bassist and keyboard player (brothers) a further 6 years before that, so a long history. I knew the guys previous to joining and had been jamming with the guitarist. When the two existing members left, we just kind of slotted into the vacancies.

++ And how did it start? How did you all knew each other? how was the recruiting process?

Think I kind of answered that in the last question. However to elaborate, I new the band before I joined, at that time they were called ‘Rupert and the Jumpers’ and I used to be their sound engineer. At that time the guitarist and I were looking to form a band, then the news came that the ‘Jumpers’ singing and guitarist had quit the band. I initially offered myself up for the singing vacancy and went to a few rehearsals. Then the guitarist came along and it all went from there.

++ What kind of music were you listening at the time? Who would you call as influences?

We all listen to a varied type of music, our main influences are the likes of House of Love, Teardrop Explodes, Talk Talk, Simple Minds, U2…etc

++ Where does the name of the band come from?

I’m not really sure, our bassist tends to come up with most of the band names and then books us on a gig under that name, then they just tended to stick. We have always let the music speak for it’s self rather than the name.

++ The credits for the songs on the label are for A. and G. Holliday. How did the creative process in the band work?

It tended to be someone would come up with a riff or hook line and the song would be built round that. The lyrics would then be written around the track. In recent years we have been doing more covers and not writing as much as we used to.

++ As we were saying earlier, there was only one 7″ released. It was self-released, right? How was that experience of promoting and selling a record?

Difficult really, we had the single in local record shops, but most of it was promoting at gigs.

++ The record included two fantastic songs, “The World’s Too Loud” and “International Smile”. Care telling me a bit about each of the songs?

‘The World’s Too Loud’ is basically a love song, its about being able to shut the world and all its noise out when there is just you and your loved one. ‘International Smile’ is about everyone just getting on and being one big happy world….yeah!

++ And what about the design of the sleeve? Who was in charge of that?

That was actually my father who was in the print trade and is quite artistic.

++ Tell me a bit about where you were based in Kent. Were there any other like-minded bands? What were the places or venues that you’d hang out more often?

We are mainly based in Maidstone and Faversham. In the 90’s there were a lot of bands around who all kind of knew each other and often played in the same venues. These would be clubs and pubs in the local towns which have unfortunately disappeared over the years.

++ Has it changed much to this day?

The only places to really play these days is pubs and these more often than not want covers bands.

++ Tell me about gigs. Did you play many? What were your favourites and why?

We used to do a lot more than we do these days, on average we did 30 -40 gigs a year. We always try mainly to have a good time which I think spills over to the crowd and makes the evening more entertaining. Definite favourites would be supporting Kula Shaker on their university tour and headlining at the Maidstone River Festival in 2011 where we have played every year for the past 15 years.

++ And looking back in time, in the long career of The Lemon Sleepers under a name or another, what would you say was the biggest highlight as a band?

Lasting as long as we have really and as mentioned previously the Headline slot at the River Festival, where we play on a floating stage moored to the river bank.

++ Aside from music, do you happen to have any other hobbies?

I have always been interested in music production, recording and mixing the demos for us and for other bands.

++ The only place I’ve ever visited in Kent is Canterbury. What are other places in Kent that you’d recommend one visiting?

There are plenty of places to visit, Faversham is an old market town which has the oldest brewery actually in the town and numerous pubs to sample the local ales. Then there is Leeds Castle outside of Maidstone which is a real piece of English history. We are only about an hour on the train away from central London, so you can visit there and then return to the calm of the Kent countryside.

++ And one last question, how do you see England performing in this World Cup?

Sorry, by the time I answered these questions we were already out. Thought we would have got through the group stages but not much further.

++ Thanks again Stuart! Anything else you’d like to add?

Just thanks for including us on you website and your interest in our music. I will email you some more tracks and hopefully people will like these too. Many thanks form all the guys.

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Listen
The Lemon Sleepers – The World’s Too Loud

Thanks so much to Sumire for being up for this interview! Sumire runs the lovely Violet and Claire store that stocks and supports many indiepop labels. Also she is now part of an indiepop band Black Tulips, has released records under her own label, and she has been writing liner notes and books about indiepop. A true indiepop activist of these days!

++ Hi Sumire! How are you? Thanks for being up for this interview. It’s been a long time since I saw you, might have been Indietracks and NYC Popfest the last times. How do you remember your adventures attending international festivals? What was the best of it?

I’ve been to Indietracks 3 times and I really loved atmosphere of festival. But I prefer NYC Popfest ’cause I grew up in city and love to walk around Brooklyn with my good friends and see gigs. It’s not Brooklyn but I love Cake Shop is the best venue all the time. It was the best moment to see Veronica Falls in NYC Popfest 2010.

++ And how come there are no indiepop festivals in Japan? Do you think it will happen soon?

I’m always wishing to have indiepop fest in Japan! I think we have to have more Japanese indiepop bands here. When more young bands coming out it can be happen.

++ You run the Violet and Claire store were you sell a wide array of things. You carry clothes, books, magazines, music, and much more. Tell me a bit how the store started and who curates what’s been sold at the store?

After graduating university (I had studied English literature there) and work for my dad’s urban development company, but I thought it wasn’t challenging job.
At the same time, Toshiko from Apple Crumble Records ask me to have my shop (She wanted to close her shop),One year later, I quit my job and started my own shop. When I was working at record shop, there’s chance to visit London many times, It was the time of “Twee As Fuck”, I love London girls who have very good taste of music,books and clothes and I wanted to make Japanese Girls like that.

++ And where does the name of the store come from?

I’ve lived in LA when I was 6 to 10 years old, My dad had transfer abroad with my family so. I was obsessed by Young Adult Novel such as Weetzie Bat Books, These novel was written by Francesca Lia Block. “Violet And Claire” is one of her great work. I always ask by people about Violet come from my name Sumire (Japanese Violet) but it doesn’t relate at all.

++ You don’t also carry other people’s products but you also do your own, from brooches to tote bags and everything in between. Who takes care of the design and production of these?

Some of them by me but others by Eleonora Marton, She is wife of Neil Kidgell, Both are very great designer and work for Young And Lost Club’s design too.

++ Through your store you support indiepop, your favourite kind of music. Do you think then that indiepop can be successful at being sold in stores as physical records? Everyone is so pessimistic about this!

I think it’s YES, the situation of physical records sales getting better now. more girls buying records recently. I’m not sure for boys! boys are always buying records so.

++ Talking about indiepop, when did you get into it? And what are some of your favourite bands?

I was big fan of British Rock when I was small because my mom loves them. She loves Style Council all the time! When I was junior high school student, I love more psych 60’s garage,mod music more than indiepop but when I collect of vinyls 80’s music seemed more interesting for me. Obscure/DIY music isn’t under-control and sounds very free.

My favorite bands is so difficult to choose! Glo-Worm, New Colours, The Times, Orange Juice,Veronica Falls, The Pains, Blanche Hudson Weekend, Sea Lions, Belle and Sebastian, Dolly Mixture, Anthony Adverse, The Pastels, The Beach Boys, Pink Floyd,The Divine Comedy, Pale Fountains,Dislocation Dance… much more!

++ You’ve released some records too. Tell me a bit about the ones you’ve put out and if you have any plans for the future.

I am talking with Nick to release Catwalk material as vinyls and CD album. Catwalk is one of my favorite band but it takes time to finish songs…so have to be patient for his response.

++ Nowadays you are also even in a band called Black Tulips. When are you putting out a record?! Who are the members in the band? And where can one listen to your music?

We finish recorded so now we are at pressing record, Nana (from Twinkle Twinkles), Ai and Riko (illustrator). Nana lives in Australia for a year now. There is 8 original song and we do Monochrome Set cover (because of my El taste!) not proper record songs not on-line but hope it’s soon! http://theblacktulips.tumblr.com/

++ Is this your first time playing in a band by the way?

I was in band when I was in junior high but I quit playing for long time, I was in Girls Pancakes and did few gigs with Sea Lions.

++ You seem to do so many things, a true indiepop activist. Another facet of yours is writing liner notes for Japanese edition of various indiepop records. How did this happen for the first time? And how do you like doing this? Do you consider yourself a good writer?

I really hope to be good writer, I cannot define by myself but I always love to read Japanese edition liner notes, and wish to be kinda journalist for music. Started working indie record store when I was 17years old, Owner of record store gave me chance to write, and I felt this is what I was waiting for. Now there are many male music writer but not many female. I love Chickfactor and wish to be like them!

++ And talking about writing, there’s been two books that you’ve contributed too the Indie Pop Lesson book and the 80s Guitar Pop Guide. For those who don’t know these two fantastic books can you explain a bit about them and where to get them? Also, any plans for more guitar pop books in the way?!

80’s Guitar Pop Guide was released when I was 16 years old and getting involved these music scene is my dream! It’s ultimate guide, featuring very obscure records from 80’s! Indie pop lesson, I hope more young girls to know great world of indie pop. There so many girl who has good sense of fashion but not music! Also It has been more than 10years from 80’s Guitar Pop Guide so I think we need to have kinda guide book for Guitarpop / Indiepop music.

Now I’m working on other book of music, it feats 18 female musician mainly from 80’s indiepop scene, Also I’m thinking to make 2nd of Indiepop Lesson in 2015! excited!

++ Let’s talk about Japan. It seems a good bunch of new indiepop bands have appeared in Japan in the past two years or so! Why do you think this has happened? And which would you recommend?

I think people get bored commercial rock music and have to move onto more independent music. There is small guitar pop scene in japan all the time, but I think they are too shy to spread their scene to others. I love Ykiki Beat / Jesus Weekend, they are young and very good taste (of music and fashion!)

++ And from the past what are your favourite Japanese indiepop bands?

I love TRANS ALPHABET and Satoru Ono’s 2nd Album He used be in Tenniscoats as guitarist. (http://satoruono.bandcamp.com/track/clown-song) and Citrus. I was not big Flipper’s Guitar fan.

++ Let’s talk about your city, Tokyo. Are you originally from there? And what are the best places to hang out for an indie kid in town? And if you want to go check some sights, what are the ones you’d recommend?

Now I move to Kyoto, but I go back to Tokyo, once/twice a month (It takes 2 and half hours by express train). I am originally from center of Tokyo,so very city girl I think! Shibuya is too messy to walk around but near by big Yoyogi-Park is nice to chill out. beside of park there is my most favorite coffee spot called “Little Nap Tokyo” also “EST” is my favorite Ping-Pong place! Kaoru from Comet Gain she loves to play Ping-Pong there too. Hi-Fi record store is not indiepop but it’s nice selection, in nighttime, I recommend to visit bar “Beat Cafe” I organized Veronica Falls DJ party and people there really love music.

++ Also what about Japanese food in Tokyo? What are your favourite restaurants?

That’s tough question, I love Sushi so Sushi-Stand is good to eat. I love to have dinner/lunch at cafe “Newport”, nice wine and foods also every Saturday night there is DJ and select tunes. Good food with good music sounds perfect.

++ And is there any Japanese beer you like?

I love beer but my favorite drink is Japanese whiskey “KAKU”. Kip from The Pains, he really love to drink “Chu-Hai” It’s nice but really easy to drunk…!

++ I guess you don’t have much time with everything you do, but I was wondering if aside the store, the band, the writing, and music, do you happen to have any other hobbies?

I love to run everyday. Listening to radio via iphone and think nothing just running. When I start working I’ll be very indoor person, so I need to move to refresh!

++ You once made a Cloudberry Cookie. That made me very happy! I still haven’t eaten it, can you believe? Can I ask you what’s your favourite Cloudberry release? And why?

I wish to make again! but it’s not safe to eat!!!!please DON’T eat! lol
The Parallelograms (I love song “Papageno” very cute melody!) and The Tartans (I love bands from “YAY” label and this is very crafty melody!)

++ Thanks again so much Sumire! Anything else you’d like to add?

Thank u for getting involved your blog! I’m big fan of this so very happy to be interviewed! I hope to see you soon in Japan or somewhere pretty soon!

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Listen
Satoru Ono – Ocean Song

Thanks so much to Olli and Ingo for this interview! A long time ago I wrote a small piece about this fantastic German band who released only one 12″ single back in the 80s. Soon afterwards they changed their name to Moscopeboys and continued promoting this record that included the absolutely great song “Machinery”. Strangely enough the song is a bit obscure, but it deserves to be more known! So Olli and Ingo were kind enough to reply a bunch of my questions and tell the story of Second View! Also don’t miss the unreleased song they’ve shared!

++ Wow! Hello Olli and Ingo, thanks so much for being up for this interview. I really love the songs by Second View. But tell me, are you still making any music? When was the last time you picked up an instrument?

To be honest, yesterday evening at our first meeting after a long time. We listened to some Second View demos in Ingo´s studio, played along the tunes, watched old band pictures and newspaper articles. Recently Ingo is more into electronic music production and Olli still plays the guitar in some bands, but it´s not so much the alternative thing.

++ How is Eschershausen and the Lower Saxony, the area you used to be based, these days? Has it changed much? Were there any other like-minded bands to Second View?

Basically it´s still like it used to be: a bit remote, a bit old fashioned and traditional but embedded in an incredibly nice piece of nature – very soothing! Still a place to come back an relax. We don´t really remember like-minded bands. Of course there were and still are local bands, but they are more into rock music.

++ Was Second View your first experience in a band?

Olli started in a kind of a school band together with Andreas, Martin and Martin’s brother in 1980. Ingo was a most wanted keyboard player because he owned a synthesizer, very rare at that time!

++ And how did the band start? How did you all knew each other?

The two of us met at school and decided to found Second View together with Andreas and Martin. Martin and Olli had been friends since early childhood and Andreas was a neighbour and the first New Wave-affected guy in town, really cool. In other words, it really was that typical „We are friends, we like New Wave music and we’re gonna found a band“.

++ What were you listening at that time? What were the influences of Second View?

On the one hand there were more the guitar-based bands such as The Smiths, Lloyd Cole, The Chameleons etc., on the other hand there were the electronic bands like Human League, OMD, Kraftwerk, DAF and the early Depeche Mode things. Andreas was more into New Order, Joy Division and Japan.

++ Where does the name Second View comes from?

Honestly we cannot recall exactly…, Ingo and Olli gave that name to the band… Ingo still remembers the message behind was that our music was always worth being regarded twice… funny enough that this „second view“ now happens after nearly 30 years.

++ You released only one 12″ and it’s brilliant. I was wondering if you could tell me the story behind these two songs?

We really appreciate your compliment! In terms of lyrics, one should better ask Andreas, but we think both texts are very close to his attitude towards life at that time. One should not forget, it was the No Future generation and he was the only smalltown punk). In addition, Andreas often felt isolated, led a kind of a withdrawn life and spent much time alone writing songs. Therefore, the gloomy atmosphere af the two lyrics reflects much of his life at that time. Talking about the music, the two of us developed and arranged the songs based on Andreas´ first ideas on tape.

++ The record was self-released on your own label View Records, right? I’m curious why did you go this way and also about the very strange numbers for your catalog number F 669.602?

We founded our own label and released the single by ourselves because there was no label within the next 200 miles who was interested in that kind of music. So we did all the work, which was tough but interesting. The catalogue number was set by EMI, where the records were manufactured. It´s just a prduction number and never appeared elsewhere.

++ Then you found a manager who asked you to change names. I wanna hear who was the manager and how did your relationship start?

Ingo went to university in Münster, where he got to know the Axels Seitz of the Fun Factory label. He liked the record but didn´t liked the name.

++ You changed the name to Moscopeboys. Where does this name comes from?

A dictionary. We were under time pressure and had to decide quickly. So Olli scrolled through an English dictionary, Ingo said stop and there it was: the word „moscope“. Having laughed about the other 20 words before, this was best match.

++ You were telling me a very curious story. The remaining copies of the Second View that you had in stock were then placed in Moscopeboys jackets. So it’s really the same record all in all. Who made this decision? And looking back was it good or a bad idea to change names? Did you lose any following?

Yes, that´s all true. Axel convinced us to make that step and make the whole thing more professional and possibly profitable. Looking back we regret that decision. If we ever publish any other material on youtube etc., we will definitely use the old name.

++ And was Fun Factory, the label that ‘released’ the Moscopeboys 12″, ran by you guys as well?

No, not at all. It was just a deal.

++ You used to drive for hours to find good record stores. So I wonder, what record is your most priced possession? And what kind of car did you drive back in those days?

Olli drove an old Renault R5 and Ingo had a Datsun Cherry. There was really good record store in Hanover where we bought our records. Another good opportunity was mail order from Britain. We are not quite sure about the records but we bought some incredibly expensive bootlegs of The Smiths.

++ Tell me about gigs. Did you play many concerts? Which were your favourites and why?

We played some 15 local shows before we recorded Machinery. After having the management we played around10 concerts in the west and the north of Germany. Ollis favourite concert was a show in Osnabrück because the sound was good, there were more than 1000 people and a fantastic atmosphere. Among the fans there was a very nice group of young people from England who met us after the show in the backstage area. Ingo agrees to my choice but would like to add that there was another big and exciting festival in Münster together with Element of Crime, a band that is still very successful here in Germany.

++ And how was the creative process for you guys? How did songs shape up? Also, was there any thoughts about making songs in German?

Actually we started in German and then changed into English. Usually the two of us came together and one of us brought a new idea. Then we worked on the new song, changed things, added things, so, the usual process until we were satisfied with the result. Then we gave it to Andreas for the lyrics, if he had not already been with us thinking about a text while we were working on the song.

++ During the lifetime of Second View there were some lineup changes. Who left and who came in, and why?

In 1987, Thorsten joined the band to play the second guitar and to do the back vocals during live shows.
Martin left the band in 1988 due to his career as a mechanic. For a short time Fred Lemke from Hamelin joined us and played the drums during the studio sessions for the longplayer. But we never performed together on stage.

++ Then in 1987, in Leverkusen while recording, the band split up. Why did this happen? And did the band left many unreleased songs that never got released?

We recorded in Leverkusen at the Bayer Studio. The company supported newcomers and let them record at their excellently equipped studio for a fair price. The problem was that we only had time to be there at the weekends. It was always difficult to find dates fitting for all people involved. At that time Olli and Ingo recognized that in this difficult situation Andreas was more interested in other things than in the band. After a few months in which we had been trying to save the project we decided to split up. We could replace the drummer but we did not have any clue to replace the singer and the writer of the lyrics.

++ After splitting, some years later, you started Ultramarin. How would you describe the music of this new project of yours and how different would you say it was from Second View/Moscopeboys?

Olli needed some two years to recover from all the frustration that the Second View thing brought with it. Then, in 1991, he asked Thorsten to perform some songs in a kind of a duet. A year later, after having written some new songs with German lyrics, Ingo joined Ultramarin. But Ultramarin has always been more a project than a band. We invited many musicians to do recording sessions with us and it took over five years before we could master and release the CD. Ultramarin only played two live shows with guest musicians. It differs from the Second View sound because the songs are in German, it is more a soothing, acoustic music with many instruments that are not typical of an alternative band (i.e. trumpet, cello, flute). And, it is a different singer.

++ You released one CD with Ultramarin but you say you don’t plan to release anything else with them. What’s the reasoning behind it?

It is just that we all live in different parts of the country and over the years it has become more difficult to meet and perform. We all have correct jobs, families and other pleasant things that keep you away from meeting.

++ So looking back, all these years making music, what would you say was your biggest highlight?

Indeed there are two: We still remember our car drive back from the studio in Detmold to our hometown listening to the first fully mastered tape of our record. It was a 60 minutes car drive and only the two songs were played again and again… great! The second highlight was Ingo’s phone call when he told me to switch on the radio and listen to Machinery.

++ And these days, aside from music, what other things do you guys enjoy doing? Any other hobbies?

It is still the music thing! Apart from that we enjoy spending time with our families.

++ I’ve visited Germany so many times but I’ve never been close to the area where you are based. I was wondering what’s the typical stuff there, what are the good beers, and the traditional dishes? And what about the sights? I’d love to visit some day!

If you ever come to South Lower Saxony you will recognize that apart from the beautiful landscape there are ancient and nice towns like Hamelin. In addition, there are some local breweries such as „Einbecker Bier“, which is well-known all over the country. Local food for example is deer.

++ Thanks so much for your answers! So great to have learned a bit more about your band. Anything else you’d like to add?

We are deeply thankful for all the interest you put into our music and the time you spend on this blog project.

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Listen
Second View – December Sky

Thanks so much to Javi for this fantastic interview! I know Javi for many years now, since he had the Lost and Found blog possibly around 2004! He was always rediscovering a bunch of obscure bands back then. Some years later up until these days I would always meet him at festivals, especially at Indietracks! A true indiepop fan! So it’s no surprise then that this year he has embarked in a project that I’m sure will bring him many surprises, that of a label. Few are as passionate about indiepop as him, and I’m sure you will agree after reading this interview. Also you’ll notice his great taste in music, as he is putting top-notch up and coming indiepop bands out on his label. So keep an eye on Pretty Olivia (follow them on Facebook too) as I think it’s going to have a great run in indiepop history!

++ Hi Javi! Please tell me how this new adventure started! When did you decide that it was time to put together a record label? What triggered it?

Hi Roque, it’s a pleasure to chat with you about our common passion.

There wasn’t an only reason, really, first of all I had just lost my job and for the first time in my life I had the opportunity of thinking about what I was going to do with my life. Also I needed to get involved in music in other way, returning part of what music has gave me.

As Paddy McAloon sings: “music is a princess, I’m just a nobody who’d gladly give his life for her majesty”

And last but not least, my wife’s support, without her Pretty Olivia Records wouldn’t exist.

++ Have the idea of having a record label being in your mind for a long time? Was it something you’ve always wanted to do?

I have to admit that: yes!!, this has been a dream for many years.

I always had the ambition to discover hidden treasures and show them to everyone. And pop music is full of treasures unknown to the public. We have to solve that injustice!

Many years ago I defined my life with this sentence: “Looking for The Go Betweens” (it’s still my profile in twitter hahaha). That sentence sums up my thoughts, nowadays everyone knows the Go-Betweens, but back in the day they were the most brilliant hidden treasure. I’m always looking for the Go Betweens, looking further from the obvious…

++ Where does the name of the label come from?

Olivia is my daughter; she is 3 years old now. This is like a legacy for her, not the label itself but the fact that you have to be involved in the things you love.

You have to take an active position to preserve everything you love. Society is forgetting this.

++ And what about the logo? Does it have a meaning?

Hahaha, yes, it’s like a joke. It’s inspired, of course, in the symbol of the masonry.

The masonry use this symbol but with the “G” of “God” (or “Gadu”, the universal architect). I use the “P” of “Pop”, like a logia or sect of Pop advocators or something like that, like putting “pop” in the middle of our life.

My friend Ana (the designer of the logo) always says (like a joke) that my way of thinking is quite close to masonry so we thought that it was a good idea to use it as the symbol of the label. I really like it.

++ So far you’ve put two records out. Let’s start by the first one: Loor a los Heroes. Who are they? How did you find them?

Loor a los Heroes are a fantastic young band from Wigan, UK.

They are amazing, they know how to jangle, they have that touch of British indiepop from the 80’s and they are also very strong songwriters. You can also hear some echoes of the northern soul in the rhythm section (logical, they are from Wigan). They have a lot of fantastic songs that deserve to be released someday.

Members are Flynn Murnan (singer, composer and rhytm guitars), Matthew Smith (Lead guitars), Joe Howard (Bass) and Chris McIntyre (drums).

I don’t remember how I discovered them, someone put a link to their soundcloud page and “White Village” was there. I cannot describe how much I love that song. It’s pure pop perfection. The kind of song that makes you begin with a record label.

++ And what about Vicente Prats?

Vicente is an incredibly talented guy from Valencia, Spain. He recorded the record at his home, playing every instrument back in 2008/2009. He has a great instinct for hooks and is a fantastic guitar player.

Everyone who loves bands like Teenage Fanclub, Big Star, Matthew Sweet or Cooper have to listen to this record, for me, in this style, is one of the best records ever made in Spanish language.

It’s quite close to sold out, and I cannot be happier with that.

He is going to play in the next International Pop Overthrow, in Liverpool, with his band (Startrip)!

++ Are there any other releases planned out?

Yes! I’m going to tell you something you will love (and every fan of the jangle side of indiepop too).

Our next record will be the definitive edition (in vinyl, of course) of the first songs by the Australian The Rainyard. For me it’s the jangliest record ever made. 15 hits only released in cassettes back in the 80s/90s (well, and one 7” in the incredible Summershine label), remastered for this occasion.

I think it’s a masterpiece, and can’t wait to release it!!

We are working hard in the artwork also, I hope to have everything ready soon.

I have more ideas in mind; Pretty Olivia is here to stay.

++ So far you’ve only released vinyl records, will that continue to be like that, or would you consider doing CDs as well?

You can never say never, but it’s not likely. Vinyl is by far my favorite format, and I know that this limits the public (it’s more expensive, more shipping costs, etc.), but I have to be loyal to the way I think about pop. I will die with my ideas, I’m too old for changing now.

++ This is probably still new to you, but so far what have been the most exciting things about running the label? and what about the most difficult ones?

The most exciting?

When you discover a great song and write to the author, the gratitude of the bands, the fans, seeing the bands gaining the reputation they deserve, each time someone thanks you for your work…

The most difficult ones?

Distribution, without a doubt. It’s frustrating not having access for distribution channels, contacts, etc. in different countries.

I’m also frustrated about shipping costs, they are killing the independent labels. It’s tragic.

++ Would you say there has been other labels that have influenced you music-wise or even aesthetically? If so, who?

There are a lot of them. I’m a big fan of the pre-Oasis Creation and all the big independent labels of the 80s: Factory, 4AD, Beggars Banquet, Rough Trade … at least until they tried to become multis. I also love Sarah, Postcard, Crepuscule, … all of them have been an inspiration in one way or another. Well, Flying Nun is of course a continuous inspiration.

Nowadays, I think Cloudberry holds the flame of a true independent spirit, you are very important for us Roque, this is a good place for saying it, my friend.

Let me also praise one new label from Spain, Tenorio Cotobade. I think they are quite similar to Pretty Olivia. They have released the 2 Ginnels albums (the new one is a masterpiece!!) and a fantastic Zebra Hunt single. Everyone should have a look at this label.

++ From bands in the past, if you could just dream, which bands would you have loved to sign to Pretty Olivia records? And any contemporary bands?

Well, you know my favorite all time band is The Go Betweens, but there are thousands I would love to have released: Prefab Sprout, Orange Juice, Pale Saints, any Flying Nun band,…

From now, the Felt Tips, Ginnels, High Hazels, Trick Mammoth, the Lottery Winners,… there are hundreds of bands I love and I would be happy to release their records.

++ Your releases are limited to 300 copies with download codes and have really cool artwork on the jackets. On top of that the music is ace. But, where can people buy the records?

Our webpage is: prettyolivia.bigcartel.com

We sell worldwide, of course.

In Spain the releases are available in some good physical shops, and you can find our records in Rough Trade London (not sure in Brooklyn, will check it).

Jigsaw also has our records (a good chance for saving costs, they have thousands of fantastic records).

++ Is there any pros in being based in Alicante, Spain? Are there any good bands or good venues where bands come and play?

I think the only “pro” of being based in Alicante is the weather. Well, it’s also a very well connected city because of the tourism. The Alicante airport is also one of the few that flies to East Midlands, and that’s great for Indietracks Festival hahaha.

There’s only one Alicante pop band that really deserves attention: Oh, Libia!

They made psychedelic pop with 60s influences, and with fantastic songs. Even Douglas T.Stewart likes them!

No one is interested in indiepop here, but fortunately there are some power pop concerts, and we have Naranja y Negro which is one of the best record stores in Spain.

++ And what about the Spanish scene? Seems there are less and less labels and bands compared to say 10 years ago. What do you think happened?

Well, that’s not an easy question to answer.

I think there are still loads of bands and labels but there’s a lot less interest in indiepop. It’s true that 10 years ago, when tontipop exploded on the scene (the equivalent of twee pop in Spain), naïve, innocent pop became very popular. This new scene joined bands from a few years earlier (Fresones Rebeldes, TCR, La Buena Vida, Le Mans, etc.) and for while pop was everywhere.

To be honest, I think it died off because there was just too much. We can’t compare the records put out by Los Fresones, La Buena Vida or Family with the more recent tontipop bands (I’m not going to give any names because I respect those who try).

I don’t know if people have turned to garage or noise as a reaction against all that and have forgotten about writing good songs, when a harder sound shouldn’t mean you can’t write good songs.

That’s kind of what I feel about the Spanish scene: there are lots of interesting stuff out there but not many really good songs.

Then there’s Elefant, that’s a different case. Elefant has played a decisive role in the evolution of indiepop in Spain. For years they’ve been leading the way for many people and, to be honest, now I’m not at all sure what the right direction is now.

Siesta has also got lost along the way too; it used to be an essential label and now it’s disappeared in combat.

But not everything’s negative, not by a long way, apart from Tenorio Cotobade who I mentioned to you earlier; there are Spanish labels that are fighting to release interesting projects.

I don’t want to leave anyone out but here’s a list: Discos de Kirlian (look out for the fantastic Puzzles y Dragones or Fred I son and Coach Station Reunion, among others), Discos de Paseo, Ayo Silver! (not very pop oriented but produces some of the most interesting records at the moment), Jabalina (fighting on the pop battle lines for many years), Catalan indie groups such as Univers, who are wonderful, Gramaciones Grabofónicas,… Lots of small labels with plenty of enthusiasm, something good is bound to come out of all that, definitely!

++ And talking about Alicante, just for the sake of it, what’s the best the town has to offer? What’s their traditional food?

As I said before the best thing in Alicante is the weather. Also the beaches and the food are great. It’s not a beautiful city (apart from the castle and the beaches), nothing relevant from the cultural side and is the hometown of the most corrupt and stupid politicians you can imagine (and Spain has a lot of them).

The food is really great. The Mediterranean Sea is generous with this land and the seafood is incredible. The most typical food is the rice, in thousands of varieties and combinations. You really have to taste it to know how great it can be.

++ Just out of curiosity, do you play any instruments? Have you ever had a band?

No! It’s a permanent frustration for me, but I haven’t any talent at all. My voice is not melodic also hahaha.

++ And what about your record collection? An estimate of the number of records? Most prized items in it?

Well, my record collection is quite big now, more or less 4.600 records (in any format). Sometimes I think I’m mad, but sometimes I think that I’m not mad because of my record collection haha.

I think that my most prized items are 12” from the golden age of indiepop (obscure bands from the 80s): Apple Boutique, Clamheads, Potting Sheds, Boy Hairdressers, Red Harvest,… that kind of bands. I’m not obsessed with it, I have records because I love them, not thinking in the prize or economic value of them.

++ Javi, back in the day you had a fantastic blog, that’s how I met you! I think I discovered so many obscure bands through you. Why did you stop? And have you ever thought of bringing it back?

I really don’t remember the reasons why I left the blog.

It’s a shame because it even was useful for bringing together members of bands that haven’t seen each other for years.

And of course it was great for knowing people like you.

I’m thinking about it, maybe a new blog as part of the label page, maybe a podcast…

++ I also know that you are one of the biggest Go-Betweens fans I know, so let me ask you, Grant McLennan or Robert Forster? And what about your favourite album? and favourite song?

Grant or Robert, Robert or Grant. That’s like “who you prefer, mum or dad?”

Both are my favourite all-time artists, my life would be completely different without their songs, they had made a big impact in my education, I really feel that.

Maybe I prefer the Grant songs in the Go-Betweens, but the solo career of Robert is stronger, specially “Danger in the past” and “The Evangelist” which are as great as The Go-Betweens albums.

My favourite albums? Not sure, but “Liberty Belle” and “16 lovers lane” are really special for me.

And songs? Really difficult question, I change it every day. OK, today: “That way”.

++ On top of that you are always at indiepop festivals, it’s always great to see you at Indietracks drinking beers, front row of the legendary bands! So far which has been the best Indietracks you’ve attended? And will you be coming back this year? What would you say is that thing that makes this festival special, like no other?

Indietracks is “my” festival: fantastic music, superb location, gentle people from every part of the world, record shopping, the best beers, hundreds of friends,…

I think the 2009 edition is unbeatable, I will never forget that festival. Teenage Fanclub in the rain, singing “Baby Lee” for the first time… I’m sure that Elefant Records hosting the main stage was very important for the quality of the festival.

And now the difficult question… No, I’m not going again this year. I’m a bit disappointed with the line-up. For people outside UK it’s really expensive to go there and if we don’t like most of the bands that play the decision is clear.

I will come back next years, but not this one. I will miss it, anyway.

++ Do tell, do you see yourself doing the label still for another five years? or ten? Do you think we’ll be overtaken by digital releases at some point?

Yes, at least that’s my intention. I don’t know If I will release 2 or 20 records a year, but Pretty Olivia is here to stay.

I’ve just read that the main vinyl factory in USA cannot afford the demand… Vinyl is back, and it’s complimentary to the digital releases, I think.

I have doubts about the CD, no one seems to want them anymore. They will return in 20 years hahahaha

++ Let’s start wrapping the interview Javi, but what about merch? Are there any plans for that?

I have no plans for merch in the short term, but I will love to make t-shirts.

++ And one last question, aside from listening, collecting and now releasing music, what other hobbies do you enjoy doing in your spare time?

Well, I’m a family man now, and nothing is more joyful for me than sparing my time with my wife and daughter. I also play basketball and soccer every week. And well, I love everything related to food, go to new restaurants, cooking,…

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Listen
Loor a los Heroes – White Village

Thanks so much to John McElwee for the interview! Just a couple of weeks ago I wrote a small piece about the Subtonics on the blog and happily Paul Comaskey got me in touch with John, the driving force of the band as he called him. John has been kind enough to answer a bunch of my questions and in that way tell the story of this great band from the late 80s that released a classic 7″ with the songs “Take it Easy Florence” and “Nothing to Lose”. If you are not familiar with them, well, this is a good time to discover them!

++ Hi John! Thanks so much for the interview! How are you doing?

Very well thank you!

++ When was the last time you picked up your guitar?

A few days ago.

++ Are you still recording and performing?

Yes. I’ve never stopped performing, mostly with others in “The Sound of Spaghetti Junction” and “The Kings of Spain”, but also solo. I hadn’t recorded anything for 10 years until 3 weeks ago. I treated myself to 5 hours in a studio and recorded 10 songs. All live single takes with secondary parts added to a few.

++ I always wondered what sort of music were you listening at the time of the Subtonics, I guess a pretty eclectic mix?

Yes. My first love is Soul and Reggae. That’s what I heard/danced to at the local youth club when I was 12. Around the mid to late eighties I suppose it would’ve been The Smiths, Prefab Sprout, REM but I’d also started listening to Jazz. We used to play a few bars of Coltrane’s “Love supreme” and segue into Van Morrison’s “The Way Young Lovers Do” in our live set. The people who I own most music by and who I’ve listened to all my adult life are Sly & the Family Stone (I got the idea of using fiddle from his album “Small talk”) and Tom Waits – though I’m starting to build up a collection of Sun Ra at the moment.

++ How did you all meet and how did the Subtonics start as a band?

Paul Kelly I met by advertising for a bassist.

Melanie was singing in a play that I was in.

Paul Comaskey and I went to the same youth club and had lots of mutual friends but we didn’t become good friends until a few years later.

Aiden and I met aged 5. We went to school together. I lost contact when we changed schools at 11 but met him again through music years later. Aiden was a member of The Ian Campbell Folk Group and was a songwriter and performer in his own right. The Dubliners recorded one of his songs, “Dublin You’re Breaking My Heart”. I heard them play it last year at a festival in Moseley (where I live). They may not have known that Aiden had written the song within a few hundred metres of the gig. It was very poignant. https://www.youtube.com/watch?v=wBTX69uzLCk

Nick Smith – I can’t quite remember how we met but I think it was via Paul C. The last time I saw Nick was at ‘The Mean Fiddler” in London. He turned up in the dressing room at a Kings of Spain gig. I’ve just googled him: http://www.starnow.com/nicksmithsax

 ++ Have you been in bands previously?

Yes. I had a band called “The Truth Eggs” with Steve Sparks and Simon Colley (ex Duran Duran). We nearly got signed by virgin with our first demo. We only did a few gigs. Then Simon got signed to Virgin with another band and Steve moved to Austin Texas.

++ And where does the name of the band comes from?

The dictionary. We just looked for a musical term.

++ How was Erdington? Do you still live in the area? What were the places/venues you used to hang out the most?

Erdington was a very ordinary, mostly working class, suburb. It’s only claim to fame is that it had a club called “Mothers” but that was before my time.

http://en.wikipedia.org/wiki/Mothers_(music_venue)

Now, it’s quite an economically and socially deprived area with high unemployment and associated problems. I still have friends there and go to one of my old haunts, “The New Inns” to meet up/watch football. I moved across the city to Moseley in 1990.

++ Were there any like-minded bands in town during that period that you liked and followed?

Like minded? No. When we started out we did a few gigs with ”The Nervous Kind”. They were very 60’s orientated. I loved their shows. Paul C was their drummer. We also did gigs with “Sons of Shane” from Stafford. Again, they were 60’s influenced. They were good fun live. Deryck from the band is still a friend and played keys on some Subtonics recordings. They made one 7”, “Fly”. I suggested we join forces and create one label but they declined.

++ Tell me about your gigs. Did you play many? What were some of your favourites and why?

We played a lot of gigs. I probably enjoyed them all. I tend to remember odd moments rather than whole shows. Such as the time we played the “Tower Ballroom”. It had a revolving stage. We got on the stage and waited while it slowly turned us around to the audience. We started the first song and within seconds Paul K broke a bass string. At the end of the song they set the stage turning and off we went so he could replace the string. Then they turned it on again to send us back to the audience. It was ridiculous.

We had 2 companies coming to see us at “Dingwalls”, London. After sound-check we had a few hours to kill. It was a Sunday and the local cafes were closed. We went to a pub to eat but they weren’t serving food. I hadn’t eaten all day. I had 3 pints of “real ale”. I didn’t realise how strong it was until I left the pub and hit the air. On stage, I was slurring when I spoke between songs. Andy Ross, from Food records, told Annie that when we played the first song he thought, “wow”, but that when I spoke it was clear that I was drunk. He said if I was drinking at that point in my career he wouldn’t touch us. He said if Annie could guarantee I didn’t have a drink problem he would see us again, sober. He didn’t. He signed Blur.

++ I read you were in Austin, Texas, and then you were deported. What’s this story about? Did you play and tour a lot in the US?

It’s mostly lies I’m afraid. I had been in Austin and a number of my friends had moved there. Paul C was in the process of moving to the US to join his brother but Paul was refused entrance at immigration and sent back. It took him a year to get things sorted out so he could move to the US and during that year he was a Subtonic. I did get to play shows in California with “The Kings of Spain” but as I couldn’t afford to take the band I hooked up with Paul C and Simon Colley and they became Kings of Spain for a short while.

++ And also is it true the story of Richard V. Frank that he funded the record? How did that happen? How did you meet him?

I met Dick aged 3. We also went to school together from 5 to 17. We’re still friends. Dick had helped “The Truth Eggs”, he got Virgin interested and he got “Rough Trade” to sell our first tape, he even designed our artwork. When Truth Eggs finished he came to see me for a chat and as he left he gave me an envelope with a cheque for £100 (a lot of money to me then) to make some more music. I was moved but as I didn’t have a band I didn’t feel I could use it. When Subtonics decided to release a single, we needed money for manufacturing. I asked Dick and he agreed to put about 33% up (I think?). Annie Healy put in about the same and I paid the rest. I’m forever grateful to Dick and Annie.

 ++ You, as far as I know, released one 7″, the one with “Take it Easy Florence”. Would you mind telling the story behind both songs on the single?

Florence is based on the idea of an obsessive character (Florence) whose love was unrequited. She tracks the other person down years later. Now she looks and seems different and succeeds in gaining the other persons love.

Nothing to lose – I can’t exactly remember, I know that the “troubles” in Northern Ireland and colonialism were in my thoughts. The key to the song was/is “The sun will shine tomorrow”, an empirical truth.

++ And are there any more recordings by the Subtonics?

Yes. We did a 6 track cassette release prior to the single. It got us some radio plays and record company interest. Paul C sent me a CD copy of it a few years ago but the quality is not very good. I could search my loft for a cassette if you’re interested? There are live recordings on cassette also – again, somewhere in the loft. I’ve not heard them for many years. I know there was one of Paul C’s last ever Subtonics gig and the drum riser collapsed during the set.

++ How come you didn’t record more records? Was there any interest from labels?

“Backs” distributed the single and Derek at Backs loved it. He wanted us to do more.

++ How do you remember the recording sessions for the single?

I think we did it in an evening. It cost £90. Aiden had never played that type of music. I’d given him a cassette of the song a week before but when I called to collect him he said he hadn’t listened to it. I think he worked his part out on the spot. He was always a bit disorganised in his life but once we got him to the studio he was totally focused. I don’t think Nick was happy with his part. I think we should have given him more time and encouragement. The rest of us had been playing the songs live, so we just knocked them out live, probably one take.

++ The record was released on Life of Man Records. Was that your own label? And how come the catalog was both 001 and 002?

Yes, my own label. Catalogue number? I didn’t know what I was doing.

++ And then what happened? When and why did you split?

We started to get some radio. Micky Bradley from “The Undertones” phoned me up to tell me how much he loved the record and that he was playing it on his radio show in Northern Ireland. I heard it a few times by chance which was nice. We got some good reviews also. We also got some bigger gigs. However, Paul C left for the US before we‘d received the copies of the record and we were using a session drummer for gigs. He was brilliant but he was charging us so much that he was taking every penny we earned. We’d been gigging for 3 years and had been able to cover our expenses and pay for any recordings. When Paul left it wasn’t the same.

++ After the band split, did you all continue making music?

Yes. I had a bit of break from gigging and wrote some new songs. Then I got Melanie to sing them. We became “The Sound of Spaghetti Junction”. We did loads of gigs as a duo and released one 10 song cassette (again, I may have a couple in the loft). We had lots of interest and were offered a deal by an off-shoot of Central TV. We turned it down on a lawyer’s advice. We had management and were making a little money. Then Melanie quit. She was attracting a lot of attention and getting a lot of offers to work with other people. Oddly, when we met up recently she told me she’s been going to open mic evenings and singing my songs.

I then started gigging solo and recoded a session for the BBC. I decided to record some songs with other musicians and found Richard Heath – drums, Mickey Harris – Bass (ex Lilac Time & Everything But The Girl) and Steve Shaw (aka Brennan) – violin (Ex Dexy’s Midnight Runners, Proclaimers and more). They loved the recording and wanted to gig. The Kings of Spain were born. We did a couple of BBC sessions and were regular headliners at the Mean Fiddler acoustic room. We were getting record company interest but nothing concrete. Then we had a party in my garden and we played a set and recorded it straight to DAT. It cost £10 to hire the machine. We got it pressed up on CD, the record companies ran a mile but the reviews were great, we got to do radio interviews and sessions and BBC TV came and filmed us in my garden. We released 2 more albums with changes in personel. A fourth was recorded but never released. Two of the mainstays of the last version of TKOS, Paul Keeves and Russell Poyner, now live in Germany so it’s become too difficult for them to continue. I have been to Germany a couple of times and played as TKOS with Russell. So now I’ve begun a new solo recording and who knows what will happen next?

Paul C and Nick you have links to.

Paul K is now a drummer in a covers band.

Aiden died tragically about 15 years ago but was active in music to the end.

++ Are you all still in touch?

With both Pauls and Melanie, yes. Haven’t seen Nick for about 15 years or more.

++ If you would have to pick the highlight of being in the Subtonics, what would you say that was?

I don’t know. All the memories are good; from travelling down to London and sleeping on floors to play scruffy half empty gigs to turning on the radio and thinking, that’s us!

++ And these days, aside from music, what takes most of your time? Do you have any other hobbies?

I have had a day Job for last 16 years. I teach people to speak English and I get to meet lots of interesting folks from all around the world.

++ I’ve never visited Birmingham or Erdington. Just out of curiosity, what’s the best it has to offer to a visitor?

Birmingham is a lot better now than it was during Subtonics’ days. It’s like a lot of cities, if you have a good guide who knows your tastes you’ll have a good time. It’s very multicultural. I think it has more parks and trees than any other European city and it has more canals than Venice!

++ Thanks so much John! Anything else you’d like to add?

Roque, I haven’t thought about this stuff for a long time. Once I started writing, the memories came flooding back and it’s been hard to stop! I hope you don’t mind all the detail. I’m sure you can edit it into something acceptable. Thanks for giving a reason to reminisce.

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Listen
Subtonics – Take it Easy Florence