Hope Stew doesn’t get mad if I call him an indiepop legend! But he is! And so, I’m very thrilled to have had the opportunity to chat with him about his most known band, Boyracer. He has been in many, you know, right? He also runs the great 555 Recordings label if you didn’t know. Check more of their stuff on myspace and on their own website. But that’s it for introductions, please enjoy our little interview!

++ Thanks Stew for making this interview. It’s hard to cover on a single short questionnaire everything you’ve done but let’s try it! So 2 feet of snow this past week? So it snows in the desert?

Oh yes. We are in the high desert here, 7000 ft above sea level. We get pretty extreme seasons, which is one of the reasons I love it so much.

++ Boyracer is mostly you, Stew, and lots of friends that have stepped in to play with you. What was the line-up that lasted the longest? And if you had the chance to do a sort of an all-star lineup, who would you choose?

Erm… I’m not sure what the longest line up was. I think myself, Jen and Ara supplemented by whoever else was available and wanted to help out. I think the most exciting line is always the current line up, which for the Slumberland reunion shows will myself, Jen, Ara, Chuck (Bright Lights) and Mario (From Bubblegum To Sky/Ciao Bella etc). I’m not sure if that is “All Star” but it is as competent as it gets in terms of playing live.

++ Have you been involved in other bands before Boyracer? Or was this your first adventure? Where did the inspiration to start came from?

Oh lots of bands, you should check out “The Wetherbeat Scene 1988-91″ CD we put out. Its a 35 CD comp of bands I was in during highschool.

++ Why did you call the band Boyracer?

A Boyracer is an expression from the North of England that describes a young boy who spends lots of money souping up a crap car and then driving it recklessly to impress girls. Sort of showing off with something that isn’t really worthy of showing off with.

++ You’ve covered many songs. But I’m wondering which is the one you are more satisfied with? or at least your favourite?

Well, I love to play music and its always fun to put your own twist on someone elses song and try and make it your own. I like all 15 of the songs on our Boyracer Jukebox Vol 1 very much. I think our version of Bonnie Tylers “Total Eclipse Of The Heart” is pretty remarkable.

++ How did you end up on Sarah records? Was it easy to be the noisy band in the label?

We used to put shows on in Leeds for a bunch of bands, not just Sarah bands, and usually we would book ourselves as the opening band. We where asked by Matt and Claire out of the blue to do a 7inch. It wasn’t easy at all being on Sarah as not many people who came to the Sarah shows or bought Sarah records liked us. Likewise, people who did sort of like us hated all the “twee crap” surrounding the label. There where, let us not forget, some truly dreadful and gutless bands on Sarah at the same time we where involved. Its funny how Sarah is viewed nowadays as an amazing label because at the time, in the UK at least, it was really uncool to be on Sarah. But I always thought Matt and Claire where fantastic people who I still have huge respect for.

++ But your first releases were on Fluff Records, a way noisier label, with bands such as Liechtenstein Girl and Aspidistra. And they were from Leeds too! Were you good friends? How did you meet the Fluff
Records people?

The mysterious “DMCL” who ran Fluff just wrote to us after we had been on a few compilation tapes. We sent him a few songs and he put them out. At the time he lived in Loughborough, and I had a job driving Artwork to and from Leicester from Leeds, so used to call in on him and play records in his bedroom. He was a pretty crazy guy who I suspect took too many drugs and burnt out. (His band was Leichtenstein Girl). He disappeared after a while, and no-one knows where or what he is upto.

++ You said once that you felt more comfortable with being Slumberland Records than in any other labels. Why didn’t you continue releasing there?

Not sure. Mike stopped asking us, not through any falling out, Im still in touch with him all the time. He has lots of new bands and I guess The Pains keep him busy. Although having said that, I did just record a 7inch with Matt Hartman as The How that will coupled with 2 new Boyracer songs, that be coming out on 555/Slumberland just in time for the Slumberland 20th anniversary shows.

++ What about starting 555 Records, what was the main reason behind that? It would be nice to do a whole interview about the whole label sometime…

The main reason was to release a record by our friends Hood. At the time I was sharing a house with Richard, and they had a bunch of great songs that remarkably no-one wanted to release. So we did. It wasn’t really meant to be an ongoing thing, in fact none of the first 10 records even had catalogue numbers on them.

++ I find it funny that you once wrote a song called “Bring me the Hair of Phil Oakey”. Have you seen photos of him today? He goes with no hair at all! But what’s the story behind this song?!

Always loved the league. Fine baritone voice, lovely mane of hair. Always liked men in mascara.

++ I do have to ask you about one of my favourite songs of yours “My New Shoes”, I just want to know what is it about, and how did you come up with it? Easy question!

Gosh. Erm… that’s as song I wrote 16 years ago so I don’t really remember specifics. But the gist of it is putting new shoes on a table is meant to bring bad luck. The lyrics I suppose are about deliberately bring bad luck upon yourself. I usually don’t think about writing songs much at all and certainly don’t enjoy dissecting my own output. I strive for a less conscious way of writing and recording. Pretty much everything I have ever done has been done very quickly. Initially because we couldn’t afford studios back in the day, but nowadays because I think any kind of “art” should be spontaneous and from within, you think about it too much you will destroy it. I hate pretension in any kind of “art”. Most of the recordings I have ever made have always been 1st,2nd or 3rd takes. (Apart from the drums. You have to get the drums right or the songs never work).

++ What about gigs, you’ve played tons! But is there any in particular you are more proud of?

I guess the Emmaboda festival in Sweden. Our biggest gig, and outside too. It was broadcast on Swedish radio. One of my favourite live moments looking out into a few thousand people. Of course it was a festival so they weren’t there to us specifically…

++ Why did you decide to move and stay in Flagstaff, Arizona, of all places. You don’t ever miss the city life?

I run a cattle ranch with Jen out here in the desert. Actually where we live isn’t technically Flagstaff as we live in the middle of nowhere completely off the grid with no roads, solar power, and we pump our own well water. Surrounded by cows, pigs, chickens, horses etc… It would break my heart to ever go back to living in a city. I’ve lived in cities most of my adult life. Once you get in tune with the seasons, which you have to do quite quickly when you have 400 cows, city life seems so ugly.

++ You spend quite some time in New Zealand and pressed records in Australia as well. What is that that you miss the most from the antipodes?

They’re always up for a beer and good time… no, really, an amazing amount of remarkable music has always come out of Australia and New Zealand and continues to do so.

++ Can we expect anything from Boyracer in the future or was the last record really the last one?

I thought we where done as Boyracer, but when we where asked to play the Slumberland anniversary shows although I had reservations I finally said yes. But I wanted to do something new for it, and not just have a nostalgia trip. I certainly feel with Boyracer the last 5 years of records we made where the best. Sadly not many people have heard the last 5 years of records we made, as we have no distro and none of those records even sold 100 copies. So I wrote and recorded 2 new songs which will be the aforementioned split single with The How. So, even when I want to stop I guess I can’t…

++ What was the biggest highlight so far for you as Boyracer?

Having John Peel tell me “Excellent punk rock” after he witnessed us playing 16 songs in 22 minutes.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Boyracer – Passionflower

Some time ago I wrote a little piece about These Future Kings, a fantastic Australian band that seemed to have disappeared out of the blue. No signs on the internet about them! But Perry White, one of the members of the band got in touch and has been so kind to give me an interview and tell me more about his band! Thanks so much Perry!

++ So let’s get into business, how did the band start? How did you all knew each other?

TFK birthed in about 1985/86 after I met Charles at Monash University in Melbourne. He was studying Arts, I was studying science and we knew of each other through a mutual friend who encouraged us to seek each other out. I think we met through the Uni radio station at which we both had shows. We were both in separate bands at the time: I was in one called Polar 1500 and he was in Gothic Farmyard. Both bands were playing rather extreme music and we discovered we shared a passion for melody and guitars and had very similar musical tastes. We began writing together and knew we had to be in a band together. I was sharing a house with Mark Freeman (drummer) then, so he was an obvious choice. Steven Johanssen (sax and keyboards) I brought with me from Polar 1500 and Claudia White (bass) is my sister so I asked her to play simply because we didn’t have a bass player.

++ What does the name These Future Kings mean? Was it easy to decide on the name?

TFK is a phrase from the Tibetan Book Of The Dead which I found and I don’t think anyone else had a say in it. I don’t recall any discussions or alternative suggestions.

++ Bury My Bones is such a great track! What is it about? How did this song came to life?

‘Bury My Bones’ started as Charles’ guitar riff around which we played. We usually wrote by Charles or I bringing a riff or chord sequence to the band and everyone jamming on that initial idea. A structured song would usually rear its head from the jamming and I would write the lyrics last to fit the musical structure. On occasion, I would bring a completed song to the band or Charles would bring the music and I would bring the words.
‘Bury My Bones’ is vaguely about the idea of killing one self to give birth to another self; the idea of keeping moving and growing. But really I can’t speak for the guy who wrote those words – he was very young, a little lost and I guess looked a little like me.

++ I’ve only listened the Bury My Bones single so I’m still hunting for the Carnival LP. Can you tell me a bit more about the album? How many songs were included? What about the recording process? Your favourite song? Any other anecdotes?

‘Carnival’ was an absolute pleasure to make. It was the first time we had planned a recording session and our first time with a producer – Tim Cole/Mr Bo – who was a member of probably the biggest Indie band in Australia then – Not Drowning Waving.
The bulk of the recording took place in winter and for their acoustic properties, we decided to record in the basement of silos of an abandoned Flour Mill in Richmond, a suburb of Melbourne. The place was being used as a squat by friends of ours – it had no running water, no toilets, no heating but somehow the electricity was connected. The silos were near a major train route, so most of the recording happened very late at night after the trains had stopped.
I remember it being cold all the time, drinking a lot of Port wine to keep warm, all of us tired but urging each other on to play better – we were high on the music, the ambition, the promise of it all. And occasionally the dope.
We spent about 8 days at the mill, then did overdubs in a studio in Elwood and I think finished the recording and mixing in about 12 days. All up, perhaps the best recording experience of my life.
‘Carnival’ has 10 songs and is divided into a ’showside’ and a ‘ringside’ built around the carnival idea. I think all of us would nominate a song called ‘My yellow room’ as our favourite. I hope you get to hear it one day.

++ There was also a mini-LP released in 1986 right? I couldn’t find any information about it at all! What about this one? Does it really exist?

Our 3 releases on the Rampant label are completed by our first release, a four song e.p. called ‘After This’. We recorded it as winners of a community radio station 3RRR’s ‘Battle of the Bands’ type show.
There is also a compilation live LP called ‘Hair of the Dog’ from a venue called The Punter’s Club’ on which we have a track ‘A face to break a thousand hearts’ and several songs on cassette fanzines, etc. And our never-released 2nd album ‘Via Dolorosa’ which we recorded for Rampant, but the label crashed before it was released.

++ What were you listening at the time? Had the influence of the Flying Nun label from New Zealand already reached the Australian coasts?

Our infuences…hmmm… I personally was most influenced by local or Australian bands like The Go Betweens, The Birthday Party, The Laughing Clowns, The Triffids and many more. I was much more influenced by bands’ attitudes and their quirkiness than their music per se. Musically, I think we were influnced by a lot of guitar-based, melody fuelled music. I remember Charles loved tasteful guitar stuff like The ComSat Angels; Mark loved mainly American trashy stuff like Camper Van Beethoven, The Violent Femmes and their ilk; and I think we all loved Joy Division, some punk stuff, Echo & The Bunnymen, etc.

++ How did you end up signing to Rampant Records? How was the relationship?

We had a great relationship with Bill Tolson from Rampant. We initially sent him the completed songs for what became ‘After This’ and he signed us for an album based on that. He was very keen on the second album as well but the company folded.

++ On the Bury My Bones single you worked with Warren Ellis from Nick Cave and the Bad Seeds, how was that experience?

I knew Warren (Ellis) through mutual friends and we got on great together. He was playing in other bands and somehow ended up joing TFK for about a year. He was great fun to work with – ‘Bury My Bones’ is the only thing we recorded with him, apart from some live stuff. Ultimately though, he didn’t really fit into the band as we already had a ‘featured’ instrument (the sax), and Warren wasn’t a background sort of player. We loved the violin though and ended up recruiting Jennifer McCutcheon into the band on viola. She plays on ‘Carnival’ but only joined the band after the recording.

++ Did These Future Kings gig a lot? Any particular gigs you remember the most?

TFK played a hell of a lot, as did most bands at that time. It’s also a particularly Australian thing I learnt later on for bands to play themselves halfway to the asylum and really hone their talent that way. The Triffids and The GoBetweens were particularly famous for this. We played on average 4 shows a month basically anywhere that would have us. I think my favourite show was supporting The GoBetweens at a beautiful theatre in Melbourne called The Old Greek Theatre (now demolished). We were throwing sparks that night and went down really well in front of 800 people, maybe the biggest crowd we played to. A close second would be our first show in Sydney in an underground venue in Kings Cross. We had driven straight up from Melbourne (about 10 hours) to the venue to sound-check, then did a press interview, and just before the show a drunk threatened to slash me up with a broken bottle! I remember shaking for the first three or so songs and not being able to hold the chords down on my guitar. The show went great.

++ Why and when did you call it a day? Were you involved with music after?

TFK ended not with a bang but a whimper, I suppose. We gradually became disheartened shopping the second album around after Rampant folded. Claudia and Mark decided to leave music altogether and do something ’sensible’ with their lives. Charles and I continued writing and playing together and in the late 90s formed a band called The Lost Highway, which was very enjoyable but got nowhere, again through the difficulties trying to get a release for our album ‘Amarine’. Charles does not play music at all, but got heavily into the music business and now runs a music-related consultancy business in London. Claudia never played music again and is now married with 2 children. Mark is now a print journalist and is marrried with a couple of kids. Steven also stopped playing music after TFK. I am still writing and playing under the name P A White, and hope to have an album out around August this year.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
These Future Kings – A Rumour of Angels

First of all let me say that I’m a BIG FAN of They Go Boom!! And it was such a pleasure and honour to be able to have this little questionnaire with Mike Innes. Thanks a thousand to Mike for being up for me bombarding him will all kind of questions. It’s time to get your They Go Boom!! 7″s and put them on your turntable! Celebrate one of the best bands of the 90s!

++ Hi Mike! How is 2010 so far? Any resolutions for this new year? Or any great project you have in the works for it?

Hi Roque. I’m not really a New Year’s resolutions kind of guy. Maybe that’s where I’ve been going wrong all this time..?

++ Let’s talk about the band, alright? First of all, I’ve always wondered where does the name They Go Boom!! comes from? It’s a fantastic band name by the way!

Thank you. We wanted the name to be something that reflected both of our interests and enthusiasms and we were both pretty keen on Laurel & Hardy, so we made a list of their movie titles that might work for a band name and They Go Boom was the best-sounding one. Bohemian Girl was another of their movies, incidentally, so that was why later on we used The Bohemian Girls as the name for our glam backing vocalists.

++ Okay, so you notice you are being interviewed by a big fan of yours… tell me why you stopped making music? It’s not really fair. You’ve never felt like reviving TGB? I bet you’d be called to some sort of festival like Indietracks if you’d do it!

Oh, the reason we stopped was nothing to do with music. I moved away from the town where we were living and by coincidence Daryl also moved to another part of the country at around a similar time. We didn’t fall out or anything. In fact, I thought we might do Indietracks and we did speak about it briefly, but in the end I couldn’t get it together, partly for technical reasons and partly because life ended up getting taken over by a house move – still, my fault entirely. Sorry!

++ So Mike, how did you and Daryl knew each other?

I was working at the same place as Daryl’s wife and it turned out that we’d both dabbled in music with keyboards, so then we started getting together and doing bits and pieces of writing and recording.

++ I know you were a big fan of jangly guitars, you did the Phew Wow fanzine, but how come you decided to do electronic indiepop instead of guitar pop?

Well, we both liked a lot of different types of stuff, not just guitar pop. It was me who was more into indiepop and the whole Sarah thing, but I did also like 80s synth stuff and I listened to both those sorts of things equally. Daryl was a big Smiths fan but also was into probably a bit more experimental electronics than I was, like Fad Gadget. In retrospect, I wish we’d pursued that side of things more than we did. As for why we ended up using electronic instrumentation, well, we both had bits and pieces of keyboards and drum machines and neither of us could play a guitar… so, kind of an obvious choice. Actually, to be fair, Daryl did play some bass and we ended up using it on the outro to He Didn’t Deserve You on the Atlantic album. We were never interested in the idea of properly involving anyone else in the band, so until much later on it was just whatever we could do between the pair of us.

++ Talking about zines, your first proper release was the flexi that came with the This Almighty Pop! zine! Have you ever met Stephen? He seems really ace, I look forward to meet him! How come did you both got in touch?

Yes, we did meet once or twice. If I remember correctly TGB thought that sending out demo cassettes to some of the fanzines which we liked would be a good way of getting some kind of attention, and Stephen liked what we’d done and kindly offered to release a flexi with TAP.

++ Care to tell me a bit of those early tape releases, “Myopia” and “We Touch the Lives of Ordinary Folk”? What songs were included?

Oh God! I’m not even sure I can remember. I don’t have copies of them. It was twenty years ago! But basically they were all four-track recordings that we did over a period of time in Daryl’s spare bedroom. We were just learning how to use the equipment and how to work round its limitations. The She’s Like A Dream flexi track was probably about the best of the recordings we did then – for some reason it all just fell into place and it sounded great very quickly.

++ I also know there was a tape on Elefant Records, what about that one?

Luis got in touch and asked if he could make a compilation of the two cassette demos. I don’t know if it did the label or the band much good, but in retrospect it’s nice to have an Elefant release to our name.

++ Two questions about the name of your releases. What was The Ruby Lounge? and what about Woody Allen, what’s your favourite movie by him?

The Ruby Lounge was the name of a pub on the seafront in the coastal town where we were living. I was an incomer to the town and it was one of those things that I saw and thought was striking, while Daryl as a long-term resident hadn’t really noticed it. A lot of those early songs were about life there. The cover of the Myopia cassette is a power station that is close by, too. As for Woody Allen, I don’t have a favourite movie – it just seemed like an appropriate title for that particular song.

++ What about gigging? You did quite a few ace ones! But you only started playing live in 1994! Why was that? What took you so long?

Haha. Well, I think in total we did a grand total of five gigs and probably one of them I would actively describe as having been ace. The thing is that playing live was never really what we were interested in. The band was something comfortably social, like going round to a friend’s house and having a coffee and, oh yeah, how about this melody line or this for a drum pattern? Playing live would have been far too much like hard work and we never liked the idea of trawling round the crappier indie venues of England. Plus, because we were 100% electronic the equipment that was cheaply available at that time really wasn’t up to it. In the end a few people kept asking us and kept asking us, so we did play a handful of shows. As I say, one of them was pretty good.

++ From your gigs, I wonder especially about that one that you played along La Buena Vida, one of my favourite bands! How was that? Any anecdotes to tell from that night?

That was the good one! We and I think also Moving Pictures supported them at a place in Madrid. This was a time when La Buena Vida were becoming a pretty popular band across Spain, so they sold out a venue with a capacity of maybe 500 or so. The audience seemed to like our stuff, we heard that some people had travelled a long distance to see us and then I remember standing on stage and being able to see people in the audience actually singing along with songs of ours that they knew.

That was astonishing for us. In our world, in practical terms we were the only people who had any familiarity with our songs at all. Our experience of being a band involved meeting up at Daryl’s place once a week to work on songs, while occasionally receiving a letter from a label saying that they’d sold x copies of a particular release; our experience of being a band definitely did NOT involve going to other countries and seeing face to face that some people really really liked what we were doing. But that’s what happened on that one occasion with La Buena Vida.

++ Also you played at the Stockholm International Pop Underground 3, how was that experience?

Mmm, I think you know more about the band than I do… we invited Denis Pasero from Caramel to play some guitar for that show, which he also did on the album that we were recording at around the same time. There were some technical sound problems at the gig which made it a little bit frustrating, but it was OK. Having Denis involved on stage was a good thing.

++ It’s a bit complicated for me to talk about the 3rd album, the unreleased one. As you know I wanted so badly to release it, but it’s a bit difficult. But I would love to hear your insights from it. Listening to it, it hasn’t aged at all, and sounds great as back in 1999 I bet. Most people haven’t listened to it, so I’m wondering if you could talk a bit about it.

With hindsight, oddly it feels as if we kind of subconsciously knew that things were coming to an end, so we just wanted to record as much as possible in order to get it “out there”. That’s why there’s quite a lot of variety to it, some long songs and some little sketches as well, a couple of instrumental tracks… It was pretty ambitious in terms of the recording and although inevitably it doesn’t all work, I do think there’s some really good stuff on that record – The King Of Excuses is one I like a lot, because it was a song that neither of us could have done alone. That’s an especially satisfying aspect of working with someone else, when the whole becomes better than the sum of its parts. Also I’m very proud of I’ve Dreamed Of This For Years, quite an emotional song for me personally and a brilliant vocal by Daryl.

++ Before that you released 2 albums, Atlantic and Grand Vitesse. Thinking of it, you were quite prolific! What is your favourite release of yours?

Yes, we were reasonably prolific – we kept at it for quite a long time, never trying to do too much but always getting on with making new material. I definitely like the Atlantic album a lot, I think it hangs together very well as a whole release. The songs are pretty consistently good and by that time we had a clear idea of what we were doing in the studio. Just a shame that people never got the chance to see it with its proper cover art. God knows what happened there. As it is, the only version of the real cover is hanging on my wall.

++ Now I want to ask you about some songs I love! In a sentence tell me what they are about, alright?

– Door Marked Summer

Honestly, I can barely remember that song. It was one of those ones that was written and recorded quite quickly, so it kind of came and went without sticking in my long-term memory. There was a mistake with the recording, too, which didn’t encourage me to want to remember it and that’s why it never got played live, either.

– Twentieth Century

That’s one of Daryl’s. Lots of people seem to have liked this one, which I don’t think we really realised at the time. Nice sequencer lines.

– I Wish You Were Somebody Else

That’s one of Daryl’s, too. Kind of a jokey song lyrically and an opportunity to namecheck some of his favourite film stars, but overall one of our best. I wish we’d done more in this kind of style, really.

– Take Me to the End of the World

I think a lot of songs ended up being about escape and that was one of them.

– Island Nation

Politics! Check the front-and-back cover art.

++ And why write a song about Galaxy Craze?!

Ha. Well, I thought that Galaxy Craze was the name of a character in a Hal Hartley film, but a quick internet search suggests that that is completely wrong and to my surprise I see that apparently she’s an actress. Hmmm. That’s a mystery. All I can say is that I was watching a lot of Hartley’s movies at that time and some of the lyrics on this album are kind of taken from stories or characters in those movies. I wanted Why I Love Galaxy Craze to be a single, it’s catchy and the arrangement is pretty good although in fact there’s a mistake with the tempo and it’s actually supposed to be slower. The title, by the way, is a steal of Lloyd Cole’s Why I Love Country Music.

++ Alright, now difficult question, what does indiepop mean to you? How do you feel about the community?

Oh, that’s a good question. I think that in the period between when the band started up and now, the internet has changed everything and that includes the nature of community. On the one hand you have the music itself and on the other a subcultural group of interested people. Like other genres – particularly ones that aren’t 100% electronic – the economics of indiepop is something that hasn’t been resolved, in that if people are investing sums in recording studio time, ultimately they need to make that money back. My impression is that CD sales / paid-for downloads are far smaller than used to be the case, say, at the end of the 80s.

Nobody really knows how to address that problem, although conversely it is now very easy to find out about bands and releases and the community aspect of involving people and enabling them to find out about releases and events is made massively more straightforward. To be honest I’m not all that active as a consumer, but I do follow a little of what’s going on. I like Burning Hearts a lot and it’s interesting to see people like Sally Shapiro take some of the aesthetics of indiepop and apply them to a different style. It doesn’t surprise me that a scene still exists that to a great extent takes its cues from Sarah, etc., because that has its roots in a homemade aesthetic that is rendered very easy by the internet. But at the same time it’s very exciting to see younger people finding that those older records still have some resonance or meaning today

++ What do you think was the biggest highlight of They Go Boom!!?

Artistically, I’m most pleased with the Atlantic album and the Woody Allen EP. The experience of playing that show in Madrid is obviously something that has stayed with me, so I guess that’s a highlight too. Other than that, I think we just handled the experience of being a band well, for a long period of time. That’s a really good memory for me.

++ How was Margate back then, was there some sort of scene? Do you still live there? If I was to visit, to which places should I go?

Oh God, no, there was no scene. It’s a very small town, 40,000 people. There are lots of places like it on the English coast – towns that up until the 1950s were holiday resorts, but which never found anything to replace that source of income when people started to go to Spain instead. Neither of us live there now.

++ Is it me, or is there some sort of connection between Mike Innes and Japan?

Well, I guess so – my wife is from there and I’m massively interested in J-League football.

++ Thanks again Mike! Hope this is a great year for you! Will you come to London Popfest?

As I’ve never heard of it before now, probably not!

++ Alright, let’s wrap it here. Anything else you’d like to add?

Just to say thank you for taking an interest in the activities of the band.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
They Go Boom – Twentieth Century

Wow! It is so great to talk with Krischan! After one great interview about his Frischluft label now we talked about the brilliant Die Honigritter! Prepare your coffee, tea, or grab a beer, and enjoy this interview!

++ Hi Krischan! Good to hear again from you. So how have you been doing the last months? Any great musical findings?

I was enjoying my Christmas holidays and I’m glad about the snow covered world and having had the possibility of skating on the ice in Friedberg’s castle (humming the Vic Godard tune “Nice on the Ice“ in my head).

It’s always risky to ask me about musical findings. You know I’m an ever hungry digger… Some of last months highlights for me were The Crystalairs’ “Fortune Cookie“, Yu’s “Fine“ (alluringly deconstructing The Strawberry Alarm Clock), The Cave Weddings’ “Bring your Love“, Soulboy Collective’s “Casino Action“, Princess Superstar vs. Shawn Lee “Life is but a Dream“ to name but a few.

++ So last time, we were talking about Frischluft and you told me you were in Honigritter! As I told you before it was maybe my favourite band on your label. But I want to hear the whole story about it! You said it started from the ashes of Die Fahrraddiebe. Care telling me a bit about them?

Thank you for the flowers!

In June 1986 guitar-boy Tobi, moony Greek boy Thanos, tall little drummer boy Bruder Burch and no-ability me joined a one week-course in school called into life by wanna-be-evil Ted Bodo. Bodo’s aim was to record a version of “Jailhouse Rock“ on the last day. But he never got further than screaming “The warden…“ at his most raunchiest due to a collapsing rhythm section, who couldn’t keep the beat. The musical teacher Kammel day after day was counting his endless 1-2-3-4s bordering desperation, the others were laughing or visiting the schoolyard to flirt with some girls from the younger classes. On Wednesday it was dawning to the most of us, that this project will not come to the desired end. Sirken Sikora, who was taking another course, proposed that we could steal the golden 50s-drum-kit on Thursday to record a full-band-version of Die Maikinders “Sommerlied“ in his cellar. A word and a blow – we invited some more scallywags as there were Hilde (don’t be mislead by the girl’s name – he was a boy) and Schaumburg for the backing choir and some hours later Die Fahrraddiebe were born. Some weeks later we recorded “Johnny, der Held“. „Matrosen“ never got over the bedroom-status and is deemed to be lost in tape-heaven.

++ Who were the Honigritter? Was it easy to get the band together? Were you all friends? Did you all have the same dreams, taste or expectations?

Die Fahrraddiebe expired during the pop summer of C86, but building on the junction with Thanos and Bruder Burch from Bodo’s failed course in autumn a new combo was put together by the former Fahrraddiebe Tobi and me. We also added Burch’s brother Matn with his golden trumpet, who joined classes with me since that schoolyear, and the brother’s home (to their parent’s sorrow) became our headquarter. I remember being heavily impressed, that Bruder Burch owned a single each by Stahlnetz and The Three Courgettes, when I had a first look over his 7“-collection. Our musical preferences were ranging between The Smiths, The Pale Fountains, Andreas Dorau, Fähnlein Fieselschweif, The Polecats, Detlef Engel, Aztec Camera, Bourgie Bourgie, Fantastic Something, Gus Backus, The Jazzateers (and so on) at the time and we met somewhere in between as a starting point.

On a Saturday in winter we wanted to record our first songs and hired a 4-track-machine. Musical wizard Sirken Sikora, was chosen as our knob-twiddler. He owned a copy of “Take the Subway to your Suburb“ qualifying him for that job. As suggested before Thanos always was a little bit dreamy, so we didn’t get worried, that he wasn’t there at the appointed time. But after an hour we tried to call him. His mother was on the phone telling us, he’s sitting on his bed, crying and not wanting to talk to anyone anymore forever. He was lovesick. So Sirken Sikora for his first time ever took a bass-guitar, fiddled about with it a little bit and soon afterwards played all the parts straight onto the 4-track. On from then he stayed with the Honigritter. I never heard of or saw Thanos again.

++ You were still in high school when you started the band, right? How proficient were you all with the instruments at such a young age?

I never played an instrument (assuming that a record player doesn’t count). Tobi learned some Beatles songs to play on the guitar from an old bearded, long haired hippie. The brothers Matn and Bruder Burch came from a well educated background. So they had to take musical lessons as children for status quo. Matn played the trumpet, Burch had only three fingers on one hand, so he hit the drums. They were hunting for new purposes to pervert their knowledge into pretty soon, that was C86. Sirken Sikora was our musical wunderkind. Besides the instruments in a classic Beat band he taught himself to play piano, flute, cello… The list is endless. Just give him a new instrument and half an hour of time and you will see him playing like he’s never having done anything else before in his entire life.

++ How come at that age you were already exposed to The Chesterfields for example? Was the jangly pop music from UK easy to find where you lived?

The only jangly music our little town Friedberg’s record shop had in stock were from The Smiths and The Housemartins. But we begged for more! As we stumbled across the first fanzines (The Legend! being our first journalistic hero) we were regulars at our local bank to exchange some D-Marks into 5-Pound-notes to send it to labels like Creation, 53rd & 3rd or Subway (l even got the “The Sun is in the Sky“-EP from Martin, which was claimed to be as unreleased in the UK). This was the time, when our liaisons with the mailbox started (for me personally this lasts until today). An anorak wearing friend of mine even blamed his mother for not opposing him a new 7“ for lunch, when he returned from school.

++ So, honestly, did you start Frischluft! mostly to release your own band? Or it was just one of the many reasons?

To put it simple: this was the main reason! I will always prefer a well produced record (this includes intentionally shambling productions as well) over the so-called pure and honest sound a band offers on stage. Besides this I am obsessed with the various obscure systems of catalogue numbers from small labels and how to decode them (Factory, 4AD, Cosmic English Music or Fierce later on or labels like Service or Sincerely Yours today). FRL was an abbreviation of both Frischluft! and Fräulein (= unmarried, young woman – a term that was mainly used until the sixties). Thus the picture of a young woman combined with the catalogue number…

++ Why the name Honigritter?

I always loved both bandnames, which evoke an imagination, and bandnames made of compound words. The Honig(= honey)-part represented me being a sweets-addict and a gentle-minded person (at least at first sight), the Ritter (=knight)-part stood for the obviously more sinister Tobi (who stressed more on the robber baron aspect), but led into the land of fairy tales as well.

++ I heard Matn usually wore a white sailor suit. What about the other members of Honigritter? What was your style?

Anoraks, anoraks, anoraks! Combined with black 501s, striped T-Shirts, rubber soled suede shoes or broques and turtlenecks in the winter. One of my anoraks had a milk van on it’s sleeve. Tobi tended to dress up as a 50s motorcycle boy. The regular hairstyle was shaved backs and quiffs. I was wearing hornrims as well as sometimes a bunch of flowers in my hip pocket in true Morrissey fashion.

++ What about the songs released by the label Two-By-Art? How did that happen? In which releases do they appear? I would love to track those down!

I got to know Two-By-Art through a fanzine. The first release I bought was „Der Elefantenmensch“ by the Merricks. After listening to it, I thought, maybe they would be interested in the Honigritter as well and send them a tape with the recordings, where Sirken Sikora was replacing the lovesick Thanos. They chose four songs for their „Die Welt ist blau wie eine Orangsche“ (=The world is blue like an orange). These songs can be heard on the „Durch’s Schlüsselloch in des Mondgärtners Sternenhain“ (=“Through the keyhole into the moongardeners stargrove“)-Frischluft!-retrospective.

++ What was the idea behind the Honigritter Fibel? Why did you make only 5 copies?!

A Fibel basically is a small children’s book for learning to read, which was used in former decades. The idea was to “educate“ the listener with some background info on the band in the style of the booklets, that came with the first London Pavilion on él or Adam Ant’s “Kings of the Wild Frontier“ or the pretty, pretty inserts with the Subway singles (my favourite being the one with the children reading in their bunk beds from “Ask Johnny Dee“). The reason for it’s limitation to 5 simply was the production costs, which rose proportionately with our excess of ideas.

++ What is your favourite Honigritter song and why?

It may be “Die Liebe des Cowboys“. It was designed to be our Monochrome Set’s „cast a long shadow“. A short uptempo song with male voice choir in the refrain and a twangy guitar solo.

++ What about gigging? Did you gig a lot? Which gigs do you remember the most?

No, we weren’t regulars on stage. Our first concert was at a summer-party at school, where we were backed up by three girls called Die Bienchen aus dem Sauberland (= The little bees from tidy land).

In 1988 we were playing a well known venue in Frankfurt. “Partymädchen“ was a weekly regular at the ballroom, so they invited us. We hired a small van to transport a complete 50s style living room to build up on stage. So Sirken or Matn could sit on the sofa during songs they had no part in and read Tin Tin-comic books or watch the Wirtschaftswunder-era films with Heinz Erhardt we put on the telly on stage (you can see them doing so in the slideshow presenting the bands on www.myspace.com/frischlufttontraeger). In the background there stood a two meter xeroxed and hand painted Lurchi Salamander-character in a knights armour glued on cardboard. The whole scene was illuminated by a Super 8-film Matn and me had put together (Hanna Barbera-strips from the fleamarket painted with felt tips combined with the screening of a self-built psychedelic liquid wheel with water, oil and food colouring, a filmed slide show with antique fairytale-illustrations and the likes as well as slow motion flowers in the wind). The stage was sticky. The knob-twiddler told us, it would be the blood from the dog Skinny Puppy had slaughtered on stage the night before. Matn’s and Burch’s sophisticated parents secretly came to the venue, but didn’t dare to get in…

Some months earlier we played in Gelnhausen, where Barbarossa had a palatinate (so this seemed the right place to play for us). The concert was organised by one of our first patrons of the arts Peik (the “Mit Sonnenschirmen…“-LP is dedicated to him for that very reason). When I talked to him on the phone prior to that evening he told us that he had found a new and unknown jangly band on the rise to share the gig with us. When we arrived we were opposed to some evil looking long haired Grebos. One of them mumbled “f***ing wimps“ upon seeing us, Peik standing behind them hiking his shoulders, embarrassingly smiling at us. So we decided to blow them away with “Greenhorn“ in a Psychocandy/Bachelor Pad-style, which worked out well.

Our last concert was in the cellar of a nearby castle, where we played only one song (following the riot tradition of the Reid Brothers). The audience was filled with some german pop celebrities from the Worms scene or Bernd from Blam-A-Bit wearing a baby soother tied at his anorak’s hood and smoking a pipe.

++ Why did the Honigritter call it a day? Are you still in touch with the other members? If so, what are they doing nowadays?

We all had to leave school after having passed our A levels. And everyone went into another direction. Sirken, Matn and me kept on running the Frischluft! label for some years. Nowadays I meet some of these old friends very sporadically or by accident. As everyone expected Matn studied design, Tobi became a photographer, Sirken started several things ending up as the chairman of his father’s firm. Bruder Burch and me studied to become a teacher. I am a teacher now, Burch went abroad. And Thanos? Who knows?

++ What was the biggest highlight for the Honigritter?

The days before Christmas 1987, when we sold our “Im Sommer“-single at the Christmas party at school! The whole place was paved with oversized xeroxes inviting the spectator to “Klingende Weihnachtsfreude schenken“ (= present tingling Christmas joy) with all Honigritter climbing out of Santa’s sack.

++ If I remember correctly, you are a fan of potatoes whatsoever? Why is that?! I’m a big fan as well, I was having the other day a conversation with my friends in Hamburg telling them potatoes are from Peru, my country, but you know, I really enjoy those stuffed potatoes you make in Germany. What’s your favourite potato dish?

May we hail Seignoret von Luserna San Giovanni for being the first having brought the potato on a large scale to Germany (don’t worry, I may be a nerd on pop music, but I had to consult the internet for that info). I talked to Andreas in the meantime trying to find out, what his girlfriend was cooking for you. Neither he nor I do have the slightest idea, what stuffed potatoes may be. Maybe you remember jacket potatoes with curd, that were offered to you? I like these as well very much as long as there’s some butter on the potatoes instead of herbs in the curd. I guess I’ll disappoint you with my favourite potato dish – it’s simply banal french fries…

++ And now what plans for this weekend?

Unfortunately the weekend’s over in a few hours. In the late afternoon I was in my snow covered apple orchard at a place called Hexenloch (= witches hole) judging if the ranking blackberry bushes have to be cut in the spring.

++ We’ll talk again soon Krischan! But for the meantime, anything else you’d like to add? You know while in Germany I got great feedback about our Frischluft interview?

It’s nice to hear, that you got positive feedback for digging out my half-forgotten tales. I hope I could give some more attention-fetching anecdotes from the cobweb of my memory harboring the Honigritter besides all other great things pop!

Und nicht vergessen: Freude bereiten, Musik schenken!

(= And don’t forget: bringing joy, donating music!)

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Honigritter – Liebe Des Cowboys

Continuing with the East Anglian bands, now a fantastic interview with David Miles from the underrated but fantastic The Potting Sheds! Thanks so much to David! To hear more songs by them you can always drop by on their myspace.

++ David! Thanks so much for being up for this interview. How are you enjoying this holiday season? Any big expectations for 2010?

My New Year’s Resolution is to visit the pub for a nostalgia fest with Grant Madden as he has recently moved to Lowestoft. Last time I saw him was over a year ago at a Woodentops gig.

++ Let’s talk about the band, you started as a two piece right? It was you and Will Taylor. How did you two know each other and what was it that drove you to start a band together?

I was at school with Will. I bought my first guitar from him for £10 (it wasn’t a particularly good guitar!).

++ But the line-up changed a bit during the whole run of The Potting Sheds, why was it difficult to keep a stable line-up? Which one you’d consider to be the ‘classic’ line-up?

The changes were intended to improve the standard of musicianship in the band. I always wanted everyone else to be at least as good (and preferably better) than me. The ‘classic’ line-up was early 1992 with Phil McClarnon (vocals/guitar), Will Taylor (guitar), David Miles (bass), David James (keyboards) and Steve Chapman (drums).

++ Was The Potting Sheds your first band? Oh! and why the name, The Potting Sheds?

Will and I played one gig as Nigel and the Budgieburgers. Will suggested The Potting Sheds in honour of our first song ‘Don’t Mess (With My Potting Shed)’.

++ How was the Lowestoft scene? Were there any other bands worth around?

It was exciting. Grand Designs supported us under the pseudonym D.S.S. Gardening (spot the anagram) at Oulton Broad Community Centre before they became A and sold a lot of records. We returned the favour at Lowestoft Sports Centre and that was a fantastic gig. Dan Hawkins of The Darkness made one of his earliest recordings with Will and I at the controls on a hired-in 8 track. I think he was 15 at the time and was already a remarkable guitarist.

++ Once a band called Catherine Wheel supported you. You even had a gig along the likes of The Cranberries. What are the memories of yours about these gigs with these bands that were to become big?

I nearly became the bassist for Catherine Wheel. I went for a chat about it with Brian and Rob but I don’t think they were particularly impressed when I said they would be my third choice band after The Potting Sheds and Kites! They played me some of their demos but I thought they were trying too hard to sound like Ride. Even though they were very good, they were a little cynical. Only a few months earlier, they were playing rock music as Ten Angry Men! I introduced them to Barry Newman at The Wilde Club in Norwich who gave them their earliest gigs and released their first two E.P.s. They supported us during a snowstorm at Carlton Colville Community Centre shortly after they released ‘She’s My Friend’ and it was a remarkable night.

I played with The Cranberries twice. The first occasion was as bassist in Kites at Norwich Arts Centre and they were really lovely and said they really enjoyed our set. However, on the second occasion with The Potting Sheds, I overheard Dolores backstage saying we were “shit” after Phil snapped the strings on two guitars due to his over-exuberant strumming. I decided I didn’t fancy her after all at that point.

++ Any other particular gigs you have fond memories of?

We headlined two gigs to celebrate the release of the ‘Burn It To A Crisp’ compilation album in Norwich and Lowestoft. I particularly enjoyed these gigs as Will and I were wearing three hats as performers, promoters and record label bosses.

++ Your first releases were actually two tapes that there is not much information about, the “Good Effort EP” and the “Meryl Streep EP”. What songs were included in these? How many copies were made? And why dedicate one of the tapes to Mrs. Streep?!

There were four tracks on each E.P. and they were all recorded by Richard Hammerton, the singer from Red Star Belgrade, War Party and Stare. I can’t remember how many were produced – probably a few hundred at most. Will and I shared the vocals. The eight songs were ‘Like Leonard Cohen’, ‘Wet Weekend’, ‘Sarah’s Car’, ‘(Don’t Mess) With My Potting Shed’, ‘Bait’, ‘Tumbledry Me’, ‘Down The Line’ and a Robyn Hitchcock cover ‘Tell Me About Your Drugs’. We changed one of the lyrics to mention Meryl Streep and the E.P. was named after this. I pressed a copy into Mike Mills of R.E.M.’s hand when he was playing a secret gig at the Borderline in London as Bingo Hand Job and asked him to pass it to Robyn. I imagine it is still on continuous rotation on the R.E.M. tour bus.

++ Care to tell me a bit about Mad Cat Records?

Mad Cat Records was our own label. Under the Mad Cat name, we recorded other local bands, promoted a few gigs and released a compilation album of Norfolk and North Suffolk indie bands.

++ Your first release on the label was the Unsaid flexi that came along the Eyesore You fanzine. How did you ended up releasing it along this zine?

Barry Newman of The Wilde Club suggested we should release a flexi. Fraser and Matt were putting together a new Norwich fanzine so we decided to get together.

++ You made so many wonderful songs, Same Old Story being my personal favourite, so I would love to know what inspired you to write this one? What is it about?

Phil wrote the words so I have no idea what it is about. I have a strong memory of sitting on the floor of my parents’ house with Will, Phil and Val (the singer from Beestings) to work out the backing vocals a couple of days before we recorded the song and suddenly thinking “This sounds really good”. It was our first track to receive daytime national airplay on BBC Radio One.

++ But what about you? What’s your favourite Potting Sheds song and why?

‘Dream On’ or ‘Showerhead’. We only got as far as recording the backing tracks for these songs before Phil quit but they sounded amazing.

++ Oh! and what does Goldfish Memory means?

It is a reference to the fact that goldfish are said to only have a 7 second memory. This is fortunate as it means they don’t get bored when swimming in circular bowls.

++ There were plans to release a second 12″, I think you even recorded demos for it, so what happened with it? Why was it never released? Will there be a chance to listen to these songs someday? Maybe there will be some sorts of retrospective?

The 8 track demo backing tracks exist but Phil never added his vocals to them. It was a shame as we had plans to release both 12”s together as a mini-album in Japan. Sadly, it wasn’t to be.

++ What was your biggest highlight as being part of The Potting Sheds? Maybe getting John Peel to play you?

We didn’t actually hear John Peel play ‘Second Best’ at the time. The first we knew about it was when I received a fan letter from Poland! I remember taping him playing ‘Matches’ and feeling quite proud. I saw him a few days later at a gig in Norwich and thanked him and asked if he was going to play it again. He replied “Errr….” Peel didn’t seem to enjoy being cornered like that but he really was a great man.

++ When and why did you call it a day?

Phil just didn’t turn up for a recording session in Summer 1992 and we took that to mean he had quit.

++ What did you all do after? Were you involved with bands?

Phil joined Fish Logic and then became a street busker with Roxy’s Toolbox. I formed Halftime Oranges with Grant Madden and Will Taylor and David James both recorded and performed with us.

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

If you are out there Phil, get in touch. We should give these songs a 20th anniversary outgoing to celebrate the 2012 Olympics!

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
The Potting Sheds – Same Old Story

Thanks so much to Grant Madden for this great and extensive interview. If you are looking forward to hearing more from the band, don’t doubt getting in touch with him, and I’m pretty sure he’ll sort it out for you. More information how to get in touch with him below of course, you have to do your reading homework Time to discover one of Rutland Records best kept secrets.

++ How did Halftime Oranges start? How did you all meet? Maybe at a football game?

We were all already in bands or had been in bands. I was tiring of the band I was in and David’s band was dormant and I chatted with him about the idea of a band with a football theme at some gig ( I can’t remember which, the venue was the Norwich Waterfront I remember that ) and so we had a go at writing some songs and the initial rush of enthusiasm got us going. I suspect I had some foolish ideas in my head that this was a wonderful idea that would make us very famous, sadly it didn’t.

++ Why the name Halftime Oranges?

We obviously wanted something football related so played around with a few ideas. This one comes from an old tradition in the UK in football (most outdoor team games really) to have a plate of orange segments to eat at half time. It’s an old fashioned idea though, it’s unlikely to happen much now. Isotonic drinks and the like have put paid to it.

++ Were any of you involved with other bands prior to Halftime Oranges?

Yes. David and Will were in The Potting Sheds (excellent band there is a myspace site if you look them up I’m sure you will all like them)
I was in a band called The Passing Clouds
David James was in Grand Designs and then A who went on to sign a major deal and become famous.
Flob was in other bands at the same time, one of which The Pitkins were very good we often played gigs with them.

++ So tell me, why this indiepop/football passion of yours? I love both as well, but.. how come you decided to mix them both together? Did you all support the same team?

I guess they were my 2 big interests at the time (and now) and I thought why not.
I think it worked well sometimes (and sometimes not so well) some of the songs are just silly or contrived but generally even though not many people outside of our part of England ever heard us I like what we did.
I’ve been in 4 bands but this is the one I remember the most fondly.

++ Has Norwich changed a lot? Any favourite bands from back then? What about Norwich football? any good?

I should say The Potting Sheds (who were primarily a Lowestoft band but as is the way with these things if you were from within 50 or more miles of Norwich you were a Norwich band) were a great band not just because David and Will were in them.
Also The Spinning Jennys were wonderful (they released 1 single on teatime records which is much loved in my house.)
There’s always been lots of bands around Norwich, probably more than ever now, and lots of places to play.

Norwich football has been on the slide in recent years, for instance their highest ever finish in England, 3rd in what is now the Premiership was achieved
in 1992-93 season, when the band started. Whereas last season they were relegated to the third tier of English football (the first time for 50 years) and started this season with a 7-1 home defeat, however
things have picked up since and there is hope they may get promotion back up a level this season, maybe via the play-offs which would mean a Wembley final which would be great.
The 2nd biggest team in Norfolk, Kings Lynn have folded this season for financial reasons even though on the pitch they were doing well.
And Lowestoft Town are having a fantastic year, having made it to the first round of the FA Cup and are top of their league.

++ How did you end up signing to Rutland records? Were you good friends with Ruth Miller?

We sent out some demo recordings we had done to a few labels that we thought would be sympathetic (and to some who were chosen badly at random in that they were hip hop labels – I blamed David) to see if there would be any interest and Rutland were happy to release it.
It was great that they liked it and wanted to have it us release records on their label.
We also got to play some gigs with them and Terry played guitar with us on a radio session once.

++ There’s a song by you called “What’s the fuss with Ryan Giggs”. I guess you dislike Man U? Please tell me more about this!

I don’t hate them, I know I am supposed to but I have mellowed with age.
So really its just a silly rhyme song, I quite liked the idea of its ludicrousness.
Giggs is and always has been a brilliant player.

++ This song was included on the Clive Baker Set Fire on Me album, the only one I’ve got the chance to listen so far. It has so many nice stories, vignettes, of famous players, stadiums and even coaches. How did this album shape up? What was the creative process behind it and what about the recording of it?

It was a hodge podge of stuff we’d done up to the point of releasing it.
We’d had several recording sessions with various line ups and they were the best songs and best recordings we had.
The songs were all written at about the same time though in the 2 years or so between us forming and getting the album together.
The second album was done at one recording session with the same 5 people and even if the songs aren’t any better or worse I think we did them more justice. We sound a little bit more competent on that album.

++ Why the name “Clive Baker Set Fire on Me”?

It’s from a song we never recorded ‘Clive Baker Set Fire to me, with an aerosol made from Brut33′
Clive Baker went to the same school as someone who played bass in the band for a while and the school bullies at their school apparently (I think its a bit far fetched myself)
threatened younger boys with home made flame throwers using aerosols of cheap male after shave (brut 33) sprayed through a flame.
Clive Baker went on to be a goalkeeper for both Norwich City and Ipswich Town, the 2 big sides in this area. And if you look him up on ‘Flown from the Nest’ (www.ex-canaries.co.uk) the brilliant website
about Norwich City players past and present, he now works in the Insurance Industry, which is what me and David were doing when we formed.

++ There’s not much information online about this Grant, so what’s the full discography of The Halftime Oranges? and if you can, include demo tapes and compilation tracks

I got the following from (http://www.last.fm/music/Halftime+Oranges/+wiki) where there is also a biography and some reviews.

DISCOGRAPHY

April 1995
Peel Park E.P.
Rutland Records RUTEP9 7 inch vinyl
The only Cockney Rebel / Billy’s Boots / Terry Butcher / No goals, no dolly birds, no Jensen Interceptor / Cats go for Go-Cat

October 1995
Cantona The Album
Exotica Records Pelé 10CD CD and cassette compilation album
track – Eric (Please don’t go)

February 1996
Clive Baker Set Fire To Me
Rutland Records RUTCD3 CD album
Terry Butcher / A million ways / The only Halifax supporter / Single leather football / What’s the fuss about Ryan Giggs / Blues for John Gidman / Wembley / Billy’s Boots / Saturday / Hair / Bob Stokoe says / Battison / The only Cockney Rebel / East Fife 4 Forfar 5 / He can watch the football

October 1997
Rotterdamnation
Rutland Records RUTCD5 CD album
Any team will do / Terrace girl / Vinny Jones / Six point Christmas / Panini / Zig zag to the onion bag / A gospel song / Second city blues / Billy Dane’s grown up / The girl from 4b / Theme from Orange / Yesterday’s hero / Occupations / Stars / Moving the goalposts

April 2000
Singing The Blues – The Songs Of Ipswich Town F.C.
Cherry Red Records CD GAFFER 32 CD compilation album
track – Terry Butcher

February 2001
Highbury Anthems – 18 Gooner Classics
Cherry Red Records CD GAFFER45 CD compilation album
track – The only Cockney Rebel

March 2001
Everything Went Pop!
Meller Welle Produkte MEL 32 CD compilation album
tracks – Pass, shoot & score and All my resolutions

As well as this there were tracks on Rutland Tapes and

1990s
Beyond the Valley of the Polar Bears
Red Roses For Me Fanzine Compilation Tape.
tracks – Give it to Shilton and We Only Sing When We Are Winning

++ Also what story is behind the name “Rotterdamnation”? Does it have to do with England 2-0 loss in 1993 that signified you not qualifying to the World Cup 1994?

Yes it does, I lifted the phrase from a headline in The Sun (a British newspaper).
A miserable game.
England games often can be.
I liked the word and noted it down in my memory for future use when I read it.
I like town and place names in songs.

++ Who would you say influenced the music of Halftime Oranges? Do you still listen to indiepop records?

I loved indie pop at the time and I still do.
The bands that influenced me were the C86 indiepops ones/Sarah label bands/Bands releasing tracks on tapes and fanzine flexis – also the local indie pop bands like The Spinning Jennys seeing them live inspired me to want to be in a band who tried to make you smile.
I moved house recently and it meant packing and unpacking lots of my music and the whole process was slowed up by me wanting to play old records I’d forgotten I have, lots of them indiepop.

++ What about gigs? Did you play many? Which were the best ones?

Whilst we were going we played fairly regularly in Norwich, mainly at the gigs put on by The Wilde Club and a few others around this area but we didn’t venture further afield much.
They were often shambolic due to our lack of rehearsal time.
For our first gig we supported Velocity Girl and I think that went well. We got them to sign a football which we gave out raffle tickets for to everyone who came to the gig and then we drew out the winner on stage during our gig. If nothing else it got people to watch us who’d come for the main band and I wonder if the person who won still has that ball.
We also used to like to support Prolapse when they played in Norwich, they were a great band.
We played with The Pastels when they played in Norwich and that was good.
Also we played a Rutland Records night in Leicester with Po and Super Eight which was excellent.
I remember a big loss making gig we put on in Lowestoft with The Beatnik Filmstars too.

++ So who was the best English player ever? what about who’s the best right now? How do you see England chances towards the South Africa world cup?

Hard to say if I haven’t seen players from the past, I suspect it is Bobby Charlton but I’d like it to be someone like William Fatty Foulkes. It wouldn’t
work now but 100 years ago they obviously just put the big fat lad in goal because he’ll cover more space and it obviously worked. He is attributed with saying
“Call me anything you want, but don’t call me late for dinner”

The best player we have in the England team right now is Rooney, he is the one who if he got injured now and had to miss the World Cup we would feel the most
deflated over losing.

The World Cup draw was kind to England.
I think we can progress out of the group stage, but whether we can go far I am unsure.
Recently when we have played the top sides (Brazil and Spain) we haven’t looked as good
There is always hope though and as we build towards the tournament starting I will be getting more and more excited.

++ On the last page of the debut album there’s and ad for “Philosophy Football”. What was this all about?

They are the self-styled “sporting outfitters of intellectual distinction”.
See http://www.philosophyfootball.com/ for more details. In summary (and I lifted this from their website)
It all began in October 1994. A bright spark by the name of Geoff Andrews who’d had to stomach a dull draw between Spurs and QPR at White Hart Lane, was round at Mark Perryman’s flat in Tottenham and suggested a t-shirt with the immortal words of Albert Camus “All that I know most surely about morality and obligations I owe to football” across the chest. For reasons he’s never been able to rationally explain Mark retorted “not a t-shirt, a goalie’s top”.
Soon enough Mark had rustled up enough orders to make the job worthwhile. But design is something Mark remains blissfully ignorant of. Help was at hand in the shape of artistic genius Hugh Tisdale, who was then designing a lefty newspaper Mark’s partner edited. Knowing Hugh was a Villa fan Mark reckoned he might be up for the idea. And up for it, Hugh certainly was. A beautifully crafted bottle green shirt, quote on the front, name and squad number on the back was produced. And in short they’ve never looked back.
Basically they make fantastic t-shirts (and more stuff) featuring quotes from famous people connected sometimes obliquely.
Mark Perryman who is involved in running the organisation is an all round top bloke who does wonderful work promoting England Football Supporters as
good people. I’ve met up with him on numerous trips abroad to watch England play where he will arrange for fans to visit local schools, play fans matches between the England and opponents supporters, visit historical sites, sites of remembrance.

++ Do you go often to the stadium? Which stadium has impressed you the most?! What about the classic question, Pele or Maradona?

All the time.
I love watching live football at all levels.
I like to follow England around the world which has taken me to some great stadiums but equally I watch local football in little stadiums which aren’t much
more than marked out pitches, with small crowds of a handful of people.
Maradona I think it is more because I have seen him play in real time, all I have seen of Pele was old film to me though he looked brilliant.
They are both geniuses so hard to say. One’s opinion can change everyday on this.

++ When and why did Halftime Oranges call it a day? What did the band members do after? Are you all still in touch?

It just drifted to an end.
I can’t remember us saying right that’s it, rather we just did less and less gigs and there was nothing to get together to rehearse for.
There was a gap before the German release when we’d virtually stopped but we got back together to record that.
Nobody fell out so yes I think we are all in touch with some or all of each other.
David is a teacher now.
Flob top photographer and in Cure tribute band and I think another band (one of his old bands reactivated)
Will works where I work and does still play in a band
I have done some stuff since.

++ So, this weekend, watching football. Will you have beer? snacks? How does it work for you?

I’ll either watch or play some football.
I hate it when I am doing neither.
It’s nice to drink beer at a game but it always depends upon how I am getting there, if I am driving I can’t.
I have a theory regarding food that the lower down the league system a club is, the better the food, maybe it is because it will be made there not a corporate mass produced thing.

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

I have some halftime oranges album cds at my house so if anyone would like one send me an email to oranges500{a}yahoo.co.uk with your details and I will pass one on. If you have a like minded trade all the better but a nice email requesting one will suffice.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Halftime Oranges – Terry Butcher

Thanks so much to Jase “Blackie” White for the great great interview! The Dazy Chains are one of my highlights this year, as I only discovered their songs almost twenty years after! But that’s no problem, it has been really worth tracking down some of their stuff! I was very thrilled to get in touch with Jason, who played bass and also did vocals, and even happier that he was willing to do an interview! Please enjoy! And check for more stuff in their myspace!

++ Hi Jase, thanks so much for doing this interview? How are things now? Any big party planned for New Years?

Well to be honest I haven’t thought about it. My partner and I have a 2 month old baby so these things tend to slip off the radar. I’d actually love to get out of the city and hang out by a beach for a few weeks. It’s getting really hot in Melbourne.

++ I’ve been looking for Dazy Chains stuff for so long, once I got from a friend this Australian Pop! compilation he made me and included “Back to Bed” which I totally loved, what a great track, with jangly guitars, with brilliant melodies. But I could never find information online, and I wonder, why a band with such tunes is lurking in obscurity? And where did inspiration came for you?

Glad you like it! I think you have to remember that we were writing that stuff back in the early 90’s and there was no internet. Dazy Chains had a very loyal following but it didn’t really stretch beyond Australia. We were very inspired by Brit Pop and I think Sean’s guitar work was very inspired by Johnny Marr from The Smiths. For the record we have a myspace page now!

++ So let’s do some background information, how did the band start? How did you all know each other?

We were friends at high school. Our first band was Flowers in the Fridge and that kind of became Dazy Chains. We started playing at parties and that just turned into gigs at pubs.

++ I notice there was different lineups, comparing the Daze of Our Lives EP to the myspace, especially on the drums position. What happened, why this revolving door of drummers?

Classic Spinal Tap situation. We did go through plenty of drummers. They were often poached for bigger bands. It was frustrating because we would tour a lot and just get a drummer up to speed then a bigger band would turn up and offer them fame and fortune and off they would go…

We also changed styles through the years and had a kind of folk pop phase where we enlarged the line up to include violins and keyboards.

Eventually we ended up as we started as a really solid rock 3 piece.

++ Why did you choose the name Dazy Chains? Was it easy to name the band?

I bought the name from a friend for half a gin and tonic. I just really liked it and it seems to suit our guitar pop style. About a year after we started using the name another ten bands came along and used Daisy somewhere in their name as well. It was confusing. There was: Daisy Chainsaw, Exploding Daisies…

++ Now you are in Melbourne, but The Dazy Chains were from Sydney/Wollongong, right? I don’t think I know much about the late 80s, early 90s scene there, compared to say Perth or Melbourne. What other bands you enjoyed then and what were your favourite venues?

Well this takes me back. The Sydney scene in particular was thriving until the mid 90’s when a lot of venues closed their doors to live music. We had a major influx of poker machines in clubs and pubs. It kind of killed the scene. I don’t think Sydney ever recovered. We played with plenty of bands: The Templebears, Glide, Rat Cat, Tall Tales and True, The Hummingbirds, The Clouds.

Our favourite venue was the Annandale Hotel. It’s one of the only ones that still survives as a venue today.

++ Did you gig a lot? Are there any particular gigs you remember fondly?

Heaps!! We were on the road all the time and probably pushed it too hard in the end. There is only so much time you can spend together in a mini van but we did have a lot of fun and get to see plenty of Australia.

++ Who were Yellow Music? How did you end up on that label?

Well its easy to see now that they were a record company that didn’t have it’s act together. All the right ideas but no experience and follow through. I think they got stunned by the working costs of record company promotion and publicity. They didn’t last long. They kind of took us down with them.

++ What was the full discography of the band by the way? Would there be some sort of retrospective release someday perhaps? would be fantastic!

A retrospective would be great but I have no idea how to find the masters of some of that later material – particularly the unreleased album. I certainly have access to all the early recordings so we might do something along those lines. Even if it is just a digital release.

1988 – Banana Nightmare -Single (vinyl only)

1990 – Back to Bed/Almost Imperfect – single (vinyl only)

1991 – Daze of Our Lives (EP) CD

1992 – Bite Your Tounge (Single) CD

1993 – If You Go (single) CD

1993 – Who Stole My Bike? (album – Unreleased) CD

++ How were the recording sessions of the Dazy Chains? Were they very strict, let’s record and get it over? Or maybe they were just a big party with beer and pizza? Any anecdotes you could share?

I think they were hard work. We did have fun and there was lots of beer and pizza but I remember there were times when we would sleep under the mixing desk so that we could get straight back into it when we woke up. We had a great producer, Robbie Rowlands who we still use now with car stereo wars. He has always been a very creative thinker. Fun to work with. I remember one night we miked up the table tennis table and rolled billiard balls along it to kind of get this thunder sound.

++ I’m listening right now to Precious Circle, what a great song. But I wonder, which circle is you wanted to get in? Was it some sort of social circle? or what is the song about?

Well this is one of Sean’s songs that I love too. So I can’t really say. I think it was to do with changing social circles. I love that the mandolin solo turns into a full on thrashed out guitar ending. He use to do that live with a mandolin and guitar. Great to see.

++ “Influences: all things guitar pop”. I love that. What are or were your favourite guitar pop bands? How do you feel about the term indiepop?

Well I’m never a fan of pigeonholing anything but we were called jangle pop and guitar pop. What ever works I guess.

Major influences would include: The Smiths, The Cure, Violent Femmes, The Sundays, The Beatles and heaps of local stuff that probably would register with anyone overseas.

++ What was for you the biggest highlight of the Dazy Chains?

I think our last show was pretty great. We had friends jump on stage and a kind of super group formed to play March of the Green Men which was the loudest song we ever played. Usually the best gigs were the little ones in country towns where the audience went bananas!

++ So what happened? Why did the band split up? What did you all do after?

Well classic indie burn out really. Our record company expected us to keep touring interstate and we felt exhausted and wanted to just focus of a few gigs while we wrote new songs. We had toured constantly as I mentioned earlier and it really is a difficult lifestyle to maintain. Eventually there was show down with the record company and they basically pulled the album that was due for release. It crushed us and we just had to stop. We needed to have some time off which is exactly what we did. I did plenty of travelling and moved to Melbourne. Sean kept writing songs and stayed in Sydney for a few more years. We eventually teamed up again in Melbourne with car stereo wars.

++ Nowadays you are in a band called Car Stereo Wars, care to tell me a bit about it? And how much of a departure it is from Dazy Chains?

Yes it’s quite different to Dazy Chains. Car stereo wars are coming more from a studio based experiment. All that touring kind of made playing live not so important. It was just great fun to be writing and recording again. Car stereo wars has a very relaxed feel to the song writing. It’s probably because we grew up and slowed down a bit. Alyssa’s female vocals are another obvious difference. It nice to be in a band and not be the main vocalist.

++ Thanks so much for doing this interview, anything else you’d like to add?

Thanks for caring! Dazy Chains recently played an acoustic show that will probably end up on our myspace page. Keep watching. Also car stereo wars will be touring the US later in 2010. Can and say hi!

Thanks, over and out

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
The Dazy Chains – Back to Bed

Third time lucky! Carl Green, the man behind The Whirlpool Guest House, Shandy Wildtyme and The Close-Ups, has just released a new album! This time he is going solo and calling himself Head of Light Entertainment. So let’s hear a bit about his new work, alright? And please check more tunes on his myspace and buy his new record on CDBaby.

++ Hi Carl, thanks again for another interview. You just released a new album and it’s called “I Am Liberated”. I know there’s a song on the album with the same title, but, does this title carry another meaning?

It does, yes- a musical liberation. It’s the feeling of being free of obligation- to other band members, to my public (should such an entity exist!), and indeed the music scene at large. I’m no longer bewitched or seduced by all that stuff. Quite the opposite actually. I now do exactly what I please. And there’s another kind of liberation at work too- the one of getting older. Age has granted me perspective and with that I can see more clearly than I ever did when I was young.

++ The new album is quite nice. Every song has it’s own mood, it’s own personality. It’s like 11 short stories put together. But I wonder what you think about it, what could the old fans of your music expect? Is there any similarities you think to your other bands?

There are similarities of course- it’s still left field pop music made by a bitter and twisted outsider! The real difference is in approach and subject matter. I’ve things to say and view points to express and I’m doing it directly now, not trying to be overly clever or flowery about things. Also, I’ve stripped the sound right back to guitar, keys and voice so my words take centre stage. Drums and bass are out, used occasionally to emphasize a point or enhance a mood. If that makes the album seem strange and frugal, then good- I’ve achieved my aim.

++ What does the name Head of Light Entertainment means?

Ha ha, I knew you’d ask that! It’s me and my delusions of grandeur. Me imagining myself as a shadowy controller of popular culture, stalking the corridors of pop power. Scary!

++ How long did the album take to shape up and to be recorded? Were there any bumps in the way?

It was recorded over the course of a year- September 2008 to July 2009. The songs came easily and quickly and there’s a lot more where they came from. I’m bursting with ideas right now and it’s been a while since I felt this fruitful! In Spring I begin work on the follow up and I’m raring to go.

++ You did play everything on the record! Do you prefer it that way?

Not quite everything. Me and Neil (the album’s co-producer and engineer) shared the keyboard bits and “unusual” sounds.
I do prefer doing things myself- typical of a loner really. I play the guitar in my own particular way and I wanted to carry that unstylish style over onto other instrumentation.

++ I notice you have some gigs planned out! I thought you didn’t like gigging. Or will this gigs be something totally different to the usual fare?

I’m a fickle sod aren’t I? I don’t like gigging as part of a band but I do enjoy the liberation of being solo and spontaneous on stage. I often change parts, even whole sections, of songs, whilst performing. On a whim, for fun, to see what happens…I am liberated! I couldn’t do this with a band, nor would I want to try.

++ You have this song called “Lady Godiva’s Horse”, and there’s been many songs written about Lady Godiva before, but I’m wondering if your inspiration comes from the old story, the legend. And if so, what other legends do you like? Do you like mythology?

I’m not sure there’s been any songs written about her horse before! No, the song doesn’t deal with the legend, it’s more a musical daydream about being uninhibited and wanting to shock. I’m not a natural exhibitionist but I’d like to give it a go, see how it felt for a day!

++ And also, why dedicate a song to Agyness Deyn? Is she your new muse maybe? :p

Not at all, and the song isn’t about Agyness per se. It’s about the freakish ideals women are subjected to in the 21st century, how it makes them feel and what it does to their self worth. Fashion models, female pop and movie stars, are held up as modern godesses, ikons of impossible perfection, and the media relentlessly taunts and dares women to try and emulate them. Is it any wonder so many women today have eating disorders and low self esteem? It’s a terrible state of affairs.

++ You also wrote a song, “The Face of a Girl”, that has that lovely line “Do you see a whole new world? when you see the face of a girl”. Yes, girls are so so so pretty! And I have had many endless discussions with friends wondering what’s the most important feature in a girl’s face, I’d go for the nose I think, smile will come second. What about you?

It’s the eyes for me, but it’s a subtle combination of features and movement that define the beauty of a female face.

++ You dedicate the CD to pop misfits and lovers everywhere. I love that. I want to hear from you what is a pop misfit though

A pop misfit is someone who has what it takes, but for whom there are no takers.

++ So in the near future, what can we expect from Head of Light Entertainment?

My fondest regards…

++ Christmas is around the corner, are there any preparations being done? maybe a big party? What would you like to get from Santa this year?

I’d like Santa to get me, full stop. I’d like a lot of people in general to “get me”, full stop.

++ One last question, as it’s lunch time here and I can’t decide what to have today, what’s Carl Green’s favourite food? And can you cook it?!

Spicey things all the way! I make a rather tasty chilli-con-carne, lots of mushrooms, peppers and chillis. Good food should always bring on a good sweat I believe!

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

Yes, thank you Roque for your interest in my music past and present. It’s comforting to know that there are people out there on a similar off-kilter pop wavelength. Merry Christmas!

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Head of Light Entertainment – I Am Liberated

Thanks again to Carl Bedward and Karl Moseley for another interview, this time about their first band Leopold Bloom. Please check the interview with them about their band Where Gardens Fall and listen to some more tunes, from both bands on their myspace.

++ Thanks again Carl and Karl for being up for another interview! How are things now in Birmingham? Any special plans for Christmas? Here in Miami what’s common is that people have pork for dinner, what’s the tradition in your town?

Karl: Nice to speak to you Roque. I’m looking forward to a meat-free Christmas. So, I’ve got salad to look forward to

Carl: Salad. We def wont be spending Xmas lunch together!!!

++ Let’s talk music now, who were Leopold Bloom? And when did you start as a band?

Karl: Leopold Bloom (LB) consisted of myself (Vocals), Carl B.(Guitar), Ian Hough (Bass) and an assortment of drummers. We formed LB, and I might be a year or two out, in 1983/4. I was kinda scratching around as to the first time me and Carl actually picked up a guitar and why we did it. I know everyone gives a typical cliched answer to this, you know “blah blah after seeing so and so at the…etc”, all I remember is playing these massive instrumental pieces on awful cheap guitars and through a single amp, which I remember, having to be glued back together at some point. Our first purchase, not surprisingly, was a guitar tuner

Carl: I first got a (terrible) guitar back in 1980 but couldn’t figure it out so didn’t bother with it until years later and was just as bad then !!!!

++ Was this your first band or where you involved with any other bands before?

Karl: This was our first band.

++ Why did you choose the name Leopold Bloom?

Karl: As you probably know, Leopold Bloom was the centralfigure in the book‘Ulysses’ by James Joyce.
I am sure Carl chose the name and not me…I still thinkit’s of a pretentious name .Though there was a band call Josef K (quite liked them!)

Carl: I honestly don’t recall being responsible for the name but who knows!!

++ On Stephen Cudgels blog he mentions you released at least one song on a compilation? Which compilation and which song was that? Was there any other releases?

Carl: ‘The Convert’ was released on a compilation album released by rhythm recording studios in Leamington Spa entitled ‘The Rhythm method’. the song ‘Myself Willing’ was also released on a compilation album but I have no memory of who/why/where etc I dont even have a copy…maybe Stephen Cudgel could help with this one???

Karl: Likewise, I have no memory of this release.

++ What are the names of those 7 tracks included in your 2 demos? When were they recorded? And will there be a chance for some more of these songs to show up on myspace? Oh! And which is your favourite Leopold Bloom song?

Carl: They were ‘The Convert’ ‘Myself Willing’ ‘Wicked Winter’ (2nd demo)‘Hands & Eyes’ ‘In & Out’ ‘The Contradiction’ ‘Birthplace’(1st demo)
My favourite would prob be either ‘Underwater’ (unrecorded)or ‘The Convert’

Karl: Personally I like the ‘The Convert’ best. With the last note
of this we became Where Gardens Fall.

++ Was there any chance to get a record deal? At least the 2 songs I’ve got the chance to hear, are quite good!

Carl: There was never any record company interest but there were quite a few good songs that were never recorded in a proper studio as we didn’t have the money but these songs gave us a springboardto write the songs we did later with Where Gardens Fall.

++ How about gigging as Leopold Bloom? Any good anecdotes?

Carl: We used to play a local ‘Heavy Rock’ pub called ‘The coach & horses’ in a town called West Bromwich near to where we lived. It was an out and out rock pub which was totally at odds with what we were doing at the time we didnt endear ourselves to the locals very much especially when we did a 10 minute plus version of the Velvet Underground ‘Waiting for the Man’ improvised as ‘Waiting for the bar to close’ at the end of our set as bands had to keep playing until the bar closed.

Karl: I remember the first gig clearly. We played at Rowley Regis Sixth Form College and the set-list included: They Walked in Line, Ice Age and Shadowplay, all by Joy Division and our own songs, The First Man, Do You Remember, Free the Spirit and Going Away. The second gig was at some Roman Catholic community centre…we really shouldn’t have been allowed to play there

++ You mentioned me that it was with “The Convert” song that you saw it was about time to fold Leopold Bloom and start Where Gardens Fall. This song has a very dark vibe though, unlike most of Where Gardens Fall stuff. Where did the inspiration came for it?

Karl: This song was about a woman in pure ‘existential’ crisis. Her religion and her children had left her with no feelings at all. I suppose ‘you never to old to learn’ refrain comes across as very cynical?

++ The other song on myspace, is “Myself Willing”, which is much more of a guitar pop tune, much more upbeat than “The Convert”. I really enjoy this track! What’s the story behind it?

Karl: ‘Myself Willing’, for a change, now seems a lot more optimistic in it’s lyric. I remember that I really wanted to move from this damp ridden flat that should have been condemned years ago but when push came to shove, I had grown very attached to my environment and found that even living in a hovel had its pluses in relation to creativity. I lived in a nice high storey council flat during Where Gardens Fall period. Hence, the quality of the music was a lot better!

++ Also on Stephen’s blog he mentions that you were such a good showman, that you would do a few sort of Morrissey moves crossed with a bit of Michael Stipe! Any comments?

Karl: Certainly dont remember this…but there again

++ Alright, so what was for you the biggest highlight of being in Leopold Bloom?

Karl: This is perhaps the easiest question of all…just playing live and people enjoying it. WGF, tome wasvery grandiose, as near to a work of art that I have got…

++ You mentioned that you were influenced more from books than from music. So I’m wondering what are you reading nowadays? And if you have some sort of favourite book or author? Or a top five?

Karl: Top Five books…
Ulysses by James Joyce
To the LightHouse by Virginia Woolf
Madame Bovary by Flaubert
Ariel by Sylvia Path
And everthing ever written by Ian McEwan (sorry cheated there!)
At the moment I’m reading Graham Swift’s Memoirs but really looking forward to reading a book called ‘Me Cheeta’, check it out onAmazon…

++ Thanks again for this, a second interview! Anything else you’d like to add?

Carl: Leopold Bloom was our first band hence we just recruited ‘mates’ even if they were actually worse players than we were (and we were pretty bad)….that didn’t really workandas time went onso we learnt from that and approached Where Gardens Fall differently which was a much better experience musically.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Leopold Bloom – The Convert