Thanks soooooo much to Dennis Wheatley for this interview. The Doris Days is my favourite band that never got to release anything. They were so good! I had the chance to exchange a couple of emails a year ago or so with Hayley who was also in the band, you can read about it here. Now luckily I had the chance to talk with Dennis, who was the band’s leader, on this extensive interview. I hope their recordings resurface one day, for now be sure to check this bootleg of The Basement gig on Dave Driscoll’s blog. Enjoy!

++ Hi Dennis! Thanks so much for doing the interview! Who were The Doris Days? When did the band formed? How did you know each other?

The Doris Days were:
Dennis Wheatley- me – singing, guitars, drum machines and songs
Vanessa Norwood- singing
Nic Wilson- trumpet, cornet
Simon Forrest- cello
Ed Down- guitar
Hayley Morton- keyboards
Rachel Norwoood- guitar
The band essentially grew out of songs I was writing on a course in Brighton called Expressive Arts.This gave me access to a studio (which I’d literally take my sleeping bag into for the weekend) and so The Doris Days’ recordings were made before any notion of a band. It was just me layering stuff and eventually found Simon and Nic who played trumpet and cello which started to take the songs into a whole other space which was lovely.
Ness was my girlfriend, Rachel was her younger sister (so young in fact that I think she was barely 16 at the time).
I’d met Hayley through Ness and Ed. Well Ed he was the odd one out. He wasn’t living in Brighton (in fact his day job was repairing RAF fighter jets in Norfolk) he would travel down whenever he could, full of mad energy and enthusiasm (quite a lot of it in Hayleys direction it must be said!).
He was brother of Simon Down and co-owner of the Pink label (June Brides, Wolfhounds, etc, etc)
I’m struggling to remember how we met but I remember being at his house in East London playing some songs in a lofi way and ed saying that although he couldn’t really play the guitar yet he absolutely wanted to be in the band.
It was quite a diverse bunch of people to say the least, but there was a lot of good feeling and excitement about the whole thing.
I was always quite ambitious with what I thought the band would be capable of. My reference points at the time would have been Phil Spector and Trevor Horn. BIG production!.

++ Was this your first band? Were band members involved with any other pop bands before or after The Doris Days?

Not my first band really. They would be:

One Potato- me and Stephen Harris (later of “The Aurbisons”),

Flapp- me and Sandra/Fred (who was in “12 Cubic Feet”)

Solid Space- I joined up with Matthew and Dan and we played a few gigs wrote some songs and recorded a bit in Brighton.

One Potato – used the name again for a series of gigs (”One Potato One”, “One Potato Two” etc etc.. think we got up to six?). The nucleus of these nights were myself, Jane Fox (Marine Girls) and Olly Sagar (amazing singer songwriter who sadly not enough people have heard!). We’d sing songs like Lazy Ways (I got to sing that) and other songs by Olly and me. Looking back it was part cabaret/part gig. We used to charge £1.25 to get in, spend all the money on making things to give away on the night (one night everyone got a shoe box with a present in it given out by a fully costumed father christmas in the middle of summer). We’d get other people to play too. The only ones I can remember are Clive Pig and Virginia Astley. I’d show my holiday slides, we’d play the strangest music (Reg Barney, Hughie Green, all sorts of nonsense),

I stood on stage with “Grab Grab the Haddock” a few times playing out of time percussion too, does that count?

++ Why did you choose the name The Doris Days? Were you a fan of Doris Day at all?

No not a fan at all. My dad is a huge Doris Day fan though so I’m sure that had more than a little to do with it,constantly hearing her name, etc.I was pretty relieved to change the name eventually.

++ Were you indiepop kids? I mean, did you listen to indiepop back then? or maybe even today? What were your favourite bands then?

No, not really.
I’d embraced that scene quite a bit.. I’d been on tour with the June Brides and Shop Assistants doing their live sound mixing and loved the spirit of their time. Loved meeting up with people all over the country and writing loads of letters about nonsense! loved everyone throwing themselves around in small rooms above pubs.
My music tastes had always been pretty diverse. I loved Chic as much as I loved the new Bodines single.
Favourite bands of the time would have been The June Brides, biased of course because I saw them so much. The Television Personalities for their unpredictability swagger and poise! Durutti Column,Microdisney, The Wild Swans,Eyeless in Gaza, New Order, Nick Drake, Love, Felt, Josef K, Primal Scream (there formative year anyway!), The Go Betweens, The Cure, The Buzzcocks, McCarthy, Cabaret Voltaire, lots of stuff on Crepescule, Wim Mertens I’ll have to stop the list now but I used to go to sleep listening to Virginia Astley’s “From Gardens Where We Feel Secure” or Durutti Columns first album. I was also a sucker for electro pop and loved the sound of the Pet Shop Boys early on.

strong>++ You only recorded one demo, right? Which songs were included there? Was this recorded at Grant La-Di Da’s kitchen?

You know I really can’t remember recording a Doris Days demo. I don’t think we did as such, all of the recordings from that time would have been done at college. I’ve been throwing all of the old reel to reels away recently(digitising some along the way).<
I don’t think we recorded at Grants as the Doris Days. I do remember us rehearsing later on as ‘Pacific’ and also playing a couple of songs at one of his kitchen gigs again as Pacific but just me, Ness and Rachel(think we played a cover of ’streets of your town’).

++ By the strength of what I’ve heard (which is the live gig Dave shared in his blog and “Another Day”) I’m surprised you didn’t release anything! Why was that? Were you in any other compilations?

Well things moved pretty quickly. (I think?!) between being “The Doris Days’ and renaming and resizing as ‘Pacific’.It was essentially the same band minus Hayley and Ed

++ Why didn’t the split 7″ release with The June Brides happen? Maybe you had any other releases planned?

Again this is where memory fades. I do remember having a silly falling out with Grant over something and I think this may have been it.
I honestly cant remember if he didn’t want to release it or I didn’t!
I seem to remember it was one of my recordings of a live June Brides show in Holland (?) with a rather raucous version of Sheena is a Headbanger (joined by ‘The Janitors’ on stage), probably sounded a good idea at the time. Hey Grant have you still got my cassette?!! I’m sorry if it was my fault!

++ How many songs did The Doris Days had in their repertoire? Did you gig a lot?

Probably about 10 songs! No we didn’t gig a lot, I think the basement gig you have was our second (final?) gig. That was the night Hayley and Ed got so drunk and disorderly that I asked them to continue their studies elswehere. (half joking).

++ I heard you were quite involved with indiepop and among other things you were part of the Big Twang club in Brighton! Which were the favourite gigs you booked? What was the best of running a club during those years

Yes, the Big Twang.That was great fun to be involved with. It was set up by four of us who wanted to create something a bit more homely! Create an atmosphere and community that would enjoy seeing each other every week and come along what ever the band.
It kind of evolved out of the Potato nights I’d put on previously.
Good value (always 3 bands for £2.50), a weekly fanzine type thing given out at the door, we’d try and decorate the place (the old Escape Club on the seafront in Brighton) by getting the end of print rolls from the newspaper printers. Huge rolls of newsprint that we’d hang up and paint things on.
I’d also show my slides again(!) and bit by bit I started to operate the sound mixer for the bands because the PA guy got fed up with me constantly asking him to turn something up or down.
This is how I ended up doing the live sound for the June Brides and the Shop Assistants.
Favourite gig would have to be the Magical Mystery Twang. Not sure how I organised it but I had this utopian idea that running a club would mean taking everyone on a journey at some stage. A kind of collective escape with our shared soundtrack. I was thinking of hiring a cruise ship but I figured the club wasn’t that popular yet so I settled on the idea of hiring 2 coaches and having a mystery tour.
Idea being that no one would know the bands who were playing they would all just trust me and buy the tickets!
Decided to charge £6 a ticket, asked the coach companies how far we could get for £400 they said Dorset so I said fine we’ll go that way. Spoke to someone who’s name I cant remember who lived in Dorset (friend of ‘The Chesterfields’) and somehow arranged to book a skittle alley in a pub in TempleCombe to house a gig.
I asked the June Brides and Shop Assistants and both were up for doing it, great news. I also asked the Television Personalities who loved the idea of it but then had to back out because of something terribly important that I cant remember.
Clive Pig agreed to be a wandering minstrel for the day and the rest as they say is history, well kind of.
I love Dave Driscoll’s description of the days events, very accurate me thinks:
http://fruitierthanthou.blogspot.com/2008/08/magical-mystery-twang-with-clive-pig.html
The best of running a club was the collective energy and spirit, anything seemed possible.
It was all incredibly easy and down to earth as well. I’d speak to Alan McGee and say what 3 bands can we get for £250 and he’d always try and make me take the Weather Prophets. I’d always say No please can we pay more to not have them!! I think we ended up with them though. Alan was very persuasive!

++ Were you involved in the fanzine scene at all? Any favourites? Were the Doris Days featured in any?

No not really involved. I think the Doris Days were in some but I can’t remember which (bit of a theme my memory, sorry!)I used to get loads and loads of fanzines through the post and at gigs all over the place.

++ Do you miss those days in Brighton? What was the best of being part of The Doris Days?

I don’t miss those days, no. I’m always happy to move forward and embrace new things. I really enjoyed that time though. Felt very lucky to be involved in lots of different things, gave me a lot of confidence to go forward.

++ Why did the band called it a day? What did The Doris Days do after?

We didn’t call it a day. It was a bit unwieldy because there were so many of us and I guess something had to give. Hence the shrinkage to 5 instead of 7.
We then played an audtion for Alan McGee in my bedroom and he invited us to join Creation Records.
He wasn’t that keen on the name ‘Doris Days’ and so we thought of something a bit more appropriate and renamed the band ‘Pacific’.
Pacific made a couple of EPs for Creation. Played a few gigs the first and biggest being the ‘Doing it for the Kids’ all day show at the Forum (Town and Country Club as was then) in London and a tour with the House of Love.
We left Creation because there wasn’t the money to fund a big production in the studio to make an album .. which at the time I felt we needed.
We signed as Pacific to EMI/Capitol and Pacific shrunk from 5 to 3 to eventually 1: me.
Strange time because I was really getting into dance music, really loving stuff like ‘Strings of Life’ which I just couldn’t get out of my head for days.
We had a decent advance and spent it all on a couple of weeks recording one song in Sarm East and West Studios, lLondon and not really having anything to show for it.
£30,000 gone from the budget so I had to record at home and the only thing that was ever released on EMI was 2 promo 12″ by Pacific titled ‘Compassion’
An instrumental Balearic ditty that would be rerecorded as ‘Compass Error’ by my next group ‘Atlas’.
‘Atlas’ was myself and my A&R man from Capitol/EMI Tony Newland.
We made quite a few 12″ ‘Noontide’, ‘Compass Error’, ‘Beauty’. Did quite a few remixes of others (Fluke, Swordfish, Monaco, House of Love!) and eventually went quite downtempo with an albums worth of songs written with the rapper/poet Mc Buzz B.
Highlight for me of that period was meeting and working with the late great Billy Mackenzie. We recorded a cover of the Randy Newman (via Nina Simone) song ‘Baltimore’ and also worked on a Billy and Paul Haig song ‘Give Me Time’.
He was such an amazing character. Still sends shivers up my spine remembering the sound of him singing ‘Give Me Time’ in my hallway, so loud, incredible control. He would always be singing new songs to you. Would look you in the eye and sing the whole song a cappella from beginning to end.
I ran away from music for a while after that. Wondered what would happen if I threw myself into something else.
I chose architecture and had an amazing 4 years ending up living in Los Angeles working in a tiny office having the time of my life drawing up plans for Pierce Brosnans painting studio amongst other things.
I started listening to music again and really enjoying it. The local station was KCRW with a show called ‘Morning Becomes Eclectic’ was just amazing at the time. 3 hours of Avo Part next to The Beach Boys next to Eels etc, etc. It’s still going but not as good as when Chris Douridas was the DJ.
I was offered some money to come back to the UK and make an Atlas album. Billy Mackenzie said yes to singing some of the songs and so I agreed.
I came back and within a few months Billy had died.
I worked on with the Atlas project and eventually met someone called Nina Miranda (Smoke City, Underwater Love, etc, etc) who was in quite some mood to break free of her Smoke City constraints. She really sounded like a bird out of its cage and sang some of the most beautiful things I’ve ever heard. Really magical to record her.
We made an album together as ‘Shrift’ (bit of a connection back to the Brighton days). Started off in this amazing studio space by london bridge which had a window out onto the Thames. Ducks would come each day to be fed and we let the sound of the river into the recordings. That space is now a Starbucks.

Here’s a short film for one of the songs.<
http://vimeo.com/1297050

These days I’m doing less writing and more mixing.
I will definitely make some more music soon but for now
I do sound mixing for film and tv programmes, after all everything is music!!

++ Anything else you’d like to add?

Thanks for the interest

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Listen
The Doris Days – Another Day

Rorschach, a seminal Bristol indiepop band formed from the ashes of The Harpoons and who will later become Santa Cruz. Have you heard about them? Well, they only released one 7″, “Two Busted Flippers”, which is busting good! So you better pay attention this time around! Last year they reunited for a one-off gig in Bristol, and hopefully there will be some more of those. Thanks so much to Geoff and Steve (Yabbo), for being up for this interview! Also don’t miss this video of the band from last year’s practice before their reunion gig!

++ Hi Geoff! Thanks so much for being up for the interview! How are you doing? When was the last time you picked up your bass?

Geoff: Hi Roque. Sunday night. I recorded a track for my mate Tim Rippington with Tom Adams on drums. More of them later.

++ So let’s talk about Rorschach. The band was formed after The Harpoons, who I hope are a matter of another great interview. How did you all decide to start a new band? Who were the members?

Yabbo: From what I remember Jon Brokenbrow (the Harpoon’s drummer)hadquit and we decided to start a new band with the same line up – but withCris Warren on drums. Geoff and I had become friendly with Cris whileout busking in Bristol. Cris would tag along sometimes and playharmonica.

Geoff: the Harpoons had run their natural course. The new line up and material was a lot fresher and more punchy.

++ How did you know each other? And what inspired you all to have a band?

Yabbo: Geoff is my oldest friend – we met at primary school when wewere little children. I met Pete Stillman when I was about 14 and thethree of us pretty much learnt guitar together – often practising at ourhomes. We had a lot of very poor quality equipment. Because we were alllearning at the same time I think it was easier. Geoff and I met Scottin an old nightclub in Bristol called ‘Yesterdays’. We were looking fora new singer for the Harpoons and we went up to various good lookingblokes and asked them if they could sing – one of them was Scott. I seemto remember that he never got in touch, but then we met him again at aparty and it came together. He was a good front man – handsome andcharismatic – and he could sing.

Geoff: He wasn’t our first choice but he was the right one.

++ Is it true that Rorschach was named like that because of the character of Watchmen?

Yabbo: This is true – Pete, Geoff and I were all big comic fans at thetime and I remember going to conventions and meeting Alan Moore andFrank Miller – amongst others. I thought the character Rorschach inWatchmen was interesting – and I liked his name. There have been severalother bands with the same name.

++ If so, were you all big comic book fans? What other comic books did you like?

Yabbo: Big Spiderman fan – still got hundreds of mags. Also liked manyother Marvel characters – and Yummy Fur.

Geoff: I was big into Spiderman too. Also 2000AD back in the day.

++ Is the name of the EP, “Two Busted Flippers” a nod to Blood Simple by the Cohen brothers?

Yabbo: The name is a direct quote from the film – as you’ll hear at theend of Octopus – where there’s a clip of dialogue. I don’t know why wechose to call the record that – but I’m glad we did.

++ I was wondering if you could tell me a bit about each song on the EP? Like what’s the story behind them or any anecdote about them? Like, if Gabriel a real character?

Yabbo: Geoff wrote Captain Elastic – which is a great song – and Iwrote the other three. Gabriel is a just a love song about wantinganother chance. I called it Gabriel because of the power angelssupposedlyhave. Personally speaking – having written a lot of songs fora lot of bands – it’s one of my favourites. The one point of interest isthe line ‘Get your thoughts on line, there’s only one way and it’smine.’ That was written before the internet (at least I wasn’t aware ofit) and I intended ‘On line’ to simply mean get ‘get yourself together’.Luxury is a very short blast of powerpop. I played the solo on it -usually Pete played solos – but as it’s only one note it wasn’t toohard. Octopus is a song about creativity and doing loads of things
simultaneously. I was doing a lot of painting at that time as well asmusic and other stuff and I felt like I had limbs sticking everywhere.Unfortunately nothing generated any cash.

Geoff: Captain Elastic follows on from the Watchmen idea.It’s from the perspective of a small boy describing his favourite superhero who turns out to bea bit of a let down in reality.

++ What do you remember of the recording sessions?

Yabbo: Not very much – in truth recording usually involves a lot of
hanging about in dull rooms eating sandwiches.

Geoff: It’s so long ago I can’t remember specifics but Steve’s right – neither of us have much patience
for the process of going over mistakes and getting things precisely right.I much prefer getting things down as naturally as possible and moving onto something new.

++ Who were Big Truck Records?

Yabbo: It was our made-up record label. I think Pete chose the namebecause one of the characters on Brookside (the old Channel 4 soap) usedto call people ‘Big Truck’ as a term of endearment.

++ I also read that the EP received nice words from the NME and also from John Peel himself! And I bet you got more great press. What was the favourite thing they ever said about your band?

Yabbo: I’m sorry I don’t remember any press comments

Geoff: Me neither. Do you have any evidence?

++ Was this all you released? Why didn’t you get a chance to release more records underRorschach? And by the way, did you have any more songs? If so, I’d dream about a retrospective CD!

Yabbo: We did release a few cassettes – in limited numbers – includingthe Summer Palace which I’m very proud of. Sadly some of the originalrecordings have now gone missing. We never had much money, otherwise wewould have recorded and released much more. We never had any recordcompany funding – we paid for everything ourselves.

Geoff: We had little grasp of how to get involved with people who couldmake these things happen for us back then. It may sound a bit of a cliche butwe were never part of a ‘movement’ or a clique. Bristol was at the hub of Indiepop with Subway and Sarah records but we never fell into the right categories forthese or made the right friends.

Having said that we did release another EP as Rorschach in 1991 on the local Popgod label.It’s called the ‘New Kids’ EP. This was after Steve and Cris had left the band andmusically it’s quite different from Flippers. You may detect a certain ’summer of love’ influence.

++ I was in Bristol earlier this year, and likedthe city. It has a nice small town feeling, and I liked the hilly streets. Has it changed much from the Rorschach days? What were your favourite spots to hang out there then? Do you still live there?

Yabbo: We all still live in Bristol. The place has changed a lot – it’s much more difficult to park these days in the centre. Most of the places we used to perform like The Bristol Bridge Inn, The Western Star Domino Club and The Granary have long gone.

Geoff: ‘More difficult to park?’ You sound like John Shuttleworth!Bristol is a small city. It’s quite green with plenty of parks and the harbour in the centre of town makes it feel quite unique and can be quite beautiful. The downside to being a smallcity is that big projects are delayed or never happen at all. We often miss outcompared to Cardiff for example. For me, the worst change has been the building of massive expensivehousing developments on old industrial land on the harbourside.

++ What about gigs? Which venues were your favourite to play? And which gigs do you remember the most?

Yabbo: I always enjoyed playing live, although it was a hassle movingthe gear in and out. Playing the Bierkeller was fun – and Plymouth Poly.We probably only played about 25 gigs. I do remember that the very firstone was in a house in Fishponds in Bristol – on the same day as LiveAid.

Geoff: Was that Scott’s first gig? I think I got asked to leave that one.I remember playing in a church hall in Bishopston. That was a cracking night.

++ Bristol had quite a nice amount of exciting bands in the late 80s, from The Brilliant Corners to the Groove Farm. Who were your favourites in your town?

Yabbo: I liked the Corners – we played with them a few times. Most ofthe other acts seemed much more serious than us and they had betterequipment.

Geoff: The Coltraines were around then aswell. We also played some early gigs with Automatic D’lamini
who were very impressive and lovely people. John Parish went on to work with Polly Harvey.

++ You reformed for a one off gig at the Louisiana on 12th October 2009 to celebrate the 20th anniversary of the EP release. How was that experience? Any differences from your heyday 20 years ago?

Yabbo: The gig was great – and we actually made some money. I think aswe were older we were all much more polite to each other.

Geoff: It’s funny how much more fun it is when you’re not trying to make it big.

++ I read that there is a full documentary about the band in the process of being made. When will this be out? What can we expect from it?

Yabbo: I shall be astonished if that ever gets made

Geoff: We made a video of us rehearsing which is/was up on youtube. Cris was talking aboutmaking an elaborate documentary detailing the history of the band using a complicatedmathematical formula. I think he’s still doing the maths.

++ When and why did you call it a day? What did you all do after?

Yabbo: We fell apart when Cris went to college in Hull. I went off andformed Quinton, the others carried on as Rorschach for a while, beforereforming as Santa Cruz.

Geoff: Most recently I joined the Beatnik Filmstars when they reformed aboutthree years ago. That was a lot of fun. At the moment I’m diddling around with aneight-track trying not to watch the football.

++ So what are you all doing nowadays? Any plans to do a another Rorschach gig maybe?

Yabbo: I currently present the daily lunchtime show on BBC RadioBristol

Geoff: We talked about doing another gig. Then we stopped talking. We may talksome more about it when we can think of something useful to say…

++ One last question, who do you think will win the World Cup? Any opinions about the English team?

Yabbo: Don’t remind me – but why not check out my England song:http://www.youtube.com/watch?v=7gkb1PtkE_c

Geoff: I told him to record a Dutch version but he wouldn’t listen…

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Listen
Rorschach – Gabriel:: Rorschach

In the 90s there was a lovely indiepop band in Japan called Christopher Robin. The only release I knew from them was a song included on a Pushbike Records compilation from 1994. This compilation was called “Into Somethin’” and of course, it’s been sold out and impossible to find for so long. Happily some weeks ago I found Mitsuki on Youtube where she has uploaded many songs by her old band as well from her new band. I was so happy and asked her if I could ask her some questions. Here is this small interview! Hope you enjoy her music! It’s brilliant!

++ Hello Mitsuki! Thanks for being up for this interview! Very honoured. Where in Japan are you? Do you have any special plans for this summer?

I live in Kobe. There are some nice beaches.I have no plan in this summer.

++ Let’s talk about Christopher Robin! Tell me how did the band started? When was this and who were the members?

We started Christopher Robin around 1994.Mitsuki, me, was on vocals. Masaki Yamada on guitar and Masanobu Yamada on bass.

++ How did you know each other?

We are childhood friends.

++ What about the name? Why did you call the band Christopher Robin?

Christopher Robin is a name of the most famous boy in the world. We liked that.

++ I can’t find any information about the discography of the band Mitsuki! Can you help me with that? I know there was a song on a Pushbike Records compilation and that’s all!

We released three albums on the Milky cassette label. We also contributed four songs in the Omnibus compilation album on Milky.

++ So what would you say is your favourite Christopher Robin song?

Sea Bone.

++ What influences and inspires you to make music Mitsuki?

Books, music, movies.

++ Did you play many gigs?

Yes we did. The gigs of our pop band were all planned for myself.

++ Even though I don’t understand the lyrics, I enjoy that it’s written in Japanese. Most Japanese indiepop bands seem to sing in English though. Why did you choose for Christopher Robin to have songs in your own language?

Because I think the my own language can usually represent me best in the lyrics.

++ So what happened with Christopher Robin? Why did the band split? When was this?

We split in 1997, because we were busy at work. Working hard.

++ You are doing your solo stuff now which is very nice too! Care to tell me a bit about this new project of yours?

Recently I am making acoustic music. Christopher Robin’s members help me.

++ Tell me what’s your top 3 dishes of Japanese cuisine! And if you can, explain me what do they consist of?

1. Okonomiyaki: It’s like a pancake. It has cabbage, flour, egg and pork.
2. Udon: It’s Japanese noodles. It is bonito’s soup.
3. Nikujaga: It is a boiled food of the sukiyaki taste. It has potato, onion and meat.

++ One last question, what is your secret skill Mitsuki? Tell me something most people don’t know about you?

… What will it be?

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Listen
Christopher Robin – Cloudy

I’m very pleased to interview The Sainsburys! And also very happy to announce that this June 30th a retrospective CD by them will be out on Cloudberry! It includes all of their recorded songs and it’s just fabulous! Because of that, and because The Sainsburys are such an underrated band, David Wood, from the band, and me, had a nice talk!

++ Hello David! Thanks for being up for the interview. So, we are releasing a 3″ CD including all the Sainsburys songs. All the recorded output! For those who have never listened to the band, who I would suspect are many, can you tell them what to expect from this record?

Hi Roque! Thanks for asking me! Firstly, Ant sends his apologies, he says he can’t join us today as he has to attend to his mum’s garden. The Sainsburys existed for a very short period in the late eighties.

We were, basically, inspired by being aged 17, and by the music of the time. We were also inspired by the fact that if you were into indie music, and you owned a guitar and/or a tambourine, then you could get get yourself a band, and maybe even a gig or two.

Peel, Kershaw and Nightingale were playing The Railway Children, The Wedding Present, The Shop Assistants, The Primitives, Close Lobsters, The Darling Buds, and The Bhundu Boys. We loved all of it, along with a few bands that had been around for a while such as New Order, Echo and The Bunnymen ,The Smiths, The Fall and Husker Du. Local bands were a massive reason why we wanted to be part of the scene. “My mate’s mate is in a band you know, and he is having a record released” was the kind of talk that made us want a piece of that too….The Rosehips were our heroes, in our minds, they’d hit the big time, their first single making it way up into the indie charts.

In short, we were trying to create songs with pace and melody, “Talulah Gosh jamming with The Bhundu Boys” as we were once described.

++ So let’s go back in time to 1987. You started a band then called The DirtTruckers. Was this your first band ever? What did it sound like?

DirtTruckers was my first band. There were four of us, Doulton Redmond (vocals), Neil Harrison (guitar), Mark Hassall (drums) and myself. We played one gig at Bridge Street Arts Centre, with Bubblegum Splash …..I think. As far as I can remember, it was distorted jangly guitars.

++ You said you were inspired to start a band by the other local bands in the indiepop scene in Stoke of Trent. Which were these other bands that you loved? Were you all friends?

There were quite a few bands popping up in Stoke, The Rosehips having the most success. Exit Condition were a brilliant band inspired by the American punk scene. The Flood, The Vicarage Gardens and The Singing Curtains were also knocking about then. The latter we enjoyed friendly rivalry with and we’d take great joy in
heckling at each other’s gigs. (As I remember, Mark used to drum for them too. Mark tended to be in every band in Stoke at that time, but the point of difference for The Sainsburys was that our band was the only band he wrote the music for.) Once, a Singing Curtain phoned me up and offered us a lucrative record deal, pretending to be Martin Whitehead…..I was gutted when I heard at least 2 other Singing Curtains burst
out laughing in the background…

Yes, we were all friends….so much so we freely borrowed each others drummers and guitarists on a frequent basis.

++ And then Paula joined to sing in the band and The Sainsburys were born, right? How was the recruiting process? And yeah, how did all The Sainsburys knew each other?

Mark and I decided that The DirtTruckers should move on and a female vocalist would be required. The recruitment process was very simple. Why should we conform to usual formalities of actually hearing the proposed singer, sing before signing them up… this, after all was rock n roll. Basically, we both thought Paula was cool so we asked her to join.

++ And why the name The Sainsburys? You don’t like Tesco?

To be honest….I haven’t a clue where the name came from…..all the names we could think of were rubbish….The Sainsburys was the least rubbish of all I guess.

++ So tell me about this song Canal John? Who is it based on?

Paula wrote all the lyrics….she never would say who this canal based youth was…we just presumed that it was about the same bloke who had the fetish for cakes in “Cake Shop”. So if you see a man of about 40 eating large quantities of cakes on the towpath of the Trent and Mersey Canal…he’s your man.

++ And the Cake Shop? Do you know there is a very nice venue in New York with the same name? Many great indiepop gigs are held there!

Ace….If that isn’t a good enough reason for The Sainsburys to reform for one last gig…I don’t know what is…although Ant has asked me to add that there is more chance of him being capable of playing for Stoke City FC than being able to keep up with the old Sainsburys Jit.

++ I think, Ate the Most should have been a HUGE hit. It’s even great to dance! How did this song come up? What is it about? And then I’m curious, who wrote the songs in The Sainsburys?

Paula wrote the words, Mark wrote all of the music including the vocal melodies and the lead guitar melodies. Mark came from a choral background. He applied his experience to melodies especially later on when he was a member of The Venus Beads and writing their songs too. At first, we just jammed songs out
in my parents garden shed but gradually Mark took over and we started to play better tunes like “Ate the Most” and “My Favourite Colour”. Before we split up, we were playing some great tunes that seemed to be much more melodic and sophisticated. Songs like “If You Gave Me Your Jacket” and “At the River”, spring to mind and we played these at a few gigs. I’ve got an old, very badly recorded gig somewhere, and you can
tell that the songs were taking on a much better, more thought out form…this was all down to Mark.

I’m afraid I don’t know what the song is about…I presume “Ate the Most” is yet another reference to the fat guy eating cakes by the canal?

++ Was there any interest from labels to release your songs? It’s hard to believe they weren’t released then. They are so good!

I don’t think there was any interest from record companies (although Ant seems to think otherwise)…but then I think that was partly our own problem as I don’t think we marketed or pushed ourselves forward enough. It wasn’t enough to be just doing a few gigs here and there, we should have been making labels listen to our music more, like other bands did…..especially with stuff like “Ate the Most”.

++ I remember reading about The Sainsburys in a couple of fanzines, were you an avid reader of them? How involved were you in the fanzine scene? I was also wondering, these zines usually would give away
tapes, was there any Sainsburys’ songs on them? Yep, I used to enjoy reading them. I did my own once…it was awful.

Glen Rosehip’s “Vandolized Idol” was my favourite, I also liked 2 Pints Take Home.

We were on a couple of tapes, the one I can remember is Shoot The Tulips. I think there were tracks on there by Talulah Gosh, The Groove Farm and one or two others. There was talk of us doing a flexi at one point too but I don’t think that ever happened.

++ You played gigs with the likes of The Darling Buds, The Groove Farm and The Rosehips. Any particular anecdotes you could share? Wish I could have met Andrea then myself!

Anecdotes? There’s been much water, wine, whisky and beer under the bridge since 1987.

I remember that at the time, I couldn’t believe that at the age of 17, I was part of a band supporting all my musical heroes….The Darling Buds, The Groove Farm and all those others. Sometimes, when Ant and Mark were playing gigs as members of The Rosehips, I’d get to tag along and we’d get to meet even more of our heroes….I remember having tomatoes on toast with My Bloody Valentine at Rocker’s flat after a Rosehips gig once….now that’s pure rock and roll.

I was lucky enough to spend a few days down in Caerleon near Newport with Harley, Bloss and Andrea from The Darling Buds just before there first top 40 hit. Many beers were had and at one time I’d be able to tell you a few anecdotes about it…but I can’t remember them.

I loved the gigs that we played at….we just treated them as a night out and had as much fun as we possibly could. Playing gigs on stages in far away places like Bristol on stages where our heroes played was a dream come true for us.

++ What other gigs do you remember?

Remember Fun and The Orchids came down from Scotland once to do a gig in Stoke and my mother made them all sleep in the garden shed. I don’t think it was a comment about their music particularly, she was just mean.

One of the best nights of my life was a New Year’s Eve in Bristol. For one reason or another, my parents had forbidden me to go out that night, so in true, rock n roll style, Ant came and picked me up and I “ran away” to Bristol for the night, specifically to the Flatmates New Years Eve gig/party, at the Tropic Club I think.

Rocker then took us to every New Year’s Eve party in Bristol and we got back
to his flat at about 9.30am.

++ Do you still listen or follow any indiepop bands? How do you remember the scene then? Was it friendly and supportive?

I still listen to loads of music from the late 80’s and early 90’s. I’m sure l listen to George Best at least once a week. I love My Bloody Valentine from that period but rarely do I find an appropriate time to listen to it these days. MBV at it’s best needs to be at number 11 on the volume dia. The kids moan if I go beyond 4. Still listen to Husker Du…and I enjoy trawling through youtube to find vids from those days. If I could only have on cd in my collection it would be George Best.

The only band I keep up with today is Teenage Fanclub….I like loads of new bands though who owe alot to the indiepop of the late eighties…new bands like Stornoway I think are ace.

I remember the scene then very fondly, especially as given the age that I was, I absolutely lapped it up. I used to love getting into Ant’s battered old mini and driving to gigs all over the place. Everyone was very friendly and gave us loads of encouragement, especially The Rosehips and the Buds.

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

We didn’t really split. Mark started to write some ace songs, ones that were noticably different. Paula announced that she was going off to university and we just carried on with Mark’s songs. The music was becoming more serious, the gain knob was being more and more clockwise every practice session, and Mark and Ant were set on a new direction. We asked Rob to join and that was it…I left and then The Venus Beads had evolved.

++ And were any of you involved with music after? Are you all still in touch?

I’m in touch with Ant regularly. We go to watch Stoke City when they’re at home. Ant has been involved in music ever since, he owns and manages The Sugarmill, an ace music venue in Stoke. I’ve not spoken to Mark for years and haven’t seen Richard or Paula since the day they left The Sainsburys. I’ve tried to find them on Facebook etc but no joy.

++ What does David Wood does nowadays? I’ve heard about a nice fancy wine store, is that so?

Yep…I own a wine and whisky shop, called The Wine Shop..in a very obvious “Cake Shop” kind of way. I also own an independent whisky bottling company.

The shop is ace, quite old fashioned, loads of lovely wines, continental beers, spirits etc… all top notch.

++ What’s your favourite wine then?

Very difficult question! I love really gutsy Sauvignon Blanc, typically from New Zealand, but also a sucker for a really oaky Chardonnay, such as Marmesa Hollister Peak Chardonnay from California….I’m a big fan of whisky too.

++ Thanks again David, anything else you’d like to add?

If anyone knows the whereabouts of Paula, Richard or indeed Canal John, the overweight guy who ate the most cakes…please let me know?

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Listen
The Sainsburys – Ate the Most

Thanks so much to Gilly for this lovely interview. The great Pitkins released three 7″s in the mid nineties and were one of the few bands that carried the classic indiepop sound through those difficult years for our music. Check them out on myspace, they had many top tunes!

++ So alright, let’s go back in time. When did The Pitkins start as a band?

I joined the Pitkins in 1995 but I think they had been playing for a few years before that.
I knew the drummer very well so when their female vocalist left the band he got me an audition. My singing in that audition was awful ! I’m still not sure why they let me join. ( perhaps they felt sorry for me and put it down to nerves! ). About a year after I joined I asked my Friend Lorna to come and Play violin and shortly after that we got a second guitar player.

++ It was a big band! Was it easy to work with so many different personalities and characters? How do you remember the creative process of the band?

Altogether there were seven of us in the band. This proved difficult when we only played on small stages. There was never enough space for us or the equipment.

++ Why the name The Pitkins?

I believe the name was taken from a film character called ‘Mr Pitkin’

++ Who were Jawbone Records? How did you end up signing to them and releasing 3 singles? How was your relationship with them?

After a couple of years doing gigs and not getting anywhere we decided it would be fun to make a single. Our lead vocalist ollie set up the Jawbone label and we recorded it at noisebox studios.
Reece the guitarist did the artwork and we released it. I was amazed to find it was well received. It was played on radio one a couple of times.

The second single wasn’t very good and didn’t get much attention. I have to confess I hated it ! . Our third single was my favourite but sadly it didn’t sell well or get any radio play either.
Despite poor sales we were getting a good name for ourselves and had a good following. Trouble starting brewing soon after that. A relationship had begun between two of the band members and this caused a bit of a divide in the group. However we carried on and secured a promising gig in London.

++ Were the 3 singles all of your recorded output?

If you are looking for other material there is a song called distraught on a compilation record that was given away free with a local fanzine called ‘totally wired.’ I think (but I am not sure) that it was on the Noisebox label. You might be able to hunt down a copy on Ebay.

++ Oh yeah, was The Pitkins your first band?

The Pitkins was the first proper band I was in . ( I sang in a band a few years previous to that but we split up before we had even played a gig!)

++ I just put “Johnny Gets the Girl” on my turntable. Great tune! Who is this Johnny guy? Is it based on a real person? Also I’m wondering what does “BST”, the second song from your 2nd single, stands for?

By the way BST stands for British Summer Time . I’ve no idea who Johnny was based on. You would have to ask Ollie about that one as he wrote the songs.

++ So when and why did you call it a day?

The final blow came when the drummer suddenly announced he was going to quit. His wife hated the band and didn’t want him to go to London or spend any more time with us. That was the end of the Pitkins. I was gutted but good drummers are hard to find so we just called it a day. (The drummers marriage didn’t last long after that!)

++ What did you do after? Did you continue making music?

I really missed being in a band so many years later I joined up with Massey singer Ian and his friends and we formed ‘The Foster kids.’ We have made a fantastic Album which I am so happy to be a part of . Now we are all getting so old we only play the odd gig . I still enjoy it though.

++ Any nice plans for this upcoming summer?

Today I spend my days looking after my three year old son and obsessive gardening (sounds so dull doesn’t it!). My plan for the summer is to win the local gardening competition.

++ One last question! Tell me a secret skill Gill has that not many know?

I don’t really have any secret skills but I am hoping to train as an Opera singer soon. I am keeping that quiet because I fear I may be rubbish!

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

Thank you so much for your interest in the band. I thought it was long forgotten and unloved. It is nice to know that somebody appreciated what we did.

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Listen
The Pitkins – Over and Out

Thanks so much to Ian Alexander for this great interview! The Spinning Jennys released only one 7″ back in the day on the well-known Tea Time label, and also a split flexi with the Fat Tulips. And that was it. They had some great tunes, so it was great to learn more about this obscure Norfolk band!

+ Hi Ian! How are you doing? Thanks for doing this interview. I know you are still doing music with a band called The Foster Kids. Do you have anything in store with them for the future?

Hello Roque,The Foster Kids are having a bit of a sabbatical at the moment, well subject to big money offers. There are only so many seeds we can cast on stony ground.

++ So let’s go back to the late 80s, early 90s, right? Who were the Spinning Jennys? How did you all meet?

Well, when Rock historians look back at the Spinning Jennys, with no disrespect to subsequent members, the classic line-up would have to be me (Ian) singing and playing guitar, Matthew playing guitar, Steven hitting drums, Matthew playing bass and Matthew dancing (yes they were all different Matthews). With the exception of the final Matthew (our Bez for lack of a better comparison) we met at Diss High School, in Norfolk, England. Steven and the first Matthew lived across the street from each other from a very early age.

++ Was this your first band? Or have you been involved with other bands before?

Any previous bands were of little consequence, even less consequence than the Jennys as our hardcore fans would call us.

++ So where does the name Spinning Jennys comes from?

The Spinning Jenny, as you may or may not know, was invented by James Hargreaves in 1764. We learnt about it in the History class that three of us were in. Also Matthew the bass player had a habit of getting off with girls called Jenny round about this time (not 1764, when we were in the History class together). That was more or less where the name came from.

++ You signed into the reputable Teatime Records, who put many favourite singles of mine, like the fab Candy Darlings one! How did you end up on this label and what was the deal between you and them?

As far as I can remember there was no deal, they were idealistic times. I think they just gave us a certain amount of singles in return for the “privilige” of having the Jennys on the label. It all came about because we won a local band competition with a prize of time in a flashy recording studio. We had absolutely no idea what to do with the finished article, I guess the standard procedure would have been to send tapes to labels such as Sarah and hope for the best. So a tape was sent to Teatime and they agreed to put out the 7″. The guy from Teatime, who we never even met in the flesh, told us that people had complained to him that the single was too “baggy” but it was too late for us we had already had our heads turned by prevailing musical trends and it was just the beginning of the Spinning Jennys decline into shameless bandwagon jumping.

++ Your only proper release was the “It’s It It It” 7″. Why didn’t you get to release more records?

Somehow the immense talent of the Spinning Jennys just passed the world by. I guess it was a mixture of not being that good and not being particularly fortunate. I’m gonna hold back the stories of the drunken punch-ups for the book.

++ Well, there is that split flexi with the Fat Tulips, but you included the third song from the 7″ there. But I’m still curious, how tight was your relationship with the fatties? Any anecdote about that crazy bunch?

I wish that I had stories about late night jams with the Fat Tulips, the Pooh Sticks and Amelia and all that but it never happened for us. Norfolk is pretty remote, I have the feeling I might have met some of the Tulips but that could be a lie. The Foster Kids did get a nice message from them on Myspace once, completely coincidentally. With regard to the flexi, it wasn’t the song from the 7″ but a song called “Splendid”. I even checked on I Wish I Was A Flexidisc just to see if I had gone loco.

++ On Twee.net it lists that you appeared in a couple of compilations as well, on “Positively Teenage”, on “Just Another… Compilation”, and “Shiver Me Timbers”. Are we missing any other collaboration?

I have no idea, in those days it seemed that songs just ended up on tapes willy-nilly.

++ Also I found on a blog someone mentioning a tape called “Spinning Too”. What’s that about?

Once again I have to plead ignorance. One problem with being in a band called the Spinning Jennys is there are always other bands called the Spinning Jennys (I just checked on myspace and there are 5 Spinning Jennys on there at the moment). It might have been related to our extended family, there’s no way of telling until I clear out that old tape box.

++ The four songs I’ve heard from you are very different, “It’s It It It”, “Supermarine”, “I’d Laugh If Your Head Exploded” and “Gardeners Weakly”. By any chance they were written by different people? How was the creative process of the band?

I wrote pretty much everything.

++ I think my favourite track is Supermarine. It’s a fantastic pop tune! It is upbeat but I also feel some sort of melancholy behind the song. Care to tell me about this particular song?

It was named after the manufacturer of the Spitfire but it sounds like quite an Indie word. It was the one song that got played on John Peel. I had just got home after a night out with a young lady (they threw themselves at the Jennys) and I switched the radio on and there we were, I though I’d pressed the play button by mistake. For me this was one of the highlights of my time as a Spinning Jenny. On the record the only two of us who played on Supermarine were Steven and I, I waited for some Monkees style “They don’t even all play on their records” style backlash but it never happened.

++ What do you remember from the recording sessions for this great single?

I can remember Matthew the bass player holding a white Rickenbacker up against a speaker to make feedback, it was his entire contribution to the recording session. Also the song It’s it it it (or It’s better now than what it was when it weren’t as good as what it is now part VII to give it it’s full title) has backwards voices on it, which were us making fun of people we didn’t like very much, we were young.

++ What about gigs? Did you gig a lot? Any particular shows you remember?

We had a lot of fun and the audiences did too, there was absolutely no pretension involved. I can’t even begin to describe some of our gigs without them sounding awful. Our first ever proper show was with the Field Mice, that should get us some indiepop cred, we also played with the Groove Farm, Bob, Heavenly amongst others but only when they came to Norwich. We played a few shows with the New Fast Automatic Daffodils (I had completely forgotten about them until this interview) we were bowled over by their funky antics and we tried to follow them down that avenue. We played with them in Oxford and Amelia Fletcher was dancing in the audience, can you even imagine?

++ Were you friends with any of the bands in the scene? How do you remember the scene in Norfolk back then? In which venues would you see the Spinning Jennys hanging out?

We were young, still teenagers and we really thought we were the bee’s knees and would not have considered being friends with any other Norwich bands (apart from the Potting Sheds we were friends with the Poting Sheds). The main place to hang out, as it still is, is Norwich Arts Centre, although Norwich does have a tendency to be a bit anti-pop and wilfully obscure.

++ So why call it a day? What did you all do after?

The Spinning Jennys limped on a long time after the single, we done Teenage Fanclub impressions for a while, bought effect pedals and made stupid noises for 6 or 7 minutes at a time and as I said before jumped on any bandwagon that was passing by. You will probably hear this answer a lot but it kinda fizzled out. Apologies to any former Jennys but I haven’t really kept up with them very well.

++ I heard you’d be around Indietracks this year? Have you been to prior editions of the festival? Who are you looking forward to see this time?

The Foster Kids played there a couple of years ago and I went for a day last year, I’m a bit disappointed they aren’t celebrating elefant’s 21st birthday this year. Please don’t think any the less of me but the main attraction for me will be the Pooh Sticks. I know it’s bad what with all the great new bands but I never saw them the first time around and I thought they were great, even my Dad liked them and could probably still sing “I know someone…”

++ You said to me that you only operate on the fringes of Indiepop nowadays. How was back then? Were you really involved? Maybe even involved with zines? Tell me what did you do?

I’ll try not to be all sentimental and nostalgic but music will never mean as much to me as it did when I was a teenager. The guitarist from the Jennys and I wrote a fanzine called “What we did in our Summer Holidays” it almost got to a second issue, we bought all the records religiously.

++ How do you feel about the international indiepop community, do you think we have something special in our hands?

That’s a tough one, I honestly can’t understand why indiepop isn’t massive and why it needs a community at all. It should be burning up the charts all over the world. With regards to a scene, you know the bit in High Fidelity where the guy gets tricked into liking someone with Phil Collins in their record collection, or something similar, obviously just because somebody likes indiepop they aren’t automatically “cool”. I can still remember a bit in one fanzine about a guy who loved punk when he was by himself in his small town with the records swirling round his head and was let down when he met other people into the same stuff. Saying that I recently went to Spain and met somebody who used to like Talulah Gosh and I was immediately on this guy’s side, it’s silly.
Sorry I’m tired and this answer is rubbish maybe I should have just said yes.

++ Oh, we should stop now! It’s getting late :p Thanks so much Ian! Anything else you’d like to add?

The Foster Kids, big money offers, that is all

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Listen
The Spinning Jennys – Supermarine

Thanks a thousand to Huw Bucknell for this fun interview! It is true, last weekend I listened to his album “A Brave New Girl” (from Firestation Records, I think it’s still available) a lot, and a friend pointed me out where to find Huw. And rapidly we got the interview going and done. You can check on Last.fm for many, MANY, of his songs here. There tons of free downloads, lots of great jangle pop songs to spend a whole day dreaming.

++ Thanks Huw for being up for this interview! How are you doing? When was the last time you picked up your guitar?

Thanks for interviewing me… and I’m not doing too badly, thanks for asking. Now then… the last time I picked up my guitar..? That was this morning, actually. I tend to reach for it during those 20-minute ‘null’ periods while my girlfriend, Jo, gets ready to go out… usually starting off with an extended free-form improvisation based on ‘Another Brick In The Wall’ and gently morphing into ‘Lost Highway’ by Hank Williams. It’s almost impossible to over-state quite how much this irritates her… particularly if it gets to the point where I start adding ‘wolf’ effects to my Hank impression. She’s quite a sensitive lass.

++ Who are the Spanish Amanda? From what I gather it’s mostly you Huw, but on the CD booklet it seems to be a full band. Care to tell me how did the band start and how was the recruiting process?

The Spanish Amanda was mostly me and my then-flatmates. We’d all done Theatre Studies at Lancaster University in the early 1990’s and ended up living in a flat in Golders Green, north London. Jacky Wood and Elliot Falk were both musical types (as well as being fine actors… if you type ‘Bel Amour’ into YouTube, you can see Jacky as the girl with the blow-up boyfriend… which is extraordinarily cheering…), and Maria Trewin was another university friend who lived nearby. Lots of kind-hearted souls dropped in and helped out on various tracks.

++ Where does the name The Spanish Amanda come from?

My recollection – and it’s a very vague one – is that it was chosen in about 1997 by my then-girlfriend. I’d been calling myself London Fields for a while (after the Martin Amis novel… I thought it sounded thrillingly cool and aloof…), but she decided I needed a change. We came up with a list of names, and she liked the Spanish Amanda (which I hated). She liked puns… but was less keen on me, as it turned out… which I guess is why she left shortly afterwards. Hey-ho.

++ Did you gig a lot? Which particular gigs do you remember the most?

As the Spanish Amanda… no. In other bands… occasionally. To be honest, I’ve always been pretty dreadful at playing the guitar and singing at the same time, and I’m not fantastically pretty to look at, either. The most fun I’ve recently had playing the guitar was at my friends’ Bob and Scott’s wedding… a Shirley Bassey number… but you’ve got a captive audience at weddings, haven’t you..? No crowd-surfing, perhaps… but definitely captive.

++ Your only release was the “Brave New Girl” album on Firestation Records. How did you get signed to the fantastic Berlin label?

More or less by accident. In the late 1990’s, we’d been sending off cassettes and home-made EP’s to dozens of labels around the world, and were set to have an album released on Sandcastle in the US. We’d sorted out which songs were going to be ‘Sandcastle’ tracks, and they’d done a tiny cassette-only release of early demos… at which point Firestation (who we’d approached around the same time) got in touch and also offered to put out an album. The tracks that ended up on ‘Brave New Girl’, though, were mostly the oddments that Sandcastle didn’t want… some songs I really loved, certainly, but frankly a bit of a hotch-potch. And then the chap who ran Sandcastle – a very affable bloke called Brian – decided to fold the label. So our ‘main’ repertoire of songs was never formally released… which is why I’ve put a lot of them on Last.Fm, free to download for anyone who wants them. Firestation were always extremely friendly, though.

++ I was also wondering, why didn’t you get to release anything else? Do you have many unreleased tunes lying around your place?

Dozens! However, at the time when things were really starting to happen (people phoning up and asking us to play festivals in Europe, and so on…), I started training to be a teacher. And when I finally found some time on my hands, I’d somehow lost the urge to write or sing the kind of angst-y, soul-baring stuff I’d done in my 20’s. Partly, I think it was because I was much, much happier… and also because I’d started living with Jo, my girlfriend… and nothing scuppers the angst-y, soul-baring songwriting than happiness and cohabiting.

++ Your songs were recorded in between 1998 and 2000 and across different places, Wales, England, even France. Do you feel these different periods and geographical locations had a strong influence on the album? Why so much traveling?

Wales and France were because I spent a lot of time looking after my dad when my mum died, and those were the places he was to be found (’Getting Naked With Anais Nin’ was about my dad… he was in a fairly bad way at the time). Generally not very cheerful travels… but (as is often the way…) quite productive on the writing front.

++ You do dedicate a song to Aberystwyth. How important is this town for you?

It’s where my mum’s family were from… but with regard to the song, it’s also where two fairly seismic personal events happened… one early in 1996, one early in 1998, at the start and end of an almost implausibly troubled relationship. I always liked Aber, though… there was a fantastic amusement arcade there, back in the early 1980’s, called the King’s Hall… a vast cavern of adolescent debauchery… I used to save up for months so I could fritter away my pennies on Pacman, the dodgem cars and hot dogs… Mmm…

++ I was reading the thank you lines on the CD, and you thanked Richard from Waaaaaah for his wise and kind words. I was wondering then, were you involved in the scene in the early nineties? Did you have a band prior to the Spanish Amanda?

The Richard from Waaaaaah thank-you was because he very kindly pointed me in the direction of people like Didier Becu (thoroughly decent chap behind the Original Sin zine, who really championed the early Spanish Amanda) when, frankly, we simply didn’t know that any other like-minded people were out there. Anywhere. Most of the early nineties, however, found me alone in my bedsit pouring my heart into a 4-track, pale-skinned and bug-eyed, like a malnourished indie Gollum. There *were* drifting coalitions of chums that you *could* call bands, I suppose… Babyblind, London Fields… but nothing very formal or lasting.

++ Another thing that comes to mind, is your admiration to The Go-Betweens, having a song named after them, and also your contact address on the sleeve. What do the Go-Betweens mean to you? And what will be your top five songs by them?

I was very, very fond of the G-B’s… although I came to them rather late, in the mid-90’s, well after their split. Seeing them at the Shepherd’s Bush Empire in 2000 when they reformed was one of the handful of gigs that’ll really, really stick with me. As for top tunes… well, I’d probably go for…

i) Apology Accepted
ii) Part Company
iii) Dive For Your Memory
iv) When People Are Dead
v) Darlinghurst Nights

They’re all lovely really, though, aren’t they?

++ One last question about songs, who is Mister Banks? Did you work for him?

Not only did I work for him, I surreptitiously wrote a number of songs in his basement and stole a harmonica from him before I quit. Banks was (and is…) a music shop in York, and I worked there for a year after university. It was an absurdly Dickensian place back then, and they treated the younger staff members like a series of disposable Bob Cratchits. The whole ‘working for Mr Banks’ situation seemed to represent the brick wall my life had hit (birth, school, university… working for Mr Banks). My friend Antonia and I would head round the corner to the Lendal Cellars bar every night and drink ourselves into stupors… so I’d be perpetually hungover at work. No-one seemed to notice. The other young ‘uns were cool, though… Paul, Catherine, John who worked upstairs in the Brass Band department. Saints, all of them.

++ Which other bands did you follow?

Back then… anything with a jangly guitar and a grudge. Bands like the Wedding Present would’ve been favourites… likewise Microdisney… and anything even faintly Smiths-y. My all-time favourites would have to be the Mekons, though. For the last 20 years, my sole ambition has been To Become A Mekon. Or a member of The Three Johns. But then they’d have to be called The Three Johns And A Huw, wouldn’t they..? Hm. Lots of people said that the Spanish Amanda sounded similar to C86-y/Sarah-y bands like the Field Mice, but I’d never heard of Sarah Records at the time… a whole load of fantastic stuff had just drifted under my radar somehow. My iTunes ‘Most Played’ list informs me that I’ve been listening to an unhealthy quantity of Robyn Hitchcock, Momus and Something Beginning With L recently…

++ It’s been ten years now since the release of the album, what have you been doing since then? Can we expect any release of yours in the future?

Teaching, mostly! I’ve also written a couple of novels (faintly Nick Hornby-ish ones about disaffected, lovelorn 20-somethings…), and done odd bits of artwork for music-y friends. As for musical releases… well, perhaps. I wrote a few new songs for a gig that was supposed to have happened a couple of years ago (and then fell through), a bit more lyrically abstract than my old stuff. Apart from that, I find myself strangely drawn towards recording a dub reggae concept album loosely based on the Lord Of The Rings trilogy…

++ How do you feel about the album after this time? How do you think it has aged?

I think it’s very, very patchy. Am listening to it now, actually… despite my serious misgivings about my own voice… Hm. I think ‘Go-Betweens’ and ‘Aberystwyth’ still work, don’t they..? I reckon the stuff on the unreleased Sandcastle album (’Rallye Sport’) has held up far better, though… ‘1600 Mexico’ and ‘Jackson Road’ are favourites. That’s where I’d direct anyone who was Amanda-curious, really… the ‘Rallye Sport’ stuff on Last FM.

++ And when you are not making music, what other stuff do you like doing?

Lots of photography… the stuff with film and darkrooms and so on. I have an unhealthy fondness for the chemicals. I used to do a bit of film-making, too – 16mm and Super 8 – but it’s mostly writing that takes up my creative energies these days.

++ Thanks again for the interview Huw, any exciting plans for this summer?

Well, the Mekons are playing a couple of London dates in July…

++ Anything else you’d like to add?

Just my thanks for seeking me out – it’s been fun – and best wishes with everything Cloudberry-related. I shall be keeping my beady eye on you from sunny Brentford…

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Listen
The Spanish Amanda – Go-Betweens

I missed Copenhagen Popfest in April. No, the volcano wasn’t in my way. I just couldn’t go. The line-up looked fantastic and I really wanted to go. Many close friends were going and I felt very jealous that whole weekend. I know some bands from UK couldn’t go and play there because of the volcano ash, but still, judging from the photos and videos it seemed like a fab time. But to confirm me how good it was, I asked Danielle, one of the organizers, to tell me a bit more about it. Thanks again Danielle!

++ Hi there! How are you doing? Any special plans for this summer?

Hi Roque, I’m great thanks! Well, were all seriously considering coming to Indietracks again this year, I just have to get used to the idea of sleeping in a tent again.. Brr..

++ Let’s talk about the festival, who are the people behind the Copenhagen Popfest? And how did you know each other?

The people behind the Copenhagen Popfest this year was basically Michelle (who’s been one of my best friends for 10 years now), Stefan (of Northern Portrait, my husband) and myself. From now on we’ll have some extra help from our good friend Morten and maybe a couple of others, after realizing how much hard work this Popfest-business is!

++ How did you all get excited and decided to organize Copenhagen Popfest? Was there something in particular that inspired you?

Well, it all started as a suggestion from Stefan. We’d been to the Hamburg Pop Weekender, San Francisco Popfest, Indietracks and numerous other indiepop events in 2009 – because Stefan was playing. Everytime we got home, we’d both have new favorite bands and bought so many new records – we were generally just really blown away by how many great bands there are out there! So Stefan and i started talking about doing some sort of event here in Copenhagen, and Michelle who had just finished her bachelor in Performance Design was instantly up for the idea.

++ Was there any special reason to do the festival in April?

Theres several reasons.. For one, Copenhagen is really nice in spring. Then we also heard from our friend in Hamburg that they weren’t gonna do a Hamburg Pop Weekender this year (which was the best weekend ever) and we thought that it would be a good idea to do it before the whole festival-season started.

++ How is Copenhagen indiepop-wise? Are there many fans? Or bands? From the distance it seems there is only a handful… do you think the scene in your town is growing?

No, there aren’t too many bands.. Or fans. At least not many who share the same idea of what “indiepop” is. But we’d done this club night The Banana Hold-Up also to see if anyone would show up, and the place was always packed with people dancing, and had a loong queue outside.

But personally, i think Copenhageners are just extremely picky and spoiled, even the people i know who might be interested in indiepop don’t regularly show up at these events. Sometimes it seems like the danes is just not that interested in discovering new music.. I could go on about this.. The bottom line is, haven’t lost my faith in them yet!

++ And what about you? How did you start to like indiepop? What is THAT band you call your favourite? Is there any great pop bands you like from Denmark? Myself, I love Gangway!

For me, it all started when I was a young teen and everyone at school where either into Blur or Oasis, and I was offcourse really into Blur – but also The Spice Girls! I had no idea what was cool or not, I just really liked popmusic! So when I was 15 or so, I’d sneak along to this club night in Aarhus, called Club Drive and dance along to stuff like Belle and Sebastian, Razorcuts and Another Sunny Day.

One of the guys from Gangway used to host a TV show here in Denmark in the 90’s, sometimes he’d just sit there with a big glass of red wine, wearing a suit and trash all the terrible 90’s music. Great show. There is a couple of really good indiepop bands here in Denmark (I’m a big fan of Ampel, they are fantastic live) most of them played the Popfest this year – but oh, do we still have some aces up our sleeves for next year..

++ You were so unlucky, that same weekend, you had that stupid volcano ash all over the place, making the airports close. So many bands couldn’t come, many attendees couldn’t come either. Honestly, what crossed your mind at that moment? Did you ever thought about postponing the festival? Was it an easy decision to continue?

It was a complete nightmare! But we didn’t know if they would open up the airspace in 2 hours, or 2 days – thats basically why we didn’t cancel it all. Anything could happen. But along the way, as we realized that neither our longdistance friends, or the British bands we’d booked (and so looked forward too) where coming, we just had this feeling of “the show must go on”. It also made us really apprecciate every single person who showed up!

++ You said that there might be a second part of the festival this year for those who couldn’t attend. Any news on that?

No, not yet. We are trying to figure out if we’ll do it at the same venue, or maybe try something different. All we know is that it will probably be in fall/winter sometime.

++ The posters, the flyers, are all very pretty giving the festival a different look and feel to other festivals. Who designed them? And was there some sort of concept behind this branding of Copenhagen Popfest?

I just recently started studying media graphics here in Copenhagen, and was really fascinated by these vintage vacation posters. They have such a fun and happy feeling about them, so i just thought I’d draw something like that for the festival.

++ What was the best moment for you of Popfest 2010? Do you think you’ll do it again next year?

The best moment? Oh that’s hard to say, all the bands where really great, and I was just really happy when people showed up! But sure, we’ll probably do it again next year.. If no one else will

++ I heard, and correct me if I’m wrong, that some DJs started playing britpop and mainstream indie! What was that all about?

Oh, please don’t remind me.. It was just a bad call of judgement on my part. The DJ’s in mention had turned up ten minutes before they were on, so they really had no clue what was going on, they had written down a non-discussable playlist that made everyone leave the dancefloor in protest. And I mean, everyone. It was very awkward for both the DJ’s, the audience and us the organizers. But as soon as it was time for the next DJ, the dancefloor got filled again. So it was all ok.

++ I also heard the venue was pretty nice and central, that it was a great choice. Care to tell me a bit about it? You also have a club, right? The Banana Hold-Up, do you host it in this same place?

The venue is right next to the Central Station, and is called Råhuset – which means something like “Rawhouse”. Its basically a big empty house. Normally they host alot of “underground” stuff – Death Metal, African music and also Northern Soul. By the way – they loved us and all our indiepop kids, and they really want us to come back.

The Banana Hold-Up is usually held at Jolene – where the Popfest afterparty was held. It’s a great little venue in the meatpacking district.. Not too far from Raahuset.

++ I think what you are doing is really fantastic for the scene. Do you feel any sort of bond or relationship with any of the other Pop festivals around the world? Have you been in touch with their organizers perhaps?

Yeah, in the beginning we had a really hard time finding a good name for the festival, so we asked one of the organizers of the London Popfest what we needed to do to call it a Popfest, he just told us to go right ahead. So we did.

Since it was our first time organizing anything like this, we have in general had great use of our network in the indiepop circles, asking people all kinds of stupid questions.

++ I had many friends going from Sweden and Germany to Copenhagen Popfest. But one of my bestest friends was crazy enough to cross the Atlantic and take buses and rent cars, to eventually reach Copenhagen as airports were closed. Well, that’s love and dedication for indiepop, for sure. It must have been something special to see Jennifer coming into the venue. Were you expecting that? How did that feel? You must have been proud that someone did all that to be part of the Popfest!

That must have been my favorite moment! Nothern Portrait were playing a fantastic set, when i looked over the audience and spotted the beautiful Jennifer there in the middle. I teared up, and had to really pull myself together! That was when all the hours and stress thats gone into this event, really made sense.

++ Tell me about Denmark. I know you are famous because of your pastries, but I’m not a sweets guy. What is a typical dish in Denmark? I’m planning to go in September (crossing fingers!) and I’d love to try something ace!

Oh, you should definitely try the Danish smørrebrød, it’s like an open faced sandwich on rye bread. Almost every Danish restaurant serves them, but the best place in town is “Café Fremtiden” – give us a call when you’re here, and we’ll take you there!

++ Anyways, let’s wrap it here. What are you listening right now? Recommendations?

Right now I’m listening to the new Cats On Fire – Dealing In Antiques. And always, always The Siddeleys.

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

Thank you!

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Listen
Northern Portrait – A Quiet Night in Copenhagen

Thanks to Werner for this interview. If you’ve never heard about him, he is one of the most important activists of the indiepop scene at this moment by running his record labels Vollwert Records and Edition 59 as well as distributing many indiepop records from around the world on his store of the same name.

++ Hi Werner! I can’t say long time as we are in touch quite often as you are a big supporter of my label, and I can’t stop thanking you for that. How do you feel about this indiepop community that you help so much distributing records in Germany? What do you think makes it so special?

It is actually a great feeling to philosophize with nice people about the music you like. And often friendships develop on the basis of the predilection for a certain kind of music.

++ I know there is no money to be made by doing what you do, so what is the main reason to do what you do, Werner?

There are so many idealistic people in the indiepop community and I like to support them by providing interesting artists an opportunity to release their music and by giving the customers a bit of guidance in the world of indie music.

++ When and how did you get into indiepop? What was that first record that blew up your mind?

Since the mid-sixties, I have been into many kinds of music such as Beat, Glam-Rock, Punk, Wave, Post-Punk and particularly Britpop. Like probably for many of us, it was the SMITHS who got me enthusiastic about Indiepop and especially the C-86 sampler of NME.

++ What about German indiepop? Do you have any favourites?

Germany is more a rock and electronic than an Indiepop country. Much of what is called here Indiepop appears me somewhat petty. One of the great exceptions is Andre Daners. He has great ideas and is absolutely authentic in what he does. His project MY LAUNDRY LIFE is terrific!

++ Your first indiepop “project” was the Indieopa mailorder many years ago, care to tell me a bit about it? When did you start? when did you close the store? what were the best sellers? where in the world did you send more records?

It was about 2002 that I started Indieopa as a sales platform on eBay. But I realized soon, that it was only the mainstream Indie stuff that sold well, especially when it was new and cheap. And I found it more and more boring that my main task should be to satisfy those annoying Depeche Mode buyers. I definitely wanted more than that. Moreover, Indieopa first and foremost aimed at the German market which turned out to be too limited for the Indiepop community.

++ After that you started a new mailorder, Vollwert Records. How come after closing one mailorder you decided to start a new one? What made you excited about pop music again?

I wanted to be be more than a specialized local seller for mainstream Indiepop and thus decided to distribute interesting music on an new label that I called “Vollwert”. Due to the internet and the enormous progress it made at the time, I came more in touch with Indie music worldwide and it was – and still is – exciting to see what splendid music is being made for instance in Indonesia, Mexico or South America.

++ And you didn’t just stop there, you started a record label alongside the mailorder. It started with a compilation that had the Fernsehturm on the cover photo, which makes me wonder what are your other favourite landmarks in Berlin?

For me, like for many Berlin people, the Fernsehturm, the television tower, is more than just a landmark. Built by the eastern German government in the early seventies, it became a symbol of the division of Germany as well as of its unification in 1989. Its equivalent in West Berlin is the so-called Funkturm (radio tower) near where I live. As the Berlin wall was still existent, it was the first thing you saw when reaching Berlin from the free west. So for me, it is connected with many personal memories.

++ Continuing with Berlin, and as I will visit in September it seems, I wonder which restaurants would you recommend me?

Hard to say. Each quarter has its own excellent restaurants, many of them remarkably inexpensive. So there is no risk trying it on your own as long as you avoid the touristic quarters alongside the Kurfürstendamm in the City West and the Hackesche Markt in the center. I personally like to go to “Honigmond” in Borsigstraße in the center (”Mitte”) and to Romagna, a good cheap pizzaria in Stresemannstraße in Kreuzberg, not far from Potsdamer Platz.

++ Let’s get back on track. You then started a new label, Edition 59 which releases 3″ CDs in a limited edition of 59 copies. Why this odd number? Is there some meaning to it? Also what about the format of 3″ CD, why did you choose it? I also release in that format, but I’d love to know what do you think are it’s pros and cons.

I love that number. It came into my mind when I was on an escalator in a department store in Berlin. As to the format of 3“: I like it because it is quite uncommon and you don’t need many resources to produce it. It thus allows you to be very flexible with your releases. In my view, these advantages far overweight the disadvantage of having too little space for printing information on the booklet.

++ So far you’ve put out more than 60 releases, is there some point, like reaching #100, where you will stop or will you just continue until you run out of energy? What is there in store for the future of both Vollwert Records and Edition59? I read there might be 7″ releases?

I will continue as long as people like to buy new releases. There is no 7“ release project fixed yet.

++ How do you usually discover bands?

Some bands get in touch with me spontaneously. Additionally, I search networks as Myspace for interesting bands and then address them myself.

++ You’ve been doing a lot of Creation Records reissues now, how come? Is Creation Records your favourite label ever? What will you be your top five releases in Alan McGee’s label?

I loved the energy of the first Creation releases. The music of Creation records was a part of my youth and thrilled me. Hard to say what the Top 5 singles are, maybe these:
The Loft – Why does the rain
Jesus and Mary Chain – Upside down
Meat Whiplash – Don’t slip up
Bodines – Heard it all
Weather Prophets- Naked as the day you were born

The Top 5 albums:
Biff Bang Pow – Girl who runs the beat hotel
Bill Drummond – The Man
House of Love – s/t
Jamine Minks – 1,2.3,4,5,6,7
VA – Wow wild summer

++ By the way, for those of us who don’t know German, what does Vollwert mean?

It has a double meaning: literally it means „full worth“, but it also denotes wholefood.

++ Would you recommend to start a label these days where mp3 blogs offering free mp3s are the norm?

In my opinion, free mp3s can provide additional promotion for your label. So there is no real competition.

++ What has been the best thing of running a mailorder and a record label? And I’m wondering, how much time a day do you invest in them?

The best thing is that I can connect young gifted artists with an interested audience. That takes me some hours every day. And it is worth while.

++ In Germany, when you talked indiepop you would always think of Hamburg, never Berlin. Do you think that can change? Why do you think Hamburg had a bigger indiepop scene even though it’s a smaller city?

Berlin is rather a rough ROCK city. But Berlin is sophomoric, too. So it boasts about his electronic and indiepop scene. The Hamburg scene, however, is cooler and more grounded, not running after every superficial trend.

++ I do have a tricky question, what do you prefer in a German pop band, to sing in German or to sing in English, or it doesn’t matter?

There are only a few German bands that are able to convince in English . Therefore I mostly prefer them singing German.

++ One last question, roughly, how many records do you have in your collection?

At the beginning of the nineties, I had some thousand 7“, some hundred albums and a few dozens CDs. But as music at the time began to bore me, I sold nearly all of them. I kept a fine collection of about fifty singles and a couple of dozen CDs and LPs that I really appreciate.

Long time ago I wrote about She Splinters Mortar, trying to get in touch with the members. I was lucky enough that Harald found the blog somehow and got in touch. Then I got in touch with their label Die Schwarze 7 and even with fellow labelmates Shampoo Tears. It was a matter of time to get an interview with She Splinters Mortar, one of the first German bands that embraced C86. Thanks so much Harald!

++ Hi Harald! Thanks so much for doing this interview. How has been 2010 so far?

Hi Roque, it’s a pleasure for me to do this interview and it makes me very happy that you show so much interest in She Splinters Mortar, the bands history and music! 2010 has been quite busy for me so far. As you know I’m working as a photographer and hope the year will go on like it started.

++ So let’s get on the roll. Who were She Splinters Mortar and what sparked you all to start a band?

She Splinters Mortar  was a band founded by Alfred Vorbrodt and me in the mid 80ies in Wiesbaden, which is a town close to Frankfurt.
Alfred and me meet first during a football match where we both played for the same team. This was during a turnament organized by friends, where some bars and clubs in Wiesbaden set up football teams to play on a saturday afternoon against each other. During this tournament we found out, we had the same taste of music, independant music, which was a very special thing in these times. Not like today you had to go to special record shops to get the records of these bands, or even order them in the U.K. or New Zealand. There was one radio emmission a week to listen to new records and article you about new bands and records you could find in self copied fanzines or magazines like Spex.
Alfred was a real enthusiast about indy music and a record collector. So, he bought the records and after he made Cassette Samplers for me. That was the way you did it these days!

My knowledge before I met Alfred about this special kind of music and the bands playing this music, came from a friendship to Stefan Lutterbüse who was also an enthusiast about Indy Music and made Cassette Samplers for me before I first met Alfred. Stefan later founded the label Die Schwarze Sieben with another friend of us Volker Buch. This label first off all was founded to publish the first 7″ from She Splinters Mortar, Straight from her heart.

++ What was the creative process for She Splinters Mortar? How did songs shape up from start to finish for you guys?

After Alfred and I met, we decided to start a band! We didn’t have instruments or excersising room and decided that the most important thing is to have a good name first! The name of the band was found by me in a Oscar Wild poet during an English Class in my school. After that we started looking for an excercising room, which we found over a friend and could share with another band from Wiesbaden. The good thing about it was, that we could use the instruments and amps in the room. So Alfred decided to play drums, and I had to by an Electric Guitar, because I’m lefthanded. After that, we started playing together. The first songs we played sounded very much like Eyeless In Gaza and Young Marble Giants.

After some months playing together, we decided we needed a bass player to make a better sound and a real set up like a band. That was the time Christian Lorenz joined us. Alfred knew him, because he was a record collector also and they met in the certain record stores. Meanwhile Alfred and me had moved to or own excercising room, which was a huge concrete cask where whine was stored years ago. We just had to put an entrance into it and could start playing there.
All songs we played at this time and can be listened to on the Compilation Tasty Tapes and Cassingles where composed by me. At the time I had a half english girlfriend, which helped me with the lyrics. The songs I developedat home on an accustic guitar and introduced them to Alfred and Christian in our excercising room, where Alfred and Christian found there ways to play drums and bass to it and we arranged them together.

One could say it like this: songs written by me and coloured in by the band! It stayed like this with all songs also after Walther Muscholl, the second guitar player joined the band and till we split up in the early 90ies. With Walther we won a lot of music skillness, because he was the only real musican who really had learned to play his instrument. The rest of us where more like enthusiasts giving their best and always excercising, even during gigs on stage!

++ Where does the name come from?

As I said already from an Oscar Wild poet, which I had to reed during my college time in an english class.

++ All of your releases happened in the Die Schwarze Sieben label, how did you know them? What was the relationship between band and label? How did the first deal between you both happen?

The label Die Schwarze Sieben was run by two friends of us Stefan Lutterbüse and Volker Buch. In these times the people who listened to indy music where very few and recognized each other by dressing and knew each other from shopping tours in the same record stores. I knew Stefan long time before Alfred and he introduced me to independant music, by making samplers on cassettes of all the nice bands in the late 70ies and early 80ies like Joy Division, The Fall, The Comsat Angels, Young Marble Giants etc. He actually set the virus for this music in me, positivly ment of course!
Volker was, as far as I know, a school mate of Stefan and so we all got together in the mid 80ies. Funnily over football as I explained. Football always played a big role in the whole thing, because later we played in a team from the label Die Schwarze Sieben on fun tournaments with big success all together, Stefan, Volker, Alfred, me and some others.

++ Though you released a couple of tapes right? A cassingle for “A Pretty Head” and an EP called “Tasty Tape”. Were these self released? And why did you choose the tape format?

The first samplers on tape format were more or less live recordings in the studio on a four track recorder in the excercising room. We recorded them and mixed them by ourself and made copies we sold in a record store in Wiesbaden. The store owner Laiky later organized concerts of bands like 1000 Violins and Phillip Boa and the Voodooclub in Wiesbaden, which we played the support for. One of these gigs with 1000 Violins actually was the first gig for us.
The tape format we chose, because there was no other format to choose. In these times, there was no possibility to record on computers and burn cds like nowadays. It was really independent!

++ Your album Jaguar is FANTASTIC. Where did you record it? Was it an easy thing to do? What do you remember from those recording sessions?

Thanks for this compliment!
We recorded it in studio in Wiesbaden and it took us about two weeks to finish. As the studio was used by us for the first time and more or less never had made records with independant bands we had to almost all sound mixing and arrangments by ourselves. Not easy, if four musicians and the label guys sit behind the sound engineer giving instructions! Poor guy, but in the end we did quite good, I think. For this record we had a change in band line up also. Christian left the band to play in another one and Jörg Heiser, the singer and guitar player from Shampoo Tears, another band from Mainz a town just beside Wiesbaden, joined us as bass player. Shampoo Tears later used the same studio to record their first single for Die Schwarze Sieben.
The recording session was quite easy going, because we excercised a lot in advance and where really prepared, which had to be like that because it was quite expansive also. The costs for the recording where payed by Alfred, who was the only one working in a real job. All the rest of us where students at the time. The two female voices on the record are performed by my sister Nicole and my girlfriend at the time Judith Ochs. They just came to the studio in the very end and had to sing before ever tried before. Poor things…

++ I always wonder and guess, but how does it work writing lyrics in English when it’s not your language? Is it an easy task? Are there any tricks?

As the lyrics are not that complicated and dealing with almost only one issue it was not that difficult to write them. Also I mentioned above that the first lyrics where very much influenced by my girlfriend at the time who was half English. To write English lyrics also is an easy thing to do, if you only listen to English music. But still you’re right and today I would write and sing german texts.

And, if we would have had German lyrics on our records I’m quite sure, that I wouldn’t have to give this interview. It made the records more international!

++ How was Cologne back in those late 80s? What was the scene like? What other bands from town did you like?

I don’t really know how Cologne was these days, because I still lived in Wiesbaden. We only recorded our first 7″ in Cologne and I moved to Cologne in 95, that’s maybe why you think I lived there. Cologne at the time was quite a center of the scene, because the most important german magazine about indie music called Spex was produced in Cologne.

++ I’m wondering what were your influences? You are among the first German bands that seem to have that c86, guitar pop, sound!

I also think so. As you can hear on the compilation I made we were very much influated by bands from the c86. Also from Flying Nun label in New Zealand. C86 was a very good thing for us, because you didn’t have to be a very skilled musician (which we were not!) to play this guitar pop in the way we played it. Maybe you can compare it with house music, idm, electronic today. You also don’t need to be a great musician to produce music like this. You only need ideas!

++ How were the gigs for She Splinters Mortar? Which are the ones you remember the most and why?

As I said our gigs were more or less excercises on stage. You can hear that on the live recordings on the compilation. Some people liked it, some not!

The people who knew what will expect them on our gigs because they also listened to C86 records etc. really enjoyed our gigs. The others couldn’t understand what we were doing and didn’t understand why we got the opportunity to do it in public!

++ So when and why did you decide to call it a day?

The development of the different band members went into different directions, music wise and also job wise. I started a photography design studium and concentraded more on this.

++ Were any of you involved with other music projects after? Are you all still in touch?

As far as I know Jörg Heiser is still making music and has a very new project out right now. Unfortunatly the contact between me and all the other people involved in the She Splinters Mortar history had been cut after I moved to Cologne.
As I found your blog about the band in the internet some months ago, I contacted Volker and Stefan again to get some records of the band and tapes to make a compilation.
I also contacted Christian, who lives in Dublin. The sad thing about it is, that nobody has the address of Alfred. He’s some kind of invisible man nowadays. But maybe he reads this interview some day in the web and feels like getting in touch again also…
Would be a good thing you have brought to roll by your blog! Thanks for that, Roque!

++ You put together, for your friends, a CD with 28 songs on it. Is there any chance this will be released one day? Are there any other tracks that didn’t make it to this CD?

No. I wouldn’t know who wants to make a release out of it… If there are people reading this interview and getting curious about the band and it’s music they can contact me and I will provide them a copy of the compilation for a production price. Guess, it won’t be to many…

On the compilation you have all official releases from She Splinters Mortar and some bootlegs and tape releases. There are some more live recordings and tapes of the band, but the collection on the compilation is fine and enough.

++ So, the question falls by it’s own weight… which was is your favourite She Splinters Mortar track?

My favorite track from She Splinters Mortar is Poor Me, Slave from Jaguar. I like it most, because it’s a nice combination of the bands start with only two guys and the bands development to the end. The bands start is to be heard in the record by Alfred playing of the chimes in the beginnig and the trashy guitar played by me, and the development is to be heard by the very nice lead guitar played by Walther. I like!

++ You are a photographer nowadays, right? What kind of photography do you usually do? And do you see any relation between music and photography?

I’m a car photographer stayed in Cologne. 50% creativity, 50% routine.
To me there’s no relation between photography and music, because one can be a lower form of art with a lot of luck, and the other is the highest form of art, because it opens peoples heart the most easily and is the only kind of art that surrounds us all of our live.

++ Anything else you’d like to add?