Yet another very busy week for me thanks to my daytime job and friends/family visiting town. So I’ll share this week an interview I did back in 2011 for a Japanese fanzine called “Weekend Never Dies”  that was beautifully and lovely written and put together by Sayuri.

1. Many bands who have released from your label played at NYC Popfest 2011. What did you think about this year’s NYC Popfest?

Yeah, that’s really cool isn’t it? Must be that NYC Popfest people have good taste when booking bands! 🙂
Jokes aside, I think NYC Popfest was great. The lineup was really good, with strong headliners and treats from overseas. Compared to other years this one had the best dance parties for sure. I haven’t danced as much in previous years. So that’s definitely a plus. Also having the acoustic sets during the evening shows was a smart idea. My only complains would be about some bands canceling at last minute or some disorganized band where only one member showed up, but that is nothing to blame to NYC Popfest organizers. They did a FANTASTIC job, and I’ll definitely be there again next year.

2. Any favorite act?

I was very much impressed by Caucus live set, such a strong performance! From the bands I have never seen before I  liked Go Sailor, Persian Rugs, Tiny Fireflies, The Motifs and Days. And I always enjoy seeing Gold-Bears, Felt Tips and The Sunny Street, even though I’ve seen them a couple of times already!!

3. What was the most impressive thing at NYC Popfest 2011?

The most impressive thing? The 8 dollar beer at Santo’s Party House? That was crazy expensive for a beer!
Also the amount of international fans! It was really cool to see so many Japanese fans this year! There were French people, Spanish, Scottish, English, Canadian, Swedish, even from Singapore! That happens often in European Popfests, but not here in America. So that really impressed me.

About Cloudberry Records

1. Could you tell us the story about how you started the label?

Must have been January 2007 when I came across a little 3″CD for the first time. It was from a Spanish band called Bicicross. Immediately I got the idea that this format would be fantastic for single releases. After some weeks figuring out the packaging, I got in touch with my friend Andreas from the band Celestial and asked him if he wanted to be part of this new idea/project I had. And he said yes! And that was it, Cloudberry was born.

2. Releases of Cloudberry records are consistent in a way. How do you find and choose a band to release? Do you have any kind of criterion for selecting bands?

To be honest my only criteria is liking the band and that it fits in the style of music I release. That’s where the consistency comes from. Also for me bands are also friends, and not just some sort of business colleagues. So it’s very important the relationship we have. I don’t like working with complicated or demanding people. Oh! and a plus will always be if they are indiepop fans. Of course.

3. Do you have any ideal label or labels that you can emphasize with?

I’d say Fabulous Friend Records from Sweden, Heaven Records from UK and YAY! Records from the US. The reasons go from their aesthetics, their taste, and most importantly the passion behind them.

4. Did you have any hardships in running the label?

Sure, but nothing that hurts. Haters are going to hate, you know. People will always have something to criticise.  Though there was one time that I didn’t get to release a single because the band and me didn’t agree about the artwork. As of now, this band is one of the biggest bands in indie, not just indiepop, but indie in general!!

5. When and how did you first get into indiepop music? Did you have any friend who you could talk with about your favorite music when you were a student?

Interesting that you ask about it. After a year I moved to the US, when I was 18, I met my friend José. We both attended the same college. He was much more into music than me then I’d say, and my competitiveness kind of sparked a flame in me, so tried to know more about music. We had a very similar in music taste, even though he loved some tropical music. We started a band and stuff too, but that’s another story. During that time we started working too for the first time in our lives, and had money at last! We started ordering records from Spanish labels as that was the music we knew. Elefant, Subterfuge, Siesta. That stuff. I think it was the connection of Alaska y Dinarama with Elefant and Subterfuge that made us discover indiepop. Alaska is huge in the Spanish speaking world. So from there, ordering Berlanga CDs, or Pegamoides reissues on Subterfuge, made us discover a whole world of indiepop thru the catalog of these labels. Eventually I found out about Twee.net, the indiepop-list, and the Twee Folks group on Soulseek. The rest is history.

Sadly my friend had to move back to Peru many years ago. He was once part of a label called Plastilina. We talk often about music but not as much as before of course. Now he has a really cool indiepop band called “Eva y John” that I look forward to their first release!

6. What bands did you listen to when you were younger?

Before listening to indiepop? As you know I grew up in Peru and the influence of Spanish pop was big during the late 80s, early 90s. I tell you that my first concert was by a Spanish band called Christina y los Subterráneos. Really nice band. One of my favourite Peruvian bands when growing up was called Mar de Copas, they had some great jangly tunes. During those years I loved Duncan Dhu, Hombres G, El Ultimo de la Fila and Aerolineas Federales. Later I got into lots of  80s italo disco. But that it’s kind of cheesy isn’t it? But I love it still.

7. You also make a fanzine which looks so beautiful in terms of single color printing, a font of typewriting manner and authentic layout. When did you start making a fanzine?

Thanks Sayuri. I started my first fanzine back in October 2007 and released it in December that year. I was still in university then, I was a graphic design student, and saw the opportunity to do something Cloudberry-related as a project in one of my classes. Something that I could use both for school and the label. Then I got in touch with some bands I had released, I put together the 5-track CD compilation that came with it, designed it, print it, got some plastic sleeves for them, took orders and started posting them. So that’s how the first fanzine started. I got an A if you were wondering. 🙂

8. Do you think your fanzine plays a role of complementing or promoting the releases of the label?

Definitely, but more like complimenting. I say that because I usually do one-offs by bands, just one single and that’s it. So on the fanzine I believe we can further explore the bands, with an interview, and perhaps including a song on the 3″CD that comes with it. It would be fantastic if it was more of a promotion tool, but I find that many of the people that order the fanzine don’t really order the records or vice versa. It’s like a totally different crowd. It’s very strange but interesting at the same time.

9. Do you have any favorite fanzines?

Definitely yours and the Twee Grrls fanzine. So far this year they are the best I’ve read. From the past I’ve loved This Almighty Pop! and Woosh fanzines.

10. I was also impressed with a large amount of information of your blog. How do you separate things to put on a fanzine or on a blog? Do you think it’s important to manage both a fanzine and a blog?

Well on my fanzine I exclusively feature bands associated to Cloudberry whereas on the blog my I don’t give myself any restrictions, I just write about anything that comes up to mind. And that’s usually some obscure 80s band and sometimes about some personal experience concerning indiepop. So it’s quite different what you read on the fanzine and on the blog. And I don’t plan publishing online any of the stuff that appeared fanzine, I want it to be special for those who bought it.

If it is important to manage both a fanzine and a blog? I would say yes, at least personally it is. It’s really great to have a space to speak up and later find people that are interested in the same things as me. That exchange of information between readers, bands and me, is just fantastic. That’s why I think it’s worth to do both, or even one!

11. Could you give your recent favorite bands?

New up and coming bands? I really enjoy Evans the Death, Seapony, Tiny Fireflies, Cassolette and Pastel Blue.

12. Could you give us 5 best albums in your life?

1- McCarthy – The Enraged Will Inherit the Earth
2- Wedding Present – George Best
3-  Heavenly – Heavenly vs. Satan
4- Blueboy – Unisex
5- TCR- Paro, Siesta, Días de Fiesta

13. Any future plans?

Sure thing, more releases! Very soon I’ll release my 6th fanzine and I have many 7″s lined up. After Very Truly Yours 7″ I should be releasing Youngfuck and Nixon 7″s. There are also some cool Cloudberry Classics 3″CDs on their way! And hopefully I get to go to Japan to DJ someday in the future! That’d be a plan!

Thanks so much Sayuri for the interview.

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Chaps are sturdy coverings for the legs consisting of leggings and a belt. They are buckled on over trousers with the chaps’ integrated belt, but unlike trousers they have no seat and are not joined at the crotch. They are designed to provide protection for the legs and are usually made of leather or a leather-like material. They are most commonly associated with the cowboy culture of the American west as a protective garment to be used when riding a horse through brushy terrain. In the modern world, they are worn for both practical work purposes and for exhibition or show use.

Batwing chaps are cut wide with a flare at the bottom. Generally made of smooth leather, they have only two or three fasteners around the thigh, thus allowing great freedom of movement for the lower leg. This is helpful when riding very actively, and makes it easier to mount the horse. This design also provides more air circulation and is thus somewhat cooler for hot-weather wear. Batwing chaps are often seen on rodeo contestants, particularly those who ride bucking stock.

Hanley, Stoke On Trent. 1985. Let’s transport us in time. That’s where we’ll find The Batwing Chaps.

The information online is very small. I know a bit about them thanks to an old compilation done by Brucey on his Sideroom blog, and also thanks to a Japanese review somewhere online that likens them to Decoy Avenue.

There was a 7″ released in 1985 with the songs “I Won’t Change” and “Crave”. I’ve only heard the first one, and you can listen to this pre-C86 neo-acoustic gem on the MP3 linked here.

I don’t have the record but there’s a Facebook page created by fans for the band, looking also for more information about the band. On it, someone has uploaded the sleeve. From that we can learn a couple of things about this obscure band:
The record was produced by The Batwing Chaps
It was engineered by Stuart Pickering of Factory Records fame.
There are some names that I would assume are from the band members: Hanky P, Lamumba R, Phillips R., Rogers M. and Wagg R.
There are thanks to Karn and Bullet Records (this one is a metal label from Stoke I believe).The cover was designed by Robin.
The record came out on Pinnacle Records (catalog FM01). Safe to say it was a self-release?

Most interesting of all in this group is that someone posted a tape from 1982 that includes 4 other songs not included in the single. Sadly I can’t figure out the full names of the songs, though I guess the first one is “Imagination”. These were recorded in 1982 and they are copyrighted to Batmusic (!).

And that’s all I could find about them. Do anyone know anything else? Were there more recordings or releases? What happened to the members? Were they involved in other bands? Does anyone have “Crave” or a spare copy of their single? Would love to hear more!

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Listen
Batwing Chaps – Crave

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They are all on the CD…

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

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

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

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

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

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

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

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

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

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

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

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

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Listen
The Sheets – Crashing

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

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

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

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

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

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

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

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

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

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

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

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

The film Barberella

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

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

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

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

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

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

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

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

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

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

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

++ Were there any other recordings by The Catchmen?

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

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

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

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

++ Who were Taking Liberties Records?

A label we set up for this.

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

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

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

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

++ And when and why did the band split?

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

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

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

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

Film. Reading. Family. Running. Screaming

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

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

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

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

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Listen
The Catchmen – Everybody’s Looking for the Sun

2014 has been the quietest year for Cloudberry. That’s a fact. We’ve put out only a handful of releases this year and I think that by the end of the year there might be one or two more. Long are the days when I could put out 4 little CDs every month.

It has to do of course with a couple of things. Definitely sales have been down in general, for all indiepop labels. Also the bands I have a commitment to put something out have been slower than usual in getting ready all the elements needed. But in any case, in the pipeline, hopefully, we have the Shine! CD, the Pale Spectres 7″, the Don’t Cry Shopgirl 7″, a new fanzine, and the Parcel Post 7″ co-release with Kingfisher Bluez. Aside from that I’m working on another two Cloudberry Cake Kitchen CDs for next year. So please keep supporting the label because these are fantastic releases that need to see the light of day!

On a small note, on my trip to Germany I picked some copies of the new Secret Shine 7″ released on the new label Dreams Never End of my friend Andi. This is a superb release, something you expect from Secret Shine. I’m selling copies only to domestic (US) fans. This brings me so many memories, of the second time I was in Berlin and went to Secret Shine there. Even went backstage and met the band. That was such a good night.

Speaking of my trip, it was a great. I got such a good haul of records this time around mostly thanks to Uwe from Firestation who I visited the same day I arrived. I stopped by his place, as it has been the case in every trip I’ve done to Germany, and he already had a bunch of obscures 7″s that he had selected for me. Of course I had no clue what they sounded like but I trusted his taste. I will go through some of them here on my blog in the weeks to come. In Hamburg I got some records, very classy records that I thought I would never ever have, from my friend Andreas, and also dear Johanna took me to a couple of record stores were I bought some second-hand records for a good price. And again I bought some records I already have. My memory is starting to fail.

Then of course the best “indiepop” moment was the Throw That Beat in the Garbagecan! show. Oh dear, how could I explain it it?! I was there, almost at the front, next to the pogo, singing along and recording many of my favourite songs. They played so so many of them. 20 years after their last gig, one special night, and I went all the way to Germany to hear “Lotsi Go Go” or “Little Red Go-Cart” live. I wish I understood German, I wish I had understood whatever the band was saying in between songs. Everyone was laughing, they must have been great jokes. I will learn German though. I’ve decided it. Though I doubt I’ll get to see them play again, unless they come to NYC, which if a very very difficult thing, even impossible, to happen.

Afterwards there was a bit of dancing too. At night, at some sort of disco that looked illegal, in between abandoned buildings. How cool, Berlin knows how to play it cool. Jule, one of the girls that used to do Pop Kombinat Berlin and was part of Indiepop Days festival, was DJing that night. Many other friends that I haven’t seen for years were in the club as well. It was really lovely to meet them and catch up, even with all the high volume of the music. The club of course doesn’t play indiepop. Sadly for me. But I guess they need to keep it running, and the indiepop scene in Berlin is really tiny. So it was mostly post-punk, some 80s hits, some coldwave. It was fine. They threw some Belle & Sebastian and The Smiths here and there. I danced, the beer was really cheap. Jule was super kind though for playing a request of mine, The Names’ “Calcutta”. I danced this one with Silke, another great friends who was also part of the Pop Kombinat and Indie Pop Days. Damn. Feels like yesterday. Wish NYC had a night like this.

I must got home around 5 or so. I was supposed to wake up at 8 to catch an early train to Stettin, in Poland. But I didn’t wake up till 9:30. At 9:30 the train I was planning to take had left already. I had to take the next one. In the end it all worked fine. But that’s a story for another day.

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Feral: of, relating to, or resembling a wild beast—used to describe an animal (such as a cat or dog) that has escaped and become wild.

What do you know about an early 90s band called Feral from the semi-rural Crawcrook in Tyne and Wear?

I didn’t even know the existence of a place called Crawcrook.  A little story from wikipedia:
At the turn of the twentieth century, and in common with the nearby areas of Greenside, Clara Vale and Stargate, Crawcrook was a village with a vibrant coal industry. With major pits such as Emma and Clara, as well as several smaller pits, Crawcrook became a major coal mining centre. However the coal industry collapsed in the village during the 1950s and 1960s. As has happened to a number of other northern English villages employment in tertiary industries has replaced the coal industry. However, Crawcrook’s coal mining heritage is still evident; a number of the old miners’ homes still exist in the surrounding area, including Clifford Terrace and Morgy Hill near to Crawcrook’s main street, and the Simpson Memorial Home in nearby Barmoor. Old wagonways used to transport coal are also still present, although they are now maintained as footpaths. During the 1970s and 1980s, with the creation of the Kepier Chare and Westburn private housing estates, Crawcrook grew significantly in size and became largely suburbanised and is being used increasingly as a commuter village for the conurbation of Tyneside.

Wonder if I’ll ever pass by that area. I kind of doubt it. In that area I’d like to visit Newcastle of course. I would assume the band would play mostly there, and hang around in this much bigger city. It’s no surprise then that they signed to a Newcastle label, Lust Recordings. This was home of other bands we’ve been happy to showcase in the blog like the Lavender Faction or Aspidistra, as well of St. James Infirmary or The Keatons. Their one and only record came out in 1991, and it included three songs, “Change You Leaving”, as the sole A side, and “Bridge” and “Away” on the B side. The record had that shoegazy feeling of the early 90s. The catalog number was Lust 009.

The A side was produced by John Hughes and engineered by Dave Mander. The cover photography was also taken by John Hughes.

There is an insert included in the record that gives us a bit more information about this obscure band:
“Change You Leaving” was recorded at Hi Level, in Newcastle in July 1991. The other two tracks were bedroom recordings done in a portostudio, in their home in Crawcrook, Ryton, in June 1991.

On it we get the band members first names. Sadly no last names making it impossible to track them down on Google. We know that Arlo played guitars and vocals, Stu played guitars, Felix played the bass and Steve the drums.

And here again I hit a wall. There’s no more info whatsoever of this really nice but obscure single. But I’m sure some people out there might know a thing of two about them. Did they have any more recordings? Did they play many gigs? Were they involved with any other bands?

What else do you know about them?

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Listen
Feral – Bridge

Wow! It’s been like two weeks since the last update on the blog. I was on vacations and traveled to Germany for 10 days. Definitely one of the highlights was the Throw That Beat in the Garbagecan! gig, it was possibly the best gig for me this year. I never imagined I was going to see them.

But I don’t feel yet like going over my vacations here YET, I need some more time to process the good times, all the experiences, of my trip. I still haven’t gotten back to my regular schedule, I’m still jetlagged and waking way too early. I’m not used to it. In a way it’s good, at least today it has given me time to sit down and try to at least come up with a small update here.

I got a bunch of records also during my trip, many of them unknown to me, Uwe Firestation’s recommendations. I will go through them, maybe I find some interesting stuff that I’d like to recommend you here too. Bear with me. At the moment time is a bit precious for me as my daytime job is keeping me pretty busy. In the meantime, let’s get back on the rollercoaster and let’s dig some forgotten bands. This week, let’s find out a bit about Dan Dare!

Dan Dare is a British science fiction comic hero, created by illustrator Frank Hampson who also wrote the first stories, that is, the Venus and Red Moon stories, and a complete storyline for Operation Saturn. Dare appeared in the Eagle comic story Dan Dare, Pilot of the Future in 1950, dramatised seven times a week on Radio Luxembourg.The stories were set in the late 1990s, but the dialogue and manner of the characters is reminiscent of British war films of the 1950s. Dan Dare has been described as “Biggles in Space” and as the British equivalent of Buck Rogers. Dan Dare was distinguished by its long, complex storylines, snappy dialogue and meticulously illustrated comic-strip artwork by Hampson and other artists.

They took the name from the comic hero. They released 2 7″s. And then disappeared from the face of the Earth? What happened to the members of this band? Where did they go? Did they keep making music afterwards?

Their first release was on Meller Welle Produkte from Germany. It was titled “Top Quality EP” and it included the songs: “Hammerhead”, “Unfashionable”, “Laura” and “Martin Maverick”.

The back sleeve warns us “Dan Dare can seriously damage your baby’s health!”. The catalog number of the record is MEL 3 and came out in 1992. The record sounds like those days, pure guitar pop with influences from the C86 bands like The Wedding Present, and fitting along nicely with bands from their period like The Lovelies, Bulldozer Crash or the Gravy Train. All songs were credited to Henry/Barnes/Askew and they were recorded at Birdsong Studio in December 1991.

The second release came a year later, in 1993. I notice I need to buy this one! For some reason I thought I already owned it. Oh well… This time the then up and coming Elefant records put out their “Heavenmetal EP”. This time around there were 3 songs included: “Faceache”, “Yellow Yellow”, “Hello Cruel World”. On this release, catalog (ER-111) we get some credits: Cooper on guitars and vocals, Barnes on bass, Henry on guitars and vocals (and stylophone on Hello Cruel World) and lastly, Askew on drums and percussion. Sadly we don’t get to find their full names, maybe it would be easier to track them down online if that was the case.

The songs follow the same route of their first record though and they were also recorded at Birdsong Studio. The photos for the sleeve came courtesy of Virginia Calvo. Luis’ sister perhaps?

That same year, 1993, they participated in two compilations by Bliss Aquamarine. The first one was on the tape compilation “Peacock Blue” (BLISS 002). On it they collaborated with two songs: “Deceived” and “Mouth Almighty”. The second one was the tape compilation “Cerulean Sky!” (BLISS 005 and Grapefruit 007). On this second tape they contributed “The Man from U.N.C.O.O.L.”.

The next time we would see something from them would be 1997, on Meller Welle’s compilation tape “Caught by the Warmth” (MEL 17).  On it they also appear with three songs, “Disco Dwarf”, “Kill all Your Heroes” and “Another Cigarette”. Making a fast count, we have a total of 13 songs released. Enough for an album.

Keep digging. We find their old Myspace site. We find out they were from Scunthorpe in the UK. This town appears in the Domesday Book (1086) as Escumetorp, which is Old Norse for “Skuma’s homestead”, a site which is believed to be in the town center close to where the present-day Market Hill is located. It is the third city, after Lincoln and Grimsby, in importance in Lincolnshire.

On the Myspace site we can stream many of their songs, even other ones that I’m not sure if they were actually released like: “Shameless”, “Autumnfall” and “Old Four Eyes is Back”. Now we have 16 songs total. On GEMM then I find a tape for sale that I would dare is a demo tape. On it we have included “Shameless” and “Old Four Eyes is Back” and also another two songs not found anywhere else, “Henry Fonda” and “With A Another Angel”. 18 tracks now.

And this is where I hit a wall. Anyone know anything else about this great band? Had they been in bands before? Or after? Did they recorded (or released) any more songs? Would love to hear more from them!

Until next week popkids (with a longer post, promise)!

EDIT: Kim from Bliss Aquamarine has told me that at least one of the band members was also part of The Hoverchairs and that they also appeared on another tape compilation called “Burnt Sienna” (BLISS 004) with the songs ‘Nothin Bout You Baby I Like’ and ‘200 Miles’.

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Listen
Dan Dare – Hide and Seek

Some time ago I wrote a bit about a fantastic band from Wales that released the one 12″ single, the obscure and thrilling “Introducing Jane”. This single has been later re-released under the name of Johnny Dangerously on a CD. The band though had many more recordings, all of them top-notch and I hope one day they get released in some way. I was lucky that Justin Salmon, who was once part of the band contacted me and was happy to tell the story of this great band. Also he was so kind to share an exclusive song, “Ah My Luchia”! Hope you enjoy it!

The deBuchias story as told by Justin Salmon (guitar player from the band)

My brother came home from school with a tape that a girl called Jo had given him. It was her step Brothers band called “Ignition”, and a solo demo just marked “Johnny Dangerously”.

My brother played it all the time, and at the time, 1986-7 I was just learning the guitar as I had one for my 16th Christmas. I never had any lessons I just bought 3 guitar chord books. 40 Elvis’ greatest hits, A-Ha “Hunting High and Low” and the complete Beatles. As I grew up with Elvis playing I knew the songs really well, the same with the Beatles, and I never told Johnny but A-Ha too. I learned all the songs and was on my way to becoming an accomplished guitar player.
As the days rolled on I could hear this tape keep playing from Joel, my brother’s room and I was starting to get to know all the songs and was really surprised as at the time I think we had to hate whatever our siblings were into at the time. I was 16 and Joel 14. Then one day when he was out I made a copy of the tape and played it everywhere I went. I knew the songs inside out.

I asked Joel a few months later who this guy Johnny Dangerously was and he told me that this girl in school who fancied him gave him the tape because he had told her that I had a guitar. He then rang her up and she told us to come up the following evening and meet him if we were free.

So we wandered 2 miles to their house and were welcomed with open arms. It was very nice. So we met John Harrold Arnold Bramwell that evening and yes he got his guitar and played “You’ve got to hide your love away” by the Beatles and his new song, “Table and Chair”.

Then a couple of years later I left school and went to work as a postman here in my hometown of Monmouth. But all the time I was practising the guitar and set up my own band called “The Only One’s”, then we became The Paper People. We started off by covering Beatles’ songs and generally all our favourite and then I started coming up with some good songs and I sidereal that I too could write pretty good stuff. Here is one that I put on you tube recently:

This is the A side – Footloose and Fancy Free:
https://www.youtube.com/watch?v=w-bhkO8zRiw&list=UUOYAlwKskU71n4fdjf57MWg

Then the B side: Baby Jane:
https://www.youtube.com/watch?v=MdAaypW2ju8&list=UUOYAlwKskU71n4fdjf57MWg

This one I know you know – It’s an I Am Kloot Cover, “From your favourite sky”. There is also a live pic of us playing at The Hostery Inn:
https://www.youtube.com/watch?v=xvcEu0smcDs&index=3&list=UUOYAlwKskU71n4fdjf57MWg

I’m not the greatest singer as you are probably now aware.

Then one day my mum asked me if I could give her a lift to Abbergavenny and who should I see as we approached the town? Yes it was little John Bramwell with what looked like a huge guitar next to him. So I pulled over and went to have a chat. He was very nice and said he remembered me and invited me to come down and listen to his new band, The deBuchias in 3 weeks time. They were supporting a local band called The Partnership. Then in the next few weeks that passed my brother was going out with a girl from Abbergavenny who gave him a tape of this band called The Partnership. So I listened to it and loved it. How they never got a record deal I’ll never know, they were awesome. Then we found out that Mike Pritchard, the guitarist from The Partnership had left them to play with John’s new band. He was an amazing guitar player. He sounded similar to Johnny Marr from The Smiths. High end melodious riffs.

Then we heard that the guitarist from The Partnership had committed suicide by jumping in front of a train at Abbergavenny station.

Then by the time we got to the gig we could already see that something was wrong as there were groups of girls crying and hugging. I took a tape player to the gig to record it as I hadn’t heard any new stuff of his. So John went on with the band and announced the tragedy that was Mike’s suicide. I think he even joked and said he’s now left with a UK tour without a guitarist.

Then after the gig we saw him dancing with a short red haired girl who we later found out was his girlfriend. Flora Bradley her name was and she was a great singer. Then after we all sat on a table and I asked him for the chords to black and blue and he wrote them down on a napkin.

He was then telling us about the advertising his record company have spent on his forthcoming tour and he doesn’t have a guitarist yet. He was holding auditions at the moment but still haven’t found what he was looking for. Then my brother piped up, “get Justin in, Justin’s awesome”. or something along those lines and he said “OK come to 20 Ross Rd a week next Tuesday for my audition”. Wow were we all excited going back in the car.

So the first thing I do is play the tape on the way home in the car. I wasn’t great quality, but it was good enough for me to learn the songs. (don’t I ever wish I had a smart phone back then) Then I played it at home Monmouth noon and night, playing along with the songs and learning the chords and then writing my own guitar parts. So the evening arrives and I get to Abbergavenny and I am so very nervous. We went up to a bedroom and set up and he said lets start with this one, it’s called “Joe and Luchia”. It’s in D for you, but I’m using a different tuning. So he starts and I eventually join in with my riff and he says, “did you just make that up?”, I said yes and he said that’s good, remember that. Then after that we played “Ed deBuchia”, “On my life” and “Not like me at all”. I had learned the songs so well that I think I impressed. He then said ok, lets get a meet sorted for you to introduce yourself to the band and see what occurs yeh? I said yeah cool and we scheduled for the following week.

The rest of the band were from Cardiff. The drummer owned his own recording studio which was very handy as I would come to eventually play all my guitar riffs here. We recorded loads of demos down there. Audio matrix the studio was called. We arrived and John introduced me to Steve Perry on drums and Tig on bass. They were really nice guys, all a lot older than me. In face John was 26 at the time to my nineteen. So I lied about my age and said I was 23. Steve said to John before we started that a photographer from NME would be coming at 10pm to do the head shots.

So we are all plugged in and we start playing “Shot Amelia” which was sounding amazing with drums and bass and I was truly feeling it. We ran through all the songs we had done the week before and I had come up with a few new bits and pieces too and they sounded good to me at least. Then the buzzer went and the photographer guy was there and we went down into the photography studio beneath the recording studio to meet him. As he was setting up I heard him telling John that he wants head shots. Then Tig and Steve went over and the guys says to John, so it’s just the 3 of you, yea? Then to my surprise John says no Justin is in the band too. That was the first sign I had that I was actually in the band. We had the photos taken as you have a copy of them on your website.

Then we went on to tour the UK. I think The Green Room was my favourite gig as it was like a big cinema in there, but instead of a screen, there was us. Everyone was seated and I remember playing well that night as Flora told me later that John had said I was on form tonight…

Nottingham festival was also cool as half way through the set I saw my mum and brother about 500 yards away waving from the street. That’s a cool memory.

“Ah My Luchia” was probably my favourite deBuchias song as I wrote pretty much all the guitar parts. I think I recorded 7 over dubs with extra effects. But I have very fond memories of most of the songs which I am currently trying to upload on to Youtube, but I keep being blocked. As soon as they go up they get taken back down straight away.

One day we got to rehearsal in Cardiff and Tig didn’t show up. Then Steve said that he was leaving but he very much was still in. So Steve them played bass for a while on the recordings that we had half finished. We put an advert for a bass player but it just never happened. I wish I had this head on my shoulders back then as I’m sure I would have hung on a bit harder.John told me then one day to pick up our amps from the studio as we were dissolving the deBuchias. He said that we would continue to play as a duo from now on and I think we had just one gig at The Yorker in Nottingham and that was pretty much it. I had met a girl who I was besotted with who was going to University in September and it was mid August then. So I lost quite a lot that year. I had moved in with John’s step brother for the time I was living between Abbergavenny, Monmouth, Cardiff and Manchester. I left my job quite soon as we were gigging most nights and not getting home till 3 or 4 in the morning and I was starting work at 5am, so I left and went professional.

Although there are some really great moments in there which I will always cherish, but I got dumped with a grands worth of tee shirts and the bill for tee shirts for a band that didn’t exist anymore. I had moved back home for a while whilst I picked myself up for a few months and then met a girl from London and ended up moving in with her in Brixton. We were together for 4 years then I went back to Monmouth again and been here ever since.

I bumped into the singer from the Partnership, Paul Detheridge and asked him to be a guest on my radio show called Justin and Phils accoustic sessions. It was only local radio but he and many other local musicians came on.

I was in a band 15 years ago here in Monmouth with a guy who was an engineer at Rockfield studios. I was here when Oasis recorded the first three albums and as my mate Nick was engineer I had the chance to party with them which was also awesome. Again I wish we had smart phones back then. I saw Noel play the solo on don’t look back in Anger live, it was amazing. The band, The Dragonflies did quite well but the guy from the band Elbow asked him to build him a studio from scratch, so he left Monmouth and haven’t spoke to him much. He friended me on facebook not so long ago and typed, “Remember that night mate? Me and you were superstars with superstars”. Ah that was cool. Nick Brine his name is. If you check out your Oasis albums you should see his name on first 3. Mind you they called him Taffy a few times so it might say Taffy. Just because we live in Wales dosen’t make us all Welsh…

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Listen
The deBuchias – Introducing Jane
The deBuchias – Ah My Luchia

Good afternoon ladies and gentlemen, it’s just another week of August. I’ve been meaning for some time to catch up with some records I want to recommend you. It’s true that I don’t usually do this because I’m pretty biased when I review records, but it seems it has helped a band or two to sell some of their records and reach a new and happy audience. That’s a good thing isn’t it? Then I should doing more often. So, instead of doing an obscure band today from the past, let me go over a record I’ve listened a bunch this summer. Sounds fine to you? I hope so, because sounds fine to me.

“Flores de Europa” (Flowers from Europe), is the new album by one of Madrid’s finest bands: Los Lagos de Hinault. This is their second full length effort after “Vidas Ejemplares” (Exemplary Lives) released in 2011 on the same label, the Scandi-loving Fikasound Records from Spain. In between there was a split single alongside another Spanish band, El Faro. And earlier this year, in spring, there was another split with yet another Spanish band, the highly rated Doble Pletina.  Not forgetting of course the 3″ split earlier in their career with The Sunbathers released by yours truly.

After this fast recap of their discography, for those who don’t know, Los Lagos de Hinault are a duo conformed by Carlos Ynduráin and Matilde Tresca, though when I saw them live at Madrid Popfest they counted with support from a friend on drums. That was the one time I had the chance to catch them live and listen to fantastic songs like “El Correo del Zar” or “Las Chicas Rubias de Serrano” among others. I hope next year more festivals will give them a chance, how I wish to see them in NYC Popfest for example! Or the UK should take note too! Or Berlin?

Yes, I love them. If you think about it, there songs are the only ones I released in Spanish on Cloudberry (and of course the cover of the Fat Tulips by Zipper). That must say something. I love songs in Spanish, there’s a different style of lyrics that I really enjoy, a sense of humour that is very unlikely to be found in songs written in other languages. But of course singing in Spanish is a bit of a handicap, you reach a smaller crowd. It is definitely not true that bands from Spain can reach easily Latin America. Most of the times music from Spain stays in Spain. The day that this is fixed, there will be a bright bright future for indiepop!

Let’s go through some technicalities. Important ones. The album was recorded in December 2013 in the Caballo Grande studios in Barcelona. Cristian Pallejà and Ferran Resines produced the album whereas  Javier Roldón mastered it in Vacuum Mastering in  Zaragoza. All of the songs were written by Carlos but “A una Ventana Triste” that was jointly written by Carlos and Pablo Hernández.

In this new record, released in June, Los Lagos de Hinault present us 13 new songs. In general, the “lo-finess” of their earlier works have given to a more produced feel, nevertheless they haven’t lost any edge. The poignancy of the lyrics still carry, and powerfully so, the songs. The record opens with the small vignettes of daily life in “San Juan de la Luz”, with it’s summer evening feeling, the smell of sea salt, the soft crashing of Mediterranean waves and trumpets to close the song. Songs with trumpets are always winners!

So after that subtle start the record picks up with a more traditionally upbeat song. Los Lagos de Hinault are all about upbeat when at it’s best. And short, very short songs, usually getting to the minute and a half mark, and stopping right there. The second song follows that standard they’ve been crafting since day one. “Maria del (Mar Rojo)” is a funny title, I have a friend Maria del Mar, so I can’t help but think of her when this song plays. A short story of city life, one of those meaningless encounters that mean so much if you know what I mean.

I love the next song very much, “Futuras Licenciadas”. Of course I know Carlos is joking about it, but who am I to deny that I love girls in libraries wearing glasses. “I want to die condemned by Roman Law, and by the girls who study playing with their shoes”. What a beautiful song, sweet, fun, and ringing so true. Matilde’s backing vocals are delicious in this one.

The upbeatness continues and it seems there’s no way to stop it. “Poligono Industrial” opens with a superb line, “It makes me so sad the engineers and the bonsais”.  It’s not in any good person’s nature to go for Christmas shopping or just hang out at IKEA just for fun. That’s what it’s about, again Los Lagos de Hinault nails it with simplicity, they are true modern crooners of life in the city.

Talking about that, cities, I grew on one, and every time I’ve been in the outdoors, in the suburbs, in places far away from civilization, life has been close to miserable. I need this city life, even with all of it’s funny sides and the things that don’t make sense, to feel alive. I love though when someone can so smartly pinpoint these little details that make us angry, happy, sad, relieved, etc, in the city.

Social gatherings, having to hear other people’s pointless stories of great ambition, that’s what “Viajar No Lleva a Ningún Sitio” criticizes. With sarcasm it even gives us tips on how to avoid these people, why not just break the conversation asking, “is that my glass or yours?”. I reckon it will work.  Afterwards, song number 6 comes, with a play on words: “Panero y Yo”. This is a nod to a book I really hated when I was a kid, “Platero y Yo” by Juan Ramón Jiménez. I really didn’t enjoy it, wonder if I’d do now.

“Zumba”. I don’t know anyone that actually practices that. But I’d love to change the Zumba word for Yoga here in NYC. EVERYONE seems to be doing it, and I just don’t get it. I love how in this song Santiago Auserón from Radio Futura is being quoted, giving some advice to the Zumba enthusiasts. It doesn’t make any sense but it makes a lot of sense. This is the great humour and irony of Los Lagos de Hinault, even more ending the song by repeating “Semilla Negra“, on of Radio Futura’s classics.

We’ve listened already half of the album and we get into an introspective moment with “Los Faros en el Mar”, the lighthouses in the sea. But it’s an introspection into creepiness! so beware! A line like “if there’s something I don’t want to miss is seeing a daughter of yours turning sixteen” can tell you what this is about, right?!

Los Lagos de Hinault clearly are social observers, social critics, and they continue with this trend with their next song, “En un Hotel”. Like in other songs they tackle many “sins”, here they go on mocking vanity. A sort of useless vanity that a lot of people seem to strive for. Yes, who wouldn’t want to die with an English-speaking woman in a hotel? Right?

“Quemasangre” speeds up again the record, that by the way is not just a vinyl record. It includes a CD! So you can play it everywhere! Quemasangre are those sort of people that just get on someone’s nerves. Funny enough the character in the song has no clue about the meaning of it, and his girl keeps telling him he is like that!

I wonder by now if the album title has anything to do with every song. I start having a theory, as there are seven deadly sins, why can’t they be the thirteen traits that Los Lagos de Hinault want to point that are part of the nature of the European continent? Like ambition, vanity, banality, etc, etc, as they’ve been going through in every song? And as they are so ironic, instead of calling these Horrors from Europe, they just decide to call them Flowers? Could it be? Just an idea, but don’t let me get sidetracked.

“Metáforas que Hacéis” is a song that rings a bell to me. How many times I listen to these terrible songs on the radio (or more like I used to listen, I haven’t touched a radio in a long time). The terrible metaphors that make no sense at all, or obvious clichés, and suddenly these sort of people are celebrated, as original, cultured and groundbreaking. From the top of my head that awful Guatemalan singer called Ricardo Arjona comes to mind with his amazing metaphors, among them “come with me to be alone”. But of course, we could think of all the hipsters, and all of those who pretend by just using fancy words. Oh, just like that pretender who wrote the “Twee” book.

The record is about to end. Two more songs. Now it’s the happy-go-lucky number, “Simpático y vago”. A feel good song with it’s dose of reality, even if you are a simpleton, and you will blame television for not being smart, you can always offer love. Will the girl take him? I will guess that yes, she will. It’s too much of a happy song to have a bad ending!

“A una Ventana Triste” closes the album. After dissecting song by song, it feels sad to stop here. This song is the sad one of the album. Feels like the night is coming down. The day is over. Time to be melancholic. Time to think and meditate. Of course, that’s how the song feels. Los Lagos de Hinault always take even these feelings with humour. You can look out your window, try to be sentimental and no, suddenly there’s a big billboard there. See, life is not as simple as it appears, it’s definitely not Hollywood with it’s perfect landscapes and views. Everything is polluted, but at the same time, you need to be able to see the beauty (and the irony) in it.

The album is kaput by now. We can play it again. I’m at the office now so I keep streaming it on Bandcamp. But you should buy it here on Fikasound, because that will make yourself happy. It also includes a lovely pink totebag. It’s the first pink totebag I’ve ever owned.

Irony and wittiness, like a boy/girl TVPs of the 2000s, social critics, cultured in popular culture and the not so popular too, Los Lagos de Hinault have a very refined sense of humour, definitely not for the regular radio listeners out there, but if you want something a bit more challening that the Billboard 100, well, I won’t get tired of recommending you this album, especially if you can understand some Spanish. Beautifully crafted songs, in a lush packaged record, can you ask for more? Definitely one of the top releases of this year.

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Listen
Los Lagos de Hinault – María del (Mar Rojo)

Well, some updates this week on the website as some of you might have noticed. Of course you can now order the My Favorite record and I’ve slashed down the priced on the first 20 7″s we put out. I just need some space at home for future releases and even if I won’t make much money out of these sales, I prefer these records going to a good home. If you want to support, then buy 2 or 3 of them and then maybe a little money will come for me to fund new records in the months and years to come.

So that’s that. Secondly I’ve started taking some freelance work this month. Seems like label sales are not enough anymore for releasing new records. So there I am. A bit busier than before but with a very hopeful view on the future. Can’t leave all these gems I’ve been listening lately stay in obscurity, right? You have to keep going. At least a couple more years. I think the dream of 100 7″s by 100 different bands is far far away, but I think a realistic goal would be to make it to 10 years. Maybe organize a small farewell festival then. What do you say? Maybe host it in London? Or where else? Miami would be interesting because that’s where I started, but probably no one would go.

Thirdly, I need to start catching up with the new fanzine. It’s almost done but I haven’t been able to finish it. Also I have two CDs to design. So even though Cloudberry is quiet, I’m working. And I still go to the post office every single week, two, three times. And you know I keep blogging to keep everyone up to date.

Talking about being up to date, this Thursday here in New York I’ll head to Rough Trade to see The Clean. They played like two years ago here too but I missed them. Looking forward to them. I believe next week Joanna Gruesome is playing in town too. Might as well check them out. I always miss them in UK when I’m there. They’ve played twice at Indietracks and I have been doing something else that I can’t remember. I did catch them last year in Brooklyn and they were really good. At least with them I don’t feel bad not living in UK.

Aside from that it seems that the indiepop scene is a bit quiet, isn’t it? But I’ve been doing some discoveries.

I have to say that the songs that are on the soundcloud of The Fabulous Artisans are a delight. Best thing I’ve heard in ages! Really a beauty. I’m in love. The 4 songs, “However Much I Love You, I Love Lloyd Honeyghan More”, “A Week of Wednesdays”, “The Nearly Man” and “The Night I Met Tracey Emin”, are just top class. I especially like the first one. And this is just a “demo”! Crazy. These songs would make one of the classiest 7″s I’m sure. If you are reading this, all you Artisans, I’M HOOKED! I play it so very often these songs (especially now that my work computer doesn’t let me play CDs!).

Another interesting band is Glasgow’s Bodyheat. There are two songs in their soundcloud, “Silhouttes” and “Upside Down”. As anything that I feature in this blog, they are quality (ha ha!). Perfect jangle pop, luminous, shiny shiny, I enjoy these songs very much! Would love to hear more from them. Don’t you just love this sort of elegant indiepop? True, it’s harder to sell, everyone wants the raucous, fast paced, ramshackling sort of pop these days, but who cares about that, this is just beautiful and those who can’t see it (or hear it), are just plain dumb!

And of course the best news lately is that the Persian Rugs are releasing a record. Oh dear. I want to listen to that. If you haven’t yet heard the promo single for the album then you are lucky because I’m going to share the link with you. No, it’s not secret. But I’ll help you and save you some seconds of looking for it online. The song is called Bedhead and it’s a proper indiepop GEM! Right? Now you trust me. Enjoy it! Those fuzzy guitars at the end and Kaye’s voice are brilliant in this song!

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So a couple of days ago Joel writes me asking me about some songs by a band called Chrysalids. No, not the UK Chrysalids that had members of 1000 Violins. Not them. But an Australian Chrysalids. Have you heard about them?

My first encounter was many years ago with that compilation Peter Hahndorf from Twee.net made on CDR called The Sound of Glen Waverley. A compilation that I’ve written about many times here in the blog. It was a sort of an Australian Leamington Spa series.Well, it was supposed to be that. It was never released and as far as I know, Peter only gave some copies to some of his friends.

On that compilation this Chrysalids were included with a song called “Sunny Guitar Pop”. Guess what, the song sounded just like the title. It was bright, shiny, fresh, and proper guitar pop. Jangly and jangly. I liked it so much that I waited many years, maybe 5 or so years since I got the compilation, to finally find a 7″ by them on eBay. A double A side with the songs “Stop the Clock” and “Them”. And guess what, “Sunny Guitar Pop” wasn’t really “Sunny Guitar Pop”, it was actually called “Them”.

This record was produced by Chrysalids and Jeremy Smallhorn. Engineered also by Smallhorn and recorded at Pyramid Studios in Brisbane in 1987. The enigmatic artwork was made by Cathy Stephens. The record label was Mighty Boy Records and the catalog number was MB20047.

Thankfully inside the 7″ a insert is included. On it we know the first names of the band members. Cameron on drums and reverb, Alex on vocals and guitar, Graham on guitars and vocals, and Bruce on bass guitar. There are some special thanks but none of those names ring a bell to me sadly. On the insert some very high contrast black and white photos of each band member are included too.

That’s all I could gather from this fantastic band. But then googling I found out a more recent band called Generation Jones. Alex seems to have been part of this band, and I finally learn his last name: Waller. This band seems to have been closer to Wilco than indiepop, but there’s a small bio in the site that mentions a bit about the Chrysalids:

Brisbane power pop indie rock band. Three quarters of Ducks in Formation moved to Sydney and changed their name to Peso Kim, and with one eye gazing at their shoes and the other on the filthy lucre, released the single “Run for Cover”. One quarter (Alex Waller) stayed behind and formed The Chrysalids, releasing the “Texas” and “Stop the Clock” singles. Guitar pop rarely sounded this good. When Presidents Eleven split McDonald secured the bass playing services of Bryan Batley (McQueen and Waller partner in crime) in his new band The Spiny Norman Conspiracy. Just after recording the 4 track CD “Firm but Fair” (arguably the first CD release by an independent Brisbane band) Alex Waller jumped ship from the rapidly sinking Chrysalids and joined. Catherine Addow of Who’s Gerald (later Custard) was briefly on drums. Still stubbornly wearing stovepipes when the world went op shop and baggy, the rest of course was complete tragedy but that’s another story… various members are currently in oz indie group “Generation Jones”

Interesting. I could find on Youtube some stuff by Ducks in Formation. It was pretty melodic post punk, kind of like Echo & the Bunnymen. From Peso Kim I couldn’t find any of their songs online. But for me the biggest mystery is seeing that the Chrysalids released another single, “Texas”. I can’t seem to find anything about it! Because it’s listed before “Stop the Clock” I would guess it’s an earlier effort. “Stop the Clock” was released in 1987.

Sadly that’s all I could gather online about this band that made really nice songs. The three that I have heard are super. Perhaps you know a bit more about them and would like to shed some light about them? I’d love to know more and solve some of these mysteries about this obscure and fantastic band!

EDIT: My friend Andreas, such a good Sherlock he is, found out that the first 7″ of the Chrysalids, the one with “Texas”, was a split single released in 1986. It also included the song “Call Me”. This 7″ was shared with a band called Spiders and the Flys who on the B side appear with two songs: “Love Dance No. 1” and “Simple Needs”. It was released by Tombstone Records.

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Listen
Chrysalids – Them

I’m going to move onto happier things this week. Did you know a new Popfest has sprung out of nowhere in Lima, Peru? I assume it will be very difficult for people from North America or Europe to go there, but think about it, maybe you can make a good vacation out of it! You know, go to Lima, enjoy the best food ever, attend Lima Popfest, and then head to all the touristy places of Peru, from Machu Picchu to the Amazon, the Nazca Lines, Lake Titicaca and beyond.

The festival is taking place this October as a two-day festival. The 17th and 18th (ending of course at 5am on the 19th) the Embassy club in Lima’s downtown will host a bunch of bands from three countries: Argentina, Chile and Peru. This is a true achievement as the scene in South America, because of the big distances, is really fragmented. Also for those wondering, aside these three countries, perhaps only Brazil is the other country with a decent amount of indiepop bands. So all in all, most of the indiepop scene in South America will be represented. For a first edition, it’s quite a success!

I’ve dreamed about such a festival happening in my home country for years, so as soon as I knew my friend Daniel was starting to brainstorm and work on this project I offered my help. I suggested some bands that sounded pretty exciting, and came up with some ideas that I have seen in other Popfests and festivals I’ve attended. Also thought it’d be nice if some Cloudberry Records were given away to those 50 or so who are first to buy tickets. I was also happy to work on the look for this years festival, under Daniel’s vision, and created the flyer/poster for the festival.

Lima Popfest most importantly will introduce indiepop to a new crowd. Lima has some fans of course, and the best example is the good crop of new bands that have appeared like Eva & John (which Daniel is part), Almirante Ackbar and Gomas to name a few. They are familiar with indiepop. But their fans might not. So this is a true exciting moment, and I dare to say that the dancefloors will be packed and sweaty both nights stomping to the sounds of Talulah Gosh and The Wake! Why not!

The lineup of the festival includes three bands from Argentina: Diosque, Las Ligas Menores and La Ola que Quería ser Chau. From Chile we get two bands: My Light Shines for You and Trementina. And from Peru we get Eva & John, Almirante Ackbar, Gomas, Los Zapping, Submarino, Ciudad Gragea and Catervas.

This is not the first South American Popfest though. The first was hosted by Sao Paulo in 2012. But Lima feels a bit more international with the appearance of bands from other countries. Also I’ve noticed people coming from other South American countries on the Facebook attendees list. That is definitely a factor to be excited about. It means people in the region are willing to travel just to be in the middle of an indiepop party. It’s heartwarming.

At this point the tickets are not yet for sale but I’ve been told they will be next week or as the latest in two weeks time. There might be also another announcement for the lineup, one final one, that will definitely be a surprise for the Peruvian crowd. As I’ve been in close contact with the organization, I can tell this has been taking care of in a way I haven’t seen yet anywhere else. I’m very proud on how things have been developing so far so I can only hope that this Lima Popfest will be a triumph. And I wish too that there will be many more to come!

As soon I have more news, I’ll be sharing with you!

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But instead of going south for Lima Popfest, our obscure band comes from the north. From England most probably.

This week again I want to share another favourite song that Heinz has shared on his Youtube account. How many treasures does he has in his collection?! Happily he is keen to share with all of us.

So I heard this beautiful song “Cast a Stone” and I was hooked. The name of the band was just way too mysterious not to catch my attention: North by North West. Of course I get reminded by the classic Bats’ song, North by North. But no, they sound totally different. This is classic indiepop with girl vocals, so beautiful! In the vein of PO! or The Popguns. I couldn’t stop smiling the first time I heard it. It was just way too beautiful!

As it’s so usual with these obscure bands the information we have is way too little. The only clue we have is that this song is that it was released on a tape called “Shiver Me Timbers” that was released in 1991 by the always classy Rutland Records home of course of my beloved PO!

The catalog was RUTT 16. The tape was intended to show Rutland Records’ favourite bands from England and abroad. They couldn’t have them all, but they included these, according to the few lines written on the tape insert.

I’m having a bit of a hart time figuring out the cover artwork for this tape. Where does this illustration come from? Seems familiar. Any of you have a clue? In any case, as I was saying a bunch of fabulous bands appear on the tape, you can find classic bands like The Cudgels, The Spinning Jennys, Home & Abroad, White Town, or also some Aussie bands like The Honeys or the Widdershins. Germany is represented by The Jesterbells, whereas Spain with Aventuras de Kirlian. Favourites of mine Me and Dean Martin also appear. There ware also bands I’ve never heard before like Floorshow, The Shebeen, The Brickfields, Burton Diaries, Futile Coats and more. Time to investigate them.

North by North West also include another song on the tape called “This England”. I haven’t listened to it, and if you happen to have it on MP3, please share it! If it’s just anything close to “Cast a Stone”, I will love it.

So time for questions, who were North by North West? Where does their enigmatic name come from? Did they record anything else? Why didn’t they release anything else? Answers please!

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Listen
North By North West – Cast a Stone

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

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

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

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

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

++ And are you still making music these days?

Unfortunately not.

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

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

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

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

++ Was it your first band ever?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

++ Were you involved with music afterwards?

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

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

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

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

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

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

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

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Listen
Mexico Red – Colour Field