Thanks so much to Bernd Donner for the interview! I wrote about The Mirror Images some months ago and Bernd was kind enough to get in touch and clear my curiosity about his band. Enjoy!

++How are you doing? Still living in Essen?

Bernd is doing fine, but living in Recklinghausen, Jan lives in Christchurch, New Zealand and Marque is still living in Essen, but sadly not in Borbeck.

++ I’ve been to Essen a couple of times, so I’m wondering which are your favourite spots in town? What to visit? And if there’s a special dish in the region that I somehow forgot to try?

Madame Chocolat and Panic Room are good places for listening to live-music. The Rot-Weiss-Essen-Soccer-Stadium is the Sports-Olymp of Essen-Borbeck. If you tried Pommes-Currywurst, you tried everything.

++ What about Essen bands? I feel you are the only one I know, in the style I like. Would you recommend any other?

No.

++ So tell me about The Mirror Images! How did you know each other and what sparked you all to start a band?

We met back in 1983 in a youth club and started a band because there wasn´t another band in Essen to recommend.

++ Was The Mirror Images your first band ever? In what year did you form?

The Mirror Images were our first band. They were formed in 1983.

++ And where did the name The Mirror Images came from?

The Mirror Images were named after the song “Private Hell” by The Jam.

++ You already answered many of my questions and doubts on the comments section of my post about you. But I still wonder about some things, for example, what about your label? Who released your records?

The records were produced and released by ourselves in cooperation with Rough Trade.

++ And what about gigs? Did you play often? Which were your favourite gigs?

We played about 200 Gigs in front of 5 to 8000 People. Our favourite gig was in the “International Student Club” in Bern (Switzerland). The people went from traditional extreme phlegmatic to astonishing ecstatic in 45 minutes. So we got the double money and lots of beer, whiskey and chocolate-bars by the Organizer.

++ During those late 80s and early 90s there were many great jangly German guitar pop bands. Did you feel somehow part of a scene? Were there any bands of that period that you like?

We liked Marilyn’s Army, Stunde X and Family 5, just to name but a few.

++ And which bands would you say influenced your sound?

The Jam, The Who, Beatles, Beach Boys and Small Faces.

++ After splitting in 1993 you said you were together again in 97 and 2001. How come?

In 1997 we played our “Farewell-Gig” and in 2001 our “Revival Gig”. After that we didn’t have the time yet to play together.

++ I still have to listen to most of your songs, but it strikes me how good the song titles are. Seems you were very careful about it. Same as with the album titles and the meaning of some of the artwork. I feel there was a concept behind the band. Am I wrong? What was the intention?

You’re right we had an intention. We wanted to be more fresh, interesting, entertaining and inventive than the precocious and dusty rockists around us.

++ And so, which would you say are your favourite Mirror Images songs?

Like Nick Hornby taught us, we name here just a list of 5 titles:

1. Borbeck Riots
2. Once Again
3. Anyhow, It´s Now
4. The Distance
5. Why Do Only Kind People Die

++ What about unreleased songs? Are there any?

Yes, many. We made about 200 Songs in those years.

++ Also, I’m kind of curious, why write songs in English and not German? Any particular reason?

English is our musical native language.

++What would you say was the biggest highlight for The Mirror Images?

Touring through Germany in the late eighties and early nineties.

++ When and why did you decide to stop the band?

We didn’t really stop the band. We just didn’t have the time yet to play together any longer.

++ And what did you do after The Mirror Images called it a day? What other hobbies do you have?

We are doing our jobs and in our free time we are ambitious being idle.

++ One last question, would you do The Mirror Images all over again?

Never say never.

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

Not now.

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Listen
The Mirror Images – Eight Hands to Hold You

There was a time, back in 2002, when my world revolved around Spanish pop. We were young and foolish in a town that was neither Spanish or American. Half the day we spoke Spanish, the other English. We always tuned in the Spanish Pop  show on Sundays at 7pm at a Salsa radio station. We didn’t really care what the dj Kike Posada would play. He was awful. We just tuned in and called the station to request songs. Our little convenience store, a block away from the beach and Ocean Drive and the tourist flock, was almost empty by 7pm. Most people would leave the beach on Sundays around 6pm, thus from 6:30 to midnight (when our shift ended), we just restocked the refrigerators and the shelves. We had five hours to do that. It didn’t take us that much so we had time to be on hold on the phone trying to request some of our favourite Spanish Pop tunes. The show lasted a couple of hours. It was called Boom. And again, it was awful.

Jose, Chozzy for friends, and me, had been working at this convenience store for some time now. We were very young, like 17 or 18 when we started. We had hacked the audio system of the store and we had managed to connect a portable CD player to it. By far this store had the best music in Miami. Those days we played lots of Spanish Pop and more often than you could imagine people would recognize the songs and tell us stories about the days when they danced to them. Or when they went to see them back in their home countries. We shared the same memories. It was the music we listened on the radio back home when we were growing up. The 80s and the early 90s wasn’t c86 for us. It was the so called “Rock en español” were both rock and pop were bagged in the same tag.

We requested Los Nikis many times. The dj didn’t have a clue who they were. For me that was blasphemy. It was always like this: we requested a first song, he didn’t have it. We requested a second, he didn’t have it. We always felt bad with her secretary or the radio station operator, a girl with a Venezuelan accent, that by the third song request we would just stick to a song that had Alaska on it, most usually a Dinarama song. And then we would call again. And we’d request songs the stupid dj didn’t know. One could only wonder how he had any following in the city. It was always a mystery for us. He sucked and we deserved to have our own radio show. But we weren’t friends with Emilio or Gloria Estefan I suppose.

Our apartment was 10 blocks away from the convenience store and we were piling CD-Rs with bootlegs by Aviador Dro and rare tracks by Los Vegetales. We shared a big studio and payed 250 dollars each. We had for the first time in our life fast DSL internet and spent hours, days, researching and downloading Spanish Pop. And then we started buying what we could. It was hard and damn expensive. Since then I experienced the abominable postage prices the Spanish postal service charges. At some point I must have paid 100 dollars worth of postage on a single order. It was outrageous. Suddenly my drawers starting piling with t-shirts by Cola Jet Set, La Casa Azul, Fangoria and more. I was really into it.

I always thought it was going to be Spain the country I was to visit first in Europe. It didn’t turn out that way. For me it was obvious, I spoke the language, in high school I had read Cervantes, Quevedo and even Cela. I had watched every single movie by Alex de la Iglesia and watched la Liga religiously every weekend. I was a big fan of Raul, and Mendieta. And of course, the music I loved, and my favourite band, my beloved TCR, came from Spain. However I went first to Germany, Sweden, Denmark, Scotland and England.

Next weekend I head to Madrid. It will be my first time in Spain and I’m thrilled. The first thing that comes to mind is that song by Flash Strato “Madrid in Tecnicolor” that was kind of a hit back in Lima in the 80s. It seems in Spain it wasn’t that popular, just a handful knows about it. But that’s how things work, as my grandma would often say, “Nadie es profeta en su tierra.” Translated to English it is “No one is a prophet in their own land.” The quotation is from Christ himself in Luke 4, 21-30. Perhaps there’s a similar saying in English, but you see my point. That happened a lot with Spanish bands, many of them made a splash in Mexico or Peru, but not in their home country.

It was one of those dead afternoons at the convenience store that I would rediscover this gem. Carlos who worked at a garage a block away came with a couple of CDs for me to play at the store. They were Spanish pop, songs he would play back in Peru. He had been djing in Lima for a couple of years before leaving to the US. He was a bit older than me and remembered much better the 80s and the songs that were played during that time. He lend me his CDs, just for that afternoon. One of the songs was “Madrid in Tecnicolor”. Suddenly I had flashes, the song was very familiar and I even recalled the lyrics. It took me back to evenings stuck in the lazy traffic of Lima’s tight side streets. The cab driver reading his football daily paper with a half-naked woman on the cover waiting for the light to turn green. And the cassette radio, brand-less and black, playing some of these Spanish gems on the background.

I still don’t know where the name Flash Strato came from. Perhaps it has no meaning. The band was formed in 1980s by four chaps, Emilio Huertas (guitars), Enrique Bastante (vocals and guitars), Victor Martín (bass) and Toti Árboles (drums). They lasted only 3 years, saying farewell in 1983 with just two releases on their hands.

The first release was the “Cristales Molidos” single on Carnaby Records. This record also included “Fue tu Culpa” and “Búscame”. It was released in 1982 and it seems no one picked it up. It’s a shame, I love “Cristales Molidos”. It has some great jangly and upbeat guitars. But who knows, perhaps these days their records are sought after and pretty expensive. I don’t know. Would love to have a copy, but as said before, I already decided not to buy online from Spanish record stores. The postage prices are not right. But I will surely keep an eye for their records now that I visit Madrid.

The second release was “Madrid in Tecnicolor” (1983), a maxi-single, on Columbia. This is their ‘song’ and could have been an anthem of that era. Great melodies, power-pop melodies, jangly guitars and a fun and bouncy keyboard at the chorus. A very catchy song that for some reason not many cared for it in Spain when it was released. That’s why it is amazing to see the amount of Peruvians commenting on Youtube about this song. It’s hard to believe.

The band split just after releasing this record. Toti would join Alaska y los Pegamoides and Enrique, Seres Vacíos. It didn’t matter if they had good songs and two very strong releases. It didn’t matter if they had played gigs along Alaska y Dinarama, Paralisis Permanent or Gabinete Caligari, three big names of the Spanish Pop Golden Era. They were destined to be forgotten. But far away from the Iberian peninsula, in foggy and grey Lima, we pictured Madrid as a fun place, a place painted in technicolor, were no one could stop partying.

Many years later I will experience Madrid in Technicolor, were the parties go on past midnight until the next morning. I can’t wait. I’ll see you there next week.

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Listen
Flash Strato – Madrid en Tecnicolor

Now I can say that I’m up to date with Cloudberry after several trips to the post office this week. Cassolette 7″ is being pressed and the artwork for The Time Capsules CD is ready. This  long weekend (Monday is a holiday, President’s Day) The Deddingtons and the Tiny Fireflies/Lily of the Valley CDs artwork should be ready. I can leave to Spain without worries.

I do feel I haven’t taken care of the blog as much as I would have like to. There are plenty of comments I haven’t answered. Some bands have gotten in touch and I haven’t replied back. Shame on me. I haven’t conducted any interviews in the past two months. And that’s something that is unacceptable I think. But I’ll make up for it. I also would love to retake the indiepop book project, compiling this blog on in and paper. That’d be something. It wasn’t long ago that I met with my archaelogist (and Brighter fan) friend Brian in a bar in the Lower East side and he was quite inquisitive about this project. I do believe there will be some interest in it. I can see the point that my blog, as it’s articles are quite long, is more suitable to a print format than digital format I already use.

There is a very nice news coming from Japan. It seems there will be a Japanese edition for the Feverfew release, limited to just 125 copies. It will have an OBI strip and also the liner notes in Japanese. I seems it will also include the interview to Paul and Phil that appeared in the blog translated to Japanese and hopefully the lyrics to all the songs. I will try to get some copies of them, but can’t really promise much. I’ll keep you all updated.

For the past three months in NYC I’ve been attending to Mondo, the indie dance party that Maz from NY Popfest organizes. I’ve been very impressed on how packed his nights are. Yesterday was no exception even though the night moved to Manhattan for a one-off at Le Poisson Rouge. It usually happens in hipster-infested Williamsburg, at Cameo, a venue I really like. It was an odd night yesterday as there was some sort of hip-hop event at the top floor of the Poisson Rouge. It was said that Spike Lee and Vin Diesel were around. There was some character too called Grandmaster Flash that Maz was very excited about. He told me he was the grandfather of hip hop. Mind you, I don’t know nothing about hip hop. I really dislike that music. But anyhow, this Grandmaster guy told Maz that Mondo was a great party. And I can only agree with him. It is a great party. And I hope it keeps happening for years to come.

There are three DJs at the club and without hurting any susceptibilities, I hope, my favourite is Maz. He plays lots of indiepop staples and yesterday was no exception. We all danced to  Another Sunny Day “You Should All Be Murdered”, The Clean’s “Tally Ho” and The Pastels’ “Truck Train Tractor” among other tunes by Josef K, Summer Cats, Help Stamp Out Loneliness, Acid House Kings and Orange Juice. He has great taste. I know that for a fact, I mean, he has been booking fantastic bands to NYC Popfest the past 4 years! If it wasn’t for him I wouldn’t have been able to see Go Sailor, Days, Caucus, Gold-Bears and many others. I’m very grateful for that. And I’m sure this 2012 edition won’t be an exception, it will be thrilling again. I have already heard some “rumours” of bands playing this year and I can only tell it’s very promising.

Then there’s Miss Modular who, I learned yesterday, is originally from Miami. Just like Cloudberry Records. She mostly plays girl bands from 50s, 60s. I’m not much into that stuff, but now and then I can enjoy some Shangri-Las. It depends on my mood. This is the time when I like buying a new lager and talking with friends that are around. Yesterday it was catching up with Mark Olivan, who I met last year at NYC Popfest. He was the one who recorded on video most of the band’s performances during the festival, if not all! Great guy, and always very well dressed. At some point we were interrupted by some girls that were looking for boys clearly. One of them asked me about my Madrid Popfest t-shirt. Then she asked where was my accent from and what I was doing there. Then she was just “American” and said she couldn’t understand my accent. Funny. I guess I missed out her loving skills. It’s ok, I wasn’t interested!

And the third DJ is Kevington who I believe caters to the bigger crowd. This is the time where “This Charming Man”, “Boys Don’t Cry” and *that* song by Le Tigre get played. Usually this is also the time when most people get excited and dance. Not me. But that’s ok. I understand how a club runs and you need the mainstream songs. You need people to keep coming, and they do keep coming. It’s a compromise. So that works out perfectly. It’s fine with me. I do need to rest, I’m not that 18 year old anymore and can’t be bouncing to Altered Images all night long! No complains here, Mondo sells itself as an indie-dance party, not an indiepop party. So fine by me. I know what to expect and I don’t feel tricked when The Go Team is resonating through the speakers.

I haven’t timed the DJs but I think they change every hour and the party starts quite late, around 10 or 11. Im usually exhausted by 2am mind you, but I think it goes on until 3 or 4? Not sure. Anyhow, they make me happy. Listening once a month “C is the Heavenly Option” that loud is good enough for me. And if not, I can count them to play “Crush the Flowers”. They do play it every month. I think it’s Mondo’s anthem somehow.

Today, after 6 hour sleep and four pints of Hoegaarden, I woke up fine. Went to the post office and dispatched the last batch of orders. Went to the Manhattan and tried Burmese food for the first time. I tried Mohinga, which is rice noodles in fish soup. It was heavenly. Got me warm immediately even though it was not that cold today, just 6 degrees Celsius. It was spicy and very flavourful. Upon coming home the first record I picked for today was Truck Train Tractor’s “Starforce (USA)” 7″. I guess I was inspired by yesterday’s, or should I say today in the early hours, dancing to the Pastels song. But sure, this is not The Pastels track. I don’t have on vinyl the Pastels track. This is a totally different band, completely different, from far away. From Adelaide, Australia. Not from Glasgow. But for some reason back in the early nineties they decided to name their band after The Pastels. And suddenly I became very curious and asked myself: why?

The gold and yellow 7″ could well be an Ikea or a Best Buy ad. But it’s a Summershine release. Catalog number 032. Summershine, the Australian Sarah. A label that released fabulous bands like Tender Engines or The Rainyard. And they released Truck Train Tractor in 1993. The A side includes just one track, “Starforce (USA)” and it spins at 45rpm. The B side spins at 33rpm and has two songs “Away” and “Starting at the End Again”. From the three, the last one is the one I like the most. It’s fast, it’s punchy and the guitars sound like The Pastels!

The band was formed by Brett on guitar, Karl on vocals and guitars, Marty on vocals and drums, and Tim on bass and vocals. The cover art of the record was done by Gerry Wedd, who I believe is a surfer and also a ceramist and a potter. Looking around online it seems some of the band members went into bands like Terrance Dicks and Hermetic Music. But there’s not much information on them or what are they up to these days. The songs were recorded at ABC studio 521 (the couch potato set) in Adelaide, on the spring of 92. It was recorded without the use of any digital technology whatsoever.

And then there is. The biggest mystery. They thank Stephen Pastel on the record. So yes, this confirms that they took the name from The Pastels (I know i was obvious, but as a journalist you have to be 100% sure!). But how were they in touch? Old school letters? Or maybe Stephen had been in Adelaide? Or perhaps the TTT guys had been on vacations in Glasgow pre-Monorail times. Who knows. They were big fans. And that’s what matters. And I like Truck Train Tractor as a band name. What other Pastels song could be a good band name? Holy Moly?

And that’s all there is about this elusive band. I wonder if there’s any more songs by them. It seems this was their only release. Im sure they recorded more songs. I have a hunch that they did. What are they doing these days? Still making music? Would love to know more about Truck Train Tractor. If you know anything else, please share!

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Listen
Truck Train Tractor – Stating at the End Again

It’s being quite a long time. Two months? Something like that. Hope I was missed. I did post some interviews during the past weeks. Happily some bands remembered to send me their answers. Still there are plenty that haven’t. But that’s ok. Now I’m finally settled in New York. All my stuff is here. Last Monday the moving truck finally arrived and none of my records seem broken. That’s an achievement, isn’t it? I did pack them well mind you, I feel five years sending records overseas have taught me a thing or two. I’m the master of bubble wrap.

My computers are back too. And all the Cloudberry stock. There were plenty of orders that were delayed for this reason. All of them have been shipped or will be shipped this Monday. I appreciate the patience of everyone. From now on things will run smoothly as they used to be. I’ve finished unpacking everything. I do need new shelves, new racks, new furniture. But the “factory” is up and running again. I’ve supplied it with different size mailers, padding cartons, custom forms, etc. Blank CDs, paper, ink, you name it.

Cloudberry is excited as ever! There are many releases coming up. You sure know about the Cassolette and Nixon 7″s. Sure they were delayed due to me moving. It sucks a bit, I wished they were ready by now. That was the plan though, to have Cassolette ready by February. But logistics impeded me so. For once, I didn’t have an address until early January. So where would the pressing plant send the records?! Anyhow, bands have been understanding, I hope you two. So what’s going to happen is this: Cassolette 7″ is going to the pressing plant this Monday. Hopefully by late March it will be ready. Sounds good?

The Nixon 7″: It’s been mixed at the moment by Patrik Lindgren, and soon we’ll have some news. But it’s happening. And after that release there are a couple 7″s lined up. Can’t spill the beans yet! But do keep an eye on the Cloudberry page. Or the Facebook page? Both if you want to play it safe.

This weekend I’ve set myself to finish the first draft of the second Cloudberry Cake release, The Deddingtons. It already sounds great. Now it’s just a matter to make it look great. And it will be. Hopefully this fabulous album can go to the pressing plant by the end of February. I’ll keep you updated. And what about the Feverfew release?! There are just some pins lefts and the record is selling away FAST. So get your copy as soon as possible. I hate answering emails saying a record is “sold out”. Wish I could press infinite copies sometimes. But sometimes, you end up with a whole lot of stock sitting there too. And to move that from city to city, or wait, state to state, believe me, records are damn heavy. It is expensive to move a record collection.

But the weekend doesn’t end up there. There’s more to do. Much more. The past weekends I had been very busy, had my mum in town and it meant hopscotching all the way to the Statue of Liberty, Central Park, the Met and other landmarks in the Big Apple. One by one, from dawn to dusk. Actually, much later than dusk. This weekend I’m working in the new Cloudberry Classic. It’s a Japanese band for a change. It’s the fabulous Time Capsules! I interviewed them not so long ago, and you can check there my favorite song of theirs, a beautiful mix of Jim Jiminee, Pale Fountains and Jazz Butcher.

And then I’m bringing back to live the split 3″CD series with Tiny Fireflies and My Lily of the Valley from Japan!

Around the corner we have Madrid Popfest too. We are heading there. Very excited! And I’ll get to DJ one of the nights. It’s very exciting. I should start preparing the arsenal of indiepop hits!

Probably I’m forgetting more Cloudberry news and treats, but I’ll come back next week as I used to and keep you updating. Perhaps I can tell you about some of the gigs I’ve attended here so far? or the record store findings? or go back to memory lane? feels good to be back to this quaint blog!

Sunset or sundown is the daily disappearance of the Sun below the horizon in the west as a result of Earth’s rotation. The time of sunset is defined in astronomy as the moment when the trailing edge of the Sun’s disk disappears below the horizon in the west. The ray path of light from the setting Sun is highly distorted near the horizon because of atmospheric refraction, making the sunset appear to occur when the Sun’s disk is already about one diameter below the horizon. Sunset is distinct from dusk, which is the moment at which darkness falls, which occurs when the Sun is approximately eighteen degrees below the horizon. The period between sunset and dusk is called twilight. Locations north of the Arctic Circle and south of the Antarctic Circle experience no sunset or sunrise at least one day of the year, when the polar day or the polar night persist continuously for 24 hours. Sunset creates unique atmospheric conditions such as the often intense orange and red colors of the Sun and the surrounding sky.

One of the things that one could say I will miss from Florida are sunsets. I don’t. I don’t miss the heat. And I don’t mind the cold weather. It hasn’t been that cold anyways. But sunsets, I don’t know, I was never impressed by them. I remember back in Lima, lovers at 6pm bathed on golden glow., holding hands at the seafront, on top of the cliffs that face the Pacific ocean. The ice cream bicycle carts doing their last rounds before everything went dark. Kisses and fondling at the seafront. Sunsets. The sun hiding slowly in the murky and fish-abundant waters of Lima. Orange, bright orange, as orange cake mix.

I picked up today from my record boxes this 7″ by Watercolor Sunset. It was the first time I paid attention to it. I only got it some days ago as it was one of the few I was missing from the Sunday Records catalog.

Watercolor, also aquarelle from French, is a painting method. A watercolor is the medium or the resulting artwork in which the paints are made of pigments suspended in a water-soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.

I was terrible with watercolors. In high school and in college, I had such a hard time with them. I was never good with brushes and paint. I did enjoy the watercolor Caran D’ache pencils I had. That big tin box with hundreds of them. I didn’t mix them with water though. I would have made a mess, I know it. I stuck to painting as if they were pencils, I never took the advantage of their watercolor skills. It was dangerous, I could have stained my clothes, or someone else’s clothes. These days I stick to Photoshop. How convenient, how safe. Anyhow, I wouldn’t have been able to top Monet’s “Sunset at the Cliff in Etretat”.

So, did Jim Rao and Joe Maddalena had any painting skills? They did for music for sure. And perhaps they did long for sunsets in Connecticut. Days must be bleak there. It was 1994 when they joined forces to release their one and only 7″ under this name. It was on the fab Sunday Records, catalog number 033. Two songs, one on each side. Side A is “International Pop Star” and Side B is “The Mirror Tells a Joke”. Both pretty similar I’d say. Jangly and sad. Perfect for the winter, not for summer sunsets.

But Jim and Joe were pretty well known back in the mid-nineties and I’m sure many remember them fondly. Jim was of course Orange Cake Mix, a staple of American indiepop. Joe was in Monsterland and Names for Pebbles (their Motorway 7″ is a true favorite of mine!). I wonder how they met, how did they know each other. Whereas Monsterland would play many gigs, I doubt Orange Cake Mix played many. I wasn’t around at that time here in the North East, but something tells me it was like that. Or maybe Watercolor Sunset was before Orange Cake Mix and Monsterland? Where’s that indiepop indiepop family tree?

They had a third song, on the “The Amazing Phantom Third Channel” compilation 7″ released on Cher Doll (catalog 004), called “Hollywood Decay”. Never heard it. Would love to get my hands on that record. Doesn’t seem easy to track. Well, I haven’t tried yet. I will. But as Neutral Milk Hotel is in that record I feel it will be a wasted endeavor.  I need to clear my eBay saved searches to start. We’ll see.

In 2000 Sunday Records released a CD compilation called “Rolling Meadows Songs About Our Past Vol 2″ (which I don’t have; though I do happen to have two copies of Vol 1, go figure) and on that CD the A side of the 7”, “International Pop Star” was included. So enjoy this little and nice song, their B side, “The Mirror Tells a Joke”.

Where are Jim and Joe these days? Still making music? Did they record more songs under Watercolor Paintings? Did they play gigs? I feel akin to the Northeast area of the US since I moved. I’m very curious of what was happening around back in the day. For further reading I found this small piece on Connecticut’s bedroom pop scene.

Be back next week.

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Listen
Watercolor Sunset – The Mirror Tells a Joke

Thanks much to Andrew Withycombe for the interview! (and Bart Cummings for getting me in touch with Andrew!) Hydroplane was a fantastic band from the 90s. It consisted of the same members of The Cat’s Miaow and they were around the same time. They sounded different and did continue making music after The Cat’s Miaow’s demise. They had releases in great labels as Wurlitzer Jukebox and Elefant and well, it’s time to remember them. Enjoy!

++ Hi! How are things in Melbourne? Any exciting plans for summer?

Melbourne’s good. No big plans for the summer – mostly household chores, gardening and wrangling children.

++ It’s been 10 years since the last release of Hydroplane. What have you been up to since then? Will there be more Hydroplane songs some day?

I guess the rest of our lives got in the way – family, study, career, etc. I’ve played in other bands during that time. Huon and Driving Past, two other bands I’ve played with over the years, have released albums in the last couple of years. Hydroplane has a couple of unreleased songs coming out on a label called Fox Pop in the USA sometime soon. However, there are no plans to do any more recording with Hydroplane.

++ So the first question I ask myself is, why start a new band if you all were already in The Cat’s Miaow? What was the idea behind this band? Because there was an idea, right?

I’m not sure. I think psychologically it felt right at the time. It’s hard to explain really. Both bands were the same people. Musically either band could have played most of the songs. However, the writing and recording process for Hydroplane was a bit different.

Hydroplane was originally supposed to only release one record, which was a collage of song snippets and sound pieces. I think I felt there were enough ideas in that record to expand into an album. Drive-In Records, who put out the single, were into doing an album, so we did. I guess by doing that, I may have inadvertently broke-up the Cat’s Miaow. In hindsight, I think stopping then gave the Cat’s Miaow an evergreen quality, which I don’t think we would have maintained had we kept going. Also, it enabled us to neatly package nearly everything the Cat’s Miaow recorded on two CDs!

++ And why the name Hydroplane?

Hydroplane was one of the names Dean Wareham, from Galaxie 500, considered calling Luna before he settled on Luna. Seeing he wasn’t going to use it, we thought that we might as well.

++ Back then what’s your favourite place to hang out in Melbourne? And were there any other bands in town that you enjoyed?

I’ve seen so many bands over the years, and in so many venues, it’s hard to say. I think back then we were hanging out a lot at the Empress and the Rob Roy – two pubs in Fitzroy, and the Tote – in Collingwood, which are in inner city Melbourne. I can’t remember who was doing it for me. I know I used to see the Steinbecks, Sleepy Township and Long Weekend a lot. And I really liked Seaworthy, from Sydney.

++ How different was the recording process of Hydroplane compared to The Cat’s Miaow? And what about the creative process?

The Cat’s Miaow mostly followed the standard process of writing, learning and recording. Whereas, a lot of Hydroplane songs started as loops or drones, which were used to create a groove and inspire a melody and so on. I’d been doing stuff with tape loops and samplers since the late 1980s, when I got my first 4 track recorder. We did do a bit of looping with the Cat’s Miaow. However, I think hearing the first DJ Shadow album gave us the necessary inspiration to carry on.

++ And this is just my curiosity, how many instruments can you play? And how many do you own?

Not many and not very well. I have a couple of electric guitars, a synth, a couple of toy keyboards and numerous gadgets. I did have more but have either lost them, sold them or given them away.

++ During the time as Hydroplane, both Wurlitzer Jukebox and Drive-In, labels that helped and supported The Cat’s Miaow, were releasing your records. I’ve already asked Bart about the relationship with them and The Cat’s Miaow, but I’d love to hear your take on it Andrew. How important and how helpful was the relationship with these labels?

I can’t speak highly enough of those labels. Keith from Wurlitzer Jukebox and Mike and Jamie from Drive-In are the nicest people you could meet – great to hang out with, creative, supportive and a little crazy. Crazy I mean in a good way. For example, when Keith suggested doing a split flexi with Stereolab we thought he was crazy, but it showed how genuinely he felt about us and what we were doing. Mike was the same, always ready to try something new. Hydroplane would not have existed without Mike. The original idea for Hydroplane came out of a conversation I had with Mike late one night while we were watching a film about the Ventures, a surf instrumental band from the USA, from the 1960s, on tour in Japan. The photo on the first Hydroplane single is an image taken from that film – it’s supposed to be the mysterious “Hydroplane”. Ultimately, if the Cat’s Miaow, et al ever had a profile, it’s mostly because of those guys. However, I should also mention Clint Barnes from 4 Letter Words, and Tim Adams from Ajax Records – Tim used to sell our cassettes back before we started releasing records.

++ And another question where I’d love to know your opinion is, why the hell didn’t Australian labels pick you up?

We never really tried to do anything with an Australian label. Our business model wasn’t really suited to what was going on here at the time – we rarely played, we recorded at home, were ‘Lo-Fi’, etc. Anyway, we were internationalists. We were inspired by the K Records International Pop Underground.

++ And it’s not like you were very obscure or anything, you were once in the Festive 50 of John Peel no less! So I find it odd. But yeah, how was that? Being in the Festive 50? How did you find out you were featured? And what was your reaction?

I think it was either Keith from Wurlitzer Jukebox or Mike from Drive-In who told us that we were in the festive 50. At the time John Peel was featuring a lot of stuff that Wurlitzer Jukebox was releasing. However, I don’t think being in John Peel’s festive 50 made us any more popular or transformed into more sales. It was exciting and did seem prestigious, but I think it was only something that really mattered to a few die hard indie music followers. The festive 50 has probably taken on legend status, particularly since John Peel died. So it probably makes us seem bigger than we actually were. Nonetheless, it’s definitely a highlight probably only matched by the Cat’s Miaow’s first Drive-In single going top ten in Rolling Stone magazine’s alternate chart back in the early nineties.

++ Was that your biggest highlight? What other highlights would you say happened during the run with Hydroplane?

As far as media recognition, and getting a bit of air play on BBC Radio One, the festive 50 was a big highlight. But as much as it sounds a bit clichéd, I think just being able to keep putting out records for as long as we did was a highlight, as well as getting to know some really great people.

++ And did you play any gigs at all?

We played a few parties. Playing live was never a priority; but it was nice to occasionally play for friends. For example, when Keith Jenkins came to Australia, he requested we play. I hired a room at The Tote in Collingwood and organised a show. Hydroplane played, off course; Huon played its first show; and I think from memory Upstairs was the other band.

++ You released two 7″s on three labels I know nothing at all. So I was wondering if you could tell me a bit about them and how did you end up releasing with them, “Liquefaction Empire”, “Bad Jazz” and “Little Prints”?

Liquefaction Empire and Bad Jazz were labels based in the UK. They were run by two brothers. They were big fans of Wurlitzer Jukebox. I think that’s how we came to work with them. Bad Jazz also did some co-releases with Drive-In. The second Hydroplane album came out on CD in the USA on Drive-In and LP on Bad Jazz in the UK. Little Prints was an off shoot of Drive-In. It might have been like a 7 inch singles club or something. I think it only released one or two singles.

++ And what about the release on Elefant? They are quite a big label these days and I believe in the late 90s they were already making themselves a name. How was that experience? Ever been to Spain by the way?

Elefant was great to work with – very professional. I think that release was part of a seven inch singles club as well. I don’t know how we came to do that single – possibly because of the “success” of the single with Wurlitzer Jukebox.

++ You wanted to release just one 7″ when you started. But then you released many records. How come did the band evolve to be so prolific?

At the time we lived and breathed music – apart from going to work, our lives seemed to basically revolve around just seeing bands, playing in bands and recording and releasing records. So if it wasn’t Hydroplane, it would’ve been another band.

++ Many singles, and three albums. Do you have a favourite song of yours?

Nothing in particular – maybe ‘Stars’ from the second album or ‘Song for the Meek’ from the first album.

++ You have songs called “International Exiles” and “We Crossed The Atlantic”. It seems there’s a longing to be abroad, am I wrong? What are the countries that you’ve liked the most? And have any of them inspired you for making songs?

No, no really longing to be abroad. To be honest, a lot of Hydroplane songs are about being in Australia. Nonetheless, some songs are about overseas. The songs that do mention overseas locations are usually about us being there. For example Bart wrote “Wurlitzer Jukebox” after we were in the UK. We were visiting Keith from Wurlitzer Jukebox during some un-seasonally cold weather. There was a lot of snow and we literally froze. “We crossed the Atlantic” is a cover. It was originally recorded in the 1960s by an Australian singer songwriter called Pip Proud. I liked the song, so we covered it. “International Exiles” is about the Cat’s Miaow. Basically, it’s a celebration of our international success!

++ And the title for that album of yours, “Hope Against Hope”, it always made me think what did you mean by it. Care to unveil that mystery for me? 🙂

Bart titled that album, you’ll have to ask him.

++ What about covers? You made a couple? Even one from The Cat’s Miaow! If I ask you today, what cover would you like to do that you never got around doing?

We did record a few covers. I don’t think there where any songs that we wanted to cover that we never got around to recording. We didn’t keep a list of songs we wanted to record – choosing them tended to be more organic.

++ And what about the artwork for your releases? Where do all those great photographs came from?

Some we borrowed. Steve Crushworthy, who did the design for the second album, as well as some of the Cat’s Miaow sleeves, took some. And the rest, we took ourselves.

++ On the Munch video compilation you contributed with a video for “Completed Extract From The Previous 7″”…

I’d forgotten about that video. I think it’s footage of us playing at a party in Dave Harris’s backyard. Dave was the guy behind the Munch video compilations.

++ So when and why did you decide to stop? What did you do after?

I don’t think there ever was a conscious decision to just stop. It was just a case of other interests and commitments taking a higher priority and making it harder to write and to get together. Moreover, geographically we started to spread out a bit. Although, I guess if we decided to get back together, we could do it via a wiki or email or something, on our tablet computers.

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

I have two children who seem to take up a lot of my spare time. Other interests include gardening, tending poultry, home maintenance, and home brewing – mostly beer, occasionally ginger beer.

++ Thanks so much Andrew, I do have one last question. What about flying in a hydroplane? Ever been on one? 😉

Unfortunately, no.

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Listen
Hydroplane – New Monotonic FM

Thanks so much to Koushi Ono for the interview! The Time Capsules were active during the 90s and these dayes Koushi goes under the name Alvysinger. This is great pop in the vain of Pale Fountains, Jim Jiminee or The Jazz Butcher. Well worth the listen. Please enjoy!

++ Hi Ono-san! First of all thanks so much for being up for this interview. I know these days you are in Alvysinger but many years ago you had a wonderful band called The Time Capsules. What would you say are the main differences between them?

小野さん、こんにちは！まず今回のインタビューを引き受けてくださり本当にありがとう。最近あなたはAlvysingerとして活動していますが、数年前The Time Capsulesという素晴らしいバンドを組んでいましたよね？大きな違いは何か説明してくれますか？

First, I would like to express my thanks for your taking interest in a kind of obscure band The Time Capsules. I am now pursuing my music career as “Alvysinger.” Although the name is changed, the spirit is just the same as The Time Capsules. It is true that the taste may be more personal because “Alvysinger” is my own solo project.

まずは、誰にも知られていないタイムカプセルズに興味を持ってくれてありがとう。僕は今、アルヴィシンガーとして音楽活動をしている。アルヴィシンガーはタイムカプセルズから名前を変えただけでスピリットは変わっていない。ただ、今は僕一人のプロジェクトになってしまったので、以前よりも個人的な内容になっているかもしれないね。

++ So let’s go back in time, to the 90s, that’s when The Time Capsules start, right? How did the band start? Who were the members and how did you know each other?

では90年代を振り返りますが、The Time Capsulesが結成されたのはその頃ですよね？どのようにバンドの活動がスタートしたのでしょうか？メンバーにはどんな人がいたのですか？どのように知り合ったのでしょうか？

The founding members were Koushi Ono (guitar, vocal) and Takehiro Uemura (guitar, synthesizer). In the summer of 1996, the band started with those members, college students at that time. We had been classmates at high school. We had entered different universities, but we had great time talking about Johnny Dee when we met again during the summer vacation. We had found ourselves being good friends and respecting each other. Then, we realized our tastes for indie music totally fit together. So, don’t you think it is good time to start the band?

バンド創立メンバーは、小野剛志（ギター、ヴォーカル）と植村岳浩（ギター、シンセサイザー）。１９９６年の夏に、当時大学生だった小野と植村の二人で結成した。僕らは高校の同級生だった。別々の大学に進学したが、夏休みに再会した時に日本の偉大なネオアコバンド「ジョニーディ」の話で盛り上がったんだ。僕らはとても仲が良くて相手をとても買っていた。親友とマイナーな音楽の趣味までぴったりあったんだからこれはもうバンドやるしかないだろ？

++ And what about the name? Where does it comes from?

バンド名について聞きたいのですが、バンド名の由来は？

We didn’t care about the music scene. We just wanted to record good music. The band was named after our hope that somebody might dig it up and listen to it somewhere and someday. Let’s put this moment in the time capsule! That was how we were feeling when we named the band. When we grew up, however, it sounded a bit too young and green, so we didn’t like it any more. That’s why I changed the name to “Alvysinger.”

僕らは音楽シーンなんてどうでも良かった。ただ良い音楽を録音しておきたかったんだ。いつか、どこかで、誰かが掘り起こして聴けるように、今この瞬間をタイムカプセルに閉じ込めよう、そんな気持ちで名前を付けた。大人になったら、それが少々青臭すぎて、それで嫌になってアルヴィシンガーへと改名したんだけどね。

++ And by the way, if you were able to travel in time, in a time capsule, when and where in time would you go?

ところで、もしあなたがタイムカプセルで時間旅行をできるなら、いつどの時点に行きたいですか？

I would like to fly back to the time when we formed The Time Capsules. It was totally a fun. We learned how to create music together, dreaming of a bright future. That was how we were. If we had been more ambitious, we would be successful. If I could go back to those days, I would spank them and make them work harder. J

結成当時に飛んでいきたいね。それはもう楽しかったからね。作曲について二人で勉強して、輝かしい将来を夢みていた、そんな時代さ。僕らがもう少し上昇志向があったら成功したかもしれないね。もしもそのころに戻れたら二人のケツをひっぱたいてもう少し努力させるさ（笑）

++ On your Alvysinger myspace you wrote: “we were too young to overcome various temptation, video game, mystery, horse racing, and we had been crazy about idle talk in those days”. So which were those temptations? What video games did you love? Did you ever win at horse racing? And what’s idle talk?!

アルヴィシンガーのマイスペースではこう書いていますね。「僕らは若すぎて様々な誘惑に克てなかった。テレビゲームやミステリー小説、競馬…そして当時はくだらない話題でおしゃべりするのに夢中だった」と。このうちどの誘惑に負けたんですか？好きなテレビゲームは何でしたか？競馬で勝ったことはありますか？くだらない話題とはどんなことですか？

This is exactly the reason why we didn’t make it. We lived far away (about 800 miles) from each other, so we only worked together during long vacations. Of course, we worked separately sometimes, and sent demo tapes to each other, but basically we were lazy and crazy about pleasurable pastimes. My favorite video games? I was fond of playing anything: Nintendo, PlayStation… whatever. I would buy any newly released game. Especially, I was crazy about Biohazard (Resident Evil), Dragon Quest, and Derby Stallion, for example. I loved detective stories, read lots of manga, and watched many movies. Every weekend, I went to horse racing. I only picked a long shot, so I didn’t win every week, but when I won, it was a jackpot. Like this, I spent my undergraduate days just hanging around. I was a typical Japanese college student. And what’s idle talk? It was literally idle talk, which is empty and produces nothing.

まさにこれが成功しなかった理由さ。僕たちはとても離れた場所に住んでいて（およそ800キロ）長い休暇の時しか二人で活動できなかったんだ。もちろんそれぞれがデモを作って送りあったりもしたけど、二人とも基本的に怠け者でさ。楽しい遊びに夢中になっていたんだ。ビデオゲームなんて当時はなんでも好きだったね。任天堂もPSもなんでも。新しいソフトが出れば買っていたし、バイオハザードやドラゴンクエスト、ダービースタリオンなんかに夢中だったよ。ミステリー小説も大好きだったし、漫画も映画もたくさん見たね。週末は競馬三昧。僕は大穴しか買わないんだ。だから毎週当たるわけではないけど当たったらでかかったね。当時はこのようにほとんど時間を遊んですごしたんだ。健全な日本の大学生さ。アイドルトーク？そのとおり無駄話の事だよ。

++ On the Time Capsules’ recordings I can notice the influence of many great guitar pop bands like The Pale Fountains or The Jazz Butcher. What were your favourite bands? Any Japanese bands that you love and would like to recommend?

タイムカプセルズの音源では、ペイルファウンテインズやジャズブッチャーといった多くの素晴らしいギターポップバンドの影響を感じます。好きなグループは何ですか？日本のバンドでおすすめはありますか？

Yes! Let’s get down to business.J At the beginning of our project for The Time Capsules, I didn’t know The Pale Fountains or The Jazz Butcher. I wanted to produce “evergreen” songs like Burt Bacharach or the Beach Boys. I just created music as I wanted and sang as I liked. As I listen to it now, I agree that it surely sounds like The Pale Fountains or The Jazz Butcher. I love their music and I admit that I was influenced by them, but it is not that we tried to become like them. My favorite guitar bands are: The Pale Fountains, The Trash Can Sinatras, The Wind (Tan Sleeve), The Hang Ups, North of Cornwallis. My favorite Japanese bands are: Johnny Dee, SUGAR BABE, Fishmans, Uchoten, Original Love. Among the Japanese bands these days I like Petrolz (http://www.youtube.com/watch?v=WiNL-uzJbdk) and Kimyo Reitaro (http://www.youtube.com/watch?v=NO0-z36FrNI&feature=related ). I should mention my favorite musicians: Burt Bacharach, Alzo, Lane Stainburg, Tsuyoshi Shimoda, Kiyoshiro Imawano. I don’t listen to guitar bands very often. I like to listen to songs produced around the year of 1976 when I was born, for example, AOR, soul music and acoustic swing.

イエス、そろそろ音楽の話をしようか（笑）タイムカプセルズの初期にはペイルファウンテインズもジャズブッチャーも知らなかった。僕らはエヴァーグリーンな曲を作りたかった。バートバカラックやビーチボーイズのように。思うように曲を作り、好きなように歌って後で聞いてみたら、なるほどペイルファウンテインズやジャズブッチャーに似ているね。それらは大好きだけで影響も受けたけど、彼らになろうとしたわけではないよ。好きなギターバンドは、The Pale Fountains、The Trash Can Sinatras、The Wind (Tan Sleeve)、The Hang Ups、North of Cornwallisなど。最近気に入っている日本のバンドはPetrolzと奇妙礼太郎。最近あまりギターバンドは聴いてないな。生まれ年の１９７６付近に制作されたものを好んで聞いている。ＡＯＲとかソウル、アコースティックスィングなんかをね。

++ So did The Time Capsules get to release anything? I heard there was a cassette release?

タイムカプセルズで何かリリースした曲がありますか？カセットリリースがあると聞きましたが。

Only “All for Our Tears,” which we released as cassette tapes for ourselves in 2000. We had no choice because we didn’t get any offer.

2000年にセルフでカセットリリースした”all for our tears”だけだよ。どこからも声がかからなかったからね

++ How many songs did The Time Capsules record? Care to list them for me?

タイムカプセルズでは何曲ぐらい録音したのですか？リストにしていただいてもよろしいですか？

We didn’t record so many complete songs. We included all songs we want you to listen to in “Touch.” As for other songs, we should keep them between Uemura and me.

そんなにたくさんの完成曲は無いよ。みんなに聞かせたい曲は全て”タッチ”に収録した。残りの曲やスケッチは俺と植村の心の中にしまっておくよ。

++ I would say that my favorite song of yours is “Small Trick You Boy”, it’s fantastic! Care telling me the story behind the song?

私の好きな曲は「Small Trick You Boy」です。これは素晴らしい。この曲の裏話を聞かせていただけますか？

Thank you. We recorded this song as a B-side of “All for Our Tears.” We intended to make an up-tempo vigorous song. Those days I was fond of Jim Jiminee. A female voice you may hear singing in unison is my wife now. All of us sang together into one microphone… it was really a fun to record this song.

ありがとう。この曲はAll for Our TearsのB面として作ったんだ。早くてガッツのある曲を作ろうと思ったのさ。当時ジムジミニーが好きだったからね。ユニゾンで歌ってる女性は僕の奥さん。みんなで一本のマイクでコーラス録音したり、楽しかったな。

++ Also there was a CDR called “Touch” with 8 tracks. It seems sold out now. Who were the Blue Lambretta label that released it? And what can one expect from this CDR? Will there be more copies anytime soon?

８曲入りの“Touch”というCDRもありますが現在は売り切れ状態のようです。このCDRをリリースしたBlue Lambrettaというレーベルはどういった方々なのでしょうか？このCDRはどういうものですか？いつか再発される予定はありますか？

This Blue Lambretta is a private label owned by Thee Windless Gates. They kindly offered to release us on the label. In fact, I cut discs and ship them. Well, it’s a so-called self-release.

このthe Blue Lambretta labelは、Thee Windless Gatesの個人レーベル。今回焼印を押してもらったんだ。実際に盤を作ったり、発送したりは僕が行っている。ま、セルフリリースだね！

++ What about the compilation “Airport Terminal 01”? I know you contributed to it. When was it released? And who made this CD? Which other bands are on it?

“Airport Terminal 01”というコンピレーションについてはどうですか？あなたも曲を提供していますね。リリースされたのはいつですか？このCDを制作したのは誰でしょうか？他に収録されているバンドにはどういった方々がいますか？

“Airport Terminal 01” was released on Airsport label in September 2004. This label is a music division of the design company (http://www.on-airs.com) presided by Atsushi Ito in Nagoya. Uemura and I were introduced by Tsuyoshi Shimoda and had a chance to join the compilation project. Johnny Johnny’s “Still I Always…” is a great number. I am proud of our “Call me up” as a nice sprightly number.

２００４年９月名古屋のデザインラボＡＩＲＳの音楽レーベルＡＩＲＳＰＯＲＴからリリースされた。レーベルを主宰するのは伊藤敦志さん。僕らは下田剛さんの紹介で参加することができた。johnny johnny: Still I Always…はグレイトナンバーさ。僕らの”call me up”もナイスな疾走ナンバーだと自負している。

++ What about gigs? Did The Time Capsules play many? Any particular that you are fond of?

ギグはどうですか？タイムカプセルズで演奏を行う機会は多いのでしょうか？特にお気に入りのギグはありますか？

I don’t play gigs. It is a very rare case, but I performed together with TWG at the event called MTMR in Kyoto last September (in 2011). I’m trying to find an impressive way to express my works. My live performance (singing with playing the guitar) is not so enjoyable for the audience, I think.

gigはやっていない。いまでも。ごくまれにはあるけど。昨年（2011年）9月に京都のイベントＭＴＭＲでＴＷＧと共演してきたよ。何か意味のある表現の仕方を模索しているところなんだ。僕の弾き語りなんてそんなに面白いものじゃないからね。

++ And tell me about the Japanese scene during those days in the mid-late 90s? How was it? Were there many bands? festivals? Was there any support from the press to neo-aco bands or was it over already?

1990年代半ばの日本の音楽シーンについて話を聞かせてください。どのような状況でしたか？多くのバンドが活動していて、多くのイベントがありましたか？ネオアコバンドに対するメディアの支援はありましたか？それともすでにネオアコは終わっていたのでしょうか？

Those days the movement called Shibuya-kei (Shibuya style) was popular among young people in Japan. Many neo-aco bands and guitar-pop bands started their career. There were a lot of indie labels. That was the last period when we had a dream in music, I guess.

当時、渋谷系というムーヴメントが日本の若者の間で起こっていて、たくさんのネオアコ、ギターポップバンドがデビューしていたね。インディレーベルもたくさんあったしね。音楽に夢があった最後の時代じゃないかな。

++ You are from Kitami-Shi in Hokkaido. I don’t really know much from your city to be honest. Were there any other like-minded bands? Are there neo-aco fans there? And what about your favourite places to hang out and party there?

あなたは北海道北見市のご出身ですね？率直に言ってあなたの街のことをよく知りませんが、同じような志のバンドが他にも北見で活動しているのですか？ネオアコファンがいるのでしょうか？お気に入りの遊び場やイベントがあれば教えてください。

There is nothing you can be proud of in the music scene in Kitami. There are a few local bands. There may be some neo-aco fans, but I don’t see any indie-pop party here.

北見市に誇れるような音楽シーンは無いよ。いくつかのローカルバンドがいるだけさ。ネオアコファンは少しはいるかもしれないけど、インディポップ主体のパーティーはないね

++ And if I was a tourist in your town, what would you say are the must see sights? And food? Any specialties in Kitami-shi? 🙂

もし私が北見を訪れた観光客だとしたら、何か必須の観光スポットはありますか？食べ物はどうでしょうか？北見市の名産品はありますか？

Hokkaido is a treasure chest of Japanese food. Anything is delicious here, seafood, land products, sweets and so on. It is a very cold area with a lot of nature. If you visit me in winter, let’s go on horseback to see drifting blocks of ice on the sea. Then, we will warm ourselves eating hot pot dishes.

北海道は日本の食の宝箱さ。だから食べ物はなんでもおいしいよ。海の物も山の物もお菓子もなんでもさ。あとは、とても寒い場所でもあるし、自然がいっぱいだね。もし君が冬に遊びに来たとしたら、馬にまたがって流氷を眺めに行こう。その後は鍋を食べて温まろうぜ。

++ And what did you do in between The Time Capsules and Alvysinger?

タイムカプセルズ活動休止からアルヴィシンガー始動までの間は何をしていましたか？

As I said at the beginning, the only difference between The Time Capsules and Alvysinger is the name of the project. We just changed the name for refreshment. Then, Uemura got busy with his job and he is now taking a break from his music career. That was in 2005 and I switched to PC-based recording at that time, so I was studying how to use the mechanical equipment. In 2006, I started recording songs by myself and releasing them under the name of Alvysinger.

最初に言った通り、タイムカプセルズとアルヴィシンガーの違いは名前だけさ。気分転換に二人で名前を変えたのさ。そのあと植村の仕事が忙しくなって彼は今は音楽活動を休止している。それが２００５年くらいのことでＰＣベースの録音に切り替えた時期でもあったから最初は機材の使い方なんかを勉強していたよ。２００６年から一人でレコーディングを始めてアルヴィシンガーとしてのリリースを開始したんだ。

++ When you are not making music, what other hobbies or interests do you enjoy doing?

音楽制作以外に何か趣味や関心事がありますか？

I’m working full-time for a company, so I usually work at the desk in the office. After coming home, I play together with my little daughter. I spend two hours making music in my own room every night while she is sleeping. After all, I have no time to spare for other hobbies. I like riding on a horse, reading, watching movies, and betting on a horse, but I spend only a short time on any of them. I like cooking, too. Cooking is very similar to making music. Speaking of movies, “Låt den rätte komma in” was great! I was really taken with it. I haven’t seen the Hollywood remake version yet. “Millennium” was good, too. Swedish movies are very successful these days.

フルタイムのビジネスマンだから、普段は会社でデスクワーク。帰宅後は小さい娘と遊んで、彼女が眠ったら自室で音楽を作るのさ。毎日、２時間くらい。だからほとんど趣味に費やす時間はないね。少しの空き時間に乗馬をしたり、本を読んだり、映画を見たり、馬券を買ったりはするけど、どれも少しの量だね。料理を作るのも好きだね。料理と音楽を作ることはとても似ている。映画と言えば「僕のエリ」は傑作だったね！これは大当たり。ハリウッドリメイク版はまだ見ていないんだ。「ミレニアム」も良かったし、最近スェーデン映画の当たりが多いね。

++ So, let’s talk about Alvysinger sometime soon Ono-san? Let’s wrap here this Time Capsules interview, it was a pleasure. Anything else you’d like to add?

それでは小野さん、またいつか近いうちにアルヴィシンガーについて語り合いましょう。このへんで今回のタイムカプセルズのインタビューを終わりにしたいと思います。とても楽しかったです。何か付け加えたいことはありますか？

Thank you for your attention. The history of The Time Capsules ended up, but I will continue to release songs as Alvysinger. Uemura might be coming back. I’m really looking forward to the day when we work together again and release our new songs.

読んでくれたみんなどうもありがとう。タイムカプセルズの歴史は終わってしまったけど、アルヴィシンガーとして作品を発表し続けるよ。植村氏も復帰するかもしれないし、二人の新曲を届けられる日を僕はとても楽しみにしているんだ。

end

了

Translated by Masafumi Moriwaki

翻訳　森脇正史

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Listen
Time Capsules – Small Trick You Boy

Thanks so much to Paul Stewart and Phil Ball for the interview. Our own Cloudberry Records have just released a fantastic retrospective by Feverfew that includes all the songs they ever released plus more. 17 remastered tracks where the genius of Feverfew shines. A classic, and a great way to start the Cloudberry Cake Kitchen series. Packaged in a lush custom digipack, and liner notes by Phil Ball, bassist of Feverfew. You can get the record by sending 15 dollars (US orders) or 17 dollars (Intl. orders) through paypal. Both prices include shipping and handling. You can find more information on the Cloudberry Records site, on the Cloudberry Kitchen series area. Now sit back and enjoy!

PS. All orders are on their way. Sorry for the little delay, it’s been hectic with Cloudberry moving to New York and all! Thanks again for the support and patience.

++ Tell me about the name of the album? Where does the phrase “Something of Nothing” comes from? And why did you decide to name it like that?

PB: That’s something that has come from my side. Something Of Nothing – this was an expression that my Mum would often use to describe other people’s egotistical boasts. Basically that they had nothing special to boast about and they were just building up the smallest things to try and make themselves look important. It just seemed fitting to use that as the title for the album. Feverfew was just a band, a group of friends, that played and wrote songs, nothing more, nothing less. We never pretended to be something we were not. It’s funny that other people have become very precious about it…

++ So it’s been more than 20 years since you were around as Feverfew. So how did you start as a band? How did you all know each other?

PS: I already knew Keith from the Church we used to go to. We dreamed of forming our own pop band so we started writing songs using the old guitar I had and a mono cassette recorder. We would have been in our mid teens then. We soon realised that to realise the dream that we needed to expand the line up so I knocked up a flier and put it in the music shops in Reading; that’s when Phil called my house and suggested we meet up for a rehearsal.

PB: I seem to recall that I saw the advert in Hickies a local music shop in Reading Town Centre, I had already played in a couple of local bands but after they split I was looking to join an indie guitar POP band. I saw the advert called up and it went from there. Originally it was just the three of us and a drum machine writing and rehearsing in Keith’s bedroom.

PS: I later met Victoria at a bus stop who said she sang and invited her along too. This foursome formed the original nucleus of the band

PB: The funny thing was that all of us were Woodley based, and lived approx. 5 – 10 minutes from one another but outside of Paul and Keith we never actually knew each other. This proves that it’s a small world but as individuals we can still be so distant from each other in so many ways….
During this time we started to write songs but struggled to find a permanent drummer, the first two recordings we made were using friends and relations as “session” players.

PS: Lloyd later followed on drums and at this point we could genuinely say that we were finally a group

PB: In between times Vicky left, Christine joined and then left and Vicky returned once more. Jason came and went as second guitarist and finally we were joined on acoustic guitar by Lloyd’s brother, Lee.

Keith – Vocals
Vicky – Vocals
Lloyd – Drums
Phil – Bass
Lee – Acoustic guitar
Paul – Acoustic and Electric Guitar

This was the final band line up and the one that continued from late ‘88 until the bands demise. So over the life of the band the sum of parts was 1 bassist, 3 singers, 3 guitarists and 4 drummers (incl Dr. Rhythm…)

++ And why the name Feverfew?

PS: Keith had read that Feverfew was the first known thing to grow in the earth naturally after the Hiroshima bomb was dropped. This really made an impact on him and we thought it was a fitting name for a band as it was quite abstract. At that time we didn’t want to be called “The (something)s” like a lot of the names springing up at that time.

++ I hope I don’t sound biased, but “Something of Nothing” may well be one of the best indie pop records this year. The songs are so strong, music and lyric wise. So tell me how did the creative process work for you?

PS: Usually, I had the chords and basic ideas for the songs then Keith, Phil and I would host a practice in one of our bedrooms and, after endless cups of tea and much scribbling in exercise books we would work out and arrange the songs. Once we built up a reasonable number of songs we’d then book a rehearsal room and work on the live sound with the drums.

PB: I think that at this time we were just learning the craft of song-writing, the ideas would be constantly tossed around between us, each of us suggesting things, adding and taking bits away, and the songs would gently evolve over the numerous cups of tea. During the jamming process Keith would have some key words and harmony ideas, the final lyrics would tend to come a little time after the “tune”. For the three of us the song writing together seemed to be a very natural process, the mass majority of the feverfew songs were actually written in Keith’s bedroom over cups of tea. I believe the time that we knew we had “something” was when we wrote Casey Jones, this was the point when everything just clicked.

++ And also, why, with so many great songs, you didn’t get to release more records back in the day? Wasn’t there interest? It’s hard to believe!

PB: Originally we thought that we needed to follow the usual “grind” that bands would go through, for example playing all the toilets in London, touting ourselves to record labels etc. but we soon realised that this was not really us and not something we wanted or needed to pursue. We realized that we could do things on our terms and in the ways that we wanted. I don’t want to sound like some old hippy but for us it was much more “organic”. There was “Interest” but we wanted to do things in the manner that we wanted, we were never keen to give up artistic control

PS: you have to put things in context; we’re talking mid/late 1980s and there were some excellent bands appearing overnight. Reading at that time had a very strong healthy music scene with many venues and some really great bands. You could literally see 2 or 3 bands every night of the week if you wanted. I guess you could say we were ambitious but knocking on record label doors wasn’t something we thought was worthwhile. Which suited us as we just loved playing live.

PB: For feverfew it was just about writing songs and playing and never about ego or adulation.

++ Let’s talk about gigs? Which were the best? Any anecdotes you could share?

PB: Actually during our time we played quite a few, I found my diary from 1988 quite recently and I was surprised that there were so many dates inside. I think that other bands always found it strange that we were quite happy to be first on, the main issue for us was just about playing and not about where we were on the bill.

Best gigs:  South Hill Park Wilde Theatre, this was early 89 and also the ones at the After Dark supporting our indie pop heroes were always memorable. For me the one that always sticks in my mind was when we came back together in Feb’91, a celebration for the live of a sadly departed friend. We played like our lives depended on it, it was a very special night.

Anecdotes:- I think my falling over the double bass of Jim Jimenee always sticks in everyone’s mind, I can still hear the crash on the floor even now and can visualise it slowly falling over. To this day I still maintain that to place it in the middle of the floor was a stupid place to put it. Anyhow finally no harm was done but the dirty looks from Jim Jimenee could have killed. Also feverfew having a rummage through the “Sale of the century” prizes, I really would not have liked to won the bed…

++ And what about that TV appearance? How did that happen? Was it a strange or just a fun experience?

PB: Just completely surreal… I think that we were always in two minds about doing it but in the end we just went for it. This was the in the very early days of Sky TV and the “Squarial” so probably only 2 or 3 people saw it…

PS: This is a bit of a blur really but I think Keith knew someone who was connected with the people looking for various acts for a talent show on Sky TV. It was, and still is, quite surreal as we found ourselves being called for make-up before recording ‘Bed Of Roses’ for a real TV show. We met Paul King (from ‘King’), comedienne Faith Brown and Keith Chegwin.

PB: Cheggers was always a hero for the band, we always had a soft spot for “Cheggers plays POP!” We would often play the theme tune in rehearsals and I think on more than one occasion during our live set

++ Your tapes, as well as the flexi were released by “Mighty 3 Minutes”. Care to tell me who was behind this label and how important was its support towards Feverfew?

PB: This was a label managed and operated by a guy called Phil Broadhurst, a local fanzine writer and all round good guy (and also fellow Woodleyite). It was just a meeting of minds… After a few months working together, Phil also began managing the band. We had the same ideals and same philosophies both personally and politically so it was a natural progression. Phil was a very integral and important person, an inspirational figure for the band. He was unofficially the additional member of the group, he was always there to pick us up when we doubted ourselves.

++ So yes, the “Give it Up” flexi. Who is that little boy on the cover? And how well did this flexi do? I think I paid like 20 pounds for it in a store in Stockholm! Must be quite rare!

PS: The picture is of me aged 2 or something in my parents’ back garden. I must have been about 2 or 3 I guess. It was Keith’s idea to use the picture on the front sleeve. We paid for the flexi disc ourselves; we probably got 1,000 or so pressed I guess and sold them or gave them away at gigs. I guess they are pretty scarce these days.

PB: Seems strange after all this time that this is so sought after, we were selling them for 70p and we struggled to sell them… I think that finally they were all sold (or given away) but it took some time.

++ The flip side of this flexi is a song dedicated to “Casey Jones”. How come?

PS: It’s just taken from the first line of the song and fits in with the sample of a steam locomotive at the beginning but the song isn’t about Casey himself.

PB: It was just a metaphor that Keith used, an expression to describe a long lost love. It was a spin on the age-old lonesome train metaphor. I think that the best thing ever written about Casey Jones was that it was the “1st post Thatcher love song”

++ Then there was another proper release, the split 7″ with The Rileys on A Turntable Friend. This release happened already after you had split, am I right? Did the label convince you to get back together or what? How did it work out? And how come you ended up releasing a record in Germany?!

PB: Actually The Happiness EP was recorded by a group of friends rather than two bands and was never really intended to be released, it was just the coming together of a group of people to celebrate the life of a friend tragically lost. After the recording session everybody was extremely pleased with the end result (both artistically and personally) so we considered releasing it, first idea was as a M3M release. Around this time I was having a lot of correspondence with Ulrich from A Turntable Friend and he offered to release it so we agreed. Keith designed the sleeve and Phil Broadhurst wrote the liner notes and the rest as they say is history

++ On top of that you released many tapes as Feverfew. Care to list them? And how many copies would you make of them?

PB: The list of release would be similar to the one below:-
• First demo (four tracks) Casey Jones / I won’t touch a girl again / Kindly Written Words / All the things I gave to you (Tape not officially released)
• 7” Flexi (M3M) – Give It Up / Casey Jones
• Cassette version of flexi (four tracks – Give It Up / Casey Jones / Pretending To Be Someone Stronger / Give It Up (long version))
• Cassette tape issued free with Sprog Fanzine – incl. Give It Up (long version)
• Cassette EP(M3M) – The Night It Rained Perfume (four tracks)
• Cassette EP(M3M) – Songs To Make Friends By (eight tracks)
• The “Happiness” EP 7” (A Turntable Friend) – two feverfew tracks Bed Of Roses / She’s Leaving plus two tracks by The Rileys (In reality all four tracks were performed by the same group of people)

Quantitites, actually I have no real idea probably between 3 to 4 hundred maximum. I am also sure that we released a joint Flexi with 9 Steps To Ugly which was given away with a fanzine but I honestly cannot find any evidence. The 9 steps track I seem to remember was Vaudeville, maybe this is just completely my imagination…

++ I’m kind of picturing your merch table at gigs, with the tapes, the flexi, and also pins. Did you usually have a merch table? What other things you used to sell? Pins? T-shirts? And who usually was sitting behind it, taking care of the fans?

PB: Back in those days there was no Merchandise stall or table, it was just the band selling the tapes and flexi after the gig. Generally I used to look after the selling (with support from the other members) and also the financial side of the band. The badges that were made were distributed free with the flexi. For T-shirts there were only ever a limited edition produced, I think these went to the band and our closest friends. I am not sure that we ever had any “fans” there were always a number of regulars who would appear time and time again at the gigs and buy the tapes etc. In turn the next time they would bring their friends and it grew in that way. There were also a number of people that would write to us via fanzines, compilation tapes and the like, we were always very flattered by the attention and always did our best to respond and write back.

++ Feverfew wrote so many great songs, I have many favourites, but I’m wondering which are your favourites. And which were the fans favourites back in the day for playing at gigs?

PS: Personally, I liked playing Kindly Written Words and Pretending to be Someone Stronger. The band sounds really fluid and some of Keith’s best words are on The Demise of Rock’n’Roll – all about a local DJ.

PB: For me Casey Jones, Summer 82 and A Crimson Gloom plus there were some other newer songs that we never recorded. I think the lyrics to all the songs are quite special. From a “fans” perspective probably “The night it rained perfume” or “Bed of roses” or perhaps “Answered Prayer” these were the tracks often mentioned in the letters and postcards we received.

++ And yeah, why didn’t you get to release more records? It’s hard to believe that with so many great songs no one seemed interesting in putting them out?!

PS: As I said before, we weren’t out to change the world and, being unconnected with any label, meant we were free to make our own choices. If we had really wanted to, we could have gone further. I have a rehearsal copy of one of the last songs we ever wrote as a band and it stands way above everything else we did but at that point people were starting to move away, change jobs, get married etc. Who knows?

PB: Actually I am in full agreement with Paul, a number of the later songs were really great, however many of these were never recorded and I guess will never see the light of day… The songs that were written over the period / life of the band were always very personal for the band, we never tried to write Pop songs for mass consumption. I am extremely proud of each and every one of them as they all have a lot of memories associated with them

++ So right, what happened? Why did the band split the first time, and then the second time? And what did you all do after?

PS: (were there 2 splits??) We never really fell out; we tried to keep things together for as long as possible but as people’s lives and circumstances change it was eventually decided we would disband. There were also a lot of sideline projects going on which is a good thing.

PB: I think that I mentioned before that the band never split, it just kind of dissolved, we never really separated, we just weren’t doing “it” anymore. In Mid ’89 I was getting married, Keith was in a relationship and moved to Brighton and I seem to remember Paul falling out of love with the guitar and in love with a girl and that was that. Late ‘89 I formed The Rileys with Lloyd, Vicky and Jason from feverfew with Mike and Richard, around this time Paul was back playing in She’s Gone and as an aside starting to write songs with Keith.

When Jason died in Jan’91 it pushed everybody back together once more. Born out of the shared grief we started talking about playing together again, began rehearsing, then we played a joint gig in Feb’91 (This was originally a gig that The Rileys were booked to play). Due to the positive energy and feeling that came from those sessions we then went back to the studio to record some tracks in April’91 this eventually became The Happiness EP. Around this time there was some talk about starting over once again as feverfew but in the end everybody decided that it was the perfect way to finish.

++ Back again to our compilation, why did you decide it was time to release it? Was there any reason behind it?

PB: On the back of reigniting my interest in music / indiepop I got involved with a number of Internet bloggers who were very interested in old school indiepop and in feverfew and also The Rileys, around this time I also got involved in Facebook and from this a number of enquiries came reference releasing a Feverfew retrospective compilation. Personally I never really considered it at all, however there were a number of offers made and it just seemed a good time to collate all the songs as a united body of work, many of which had never been formally released or were available only as very poor quality recordings lifted from the tapes and singles etc.. I ran the idea past Paul and he agreed it was a good idea. Timing wise in 2011 it was 20 years since we made the last recording session as Feverfew so everything just seemed to fit. The main reason and concept for the release was to serve as a celebration of a band, of a friendship and also to commemorate the lives of two very special and important people. It is as simple as that, there were and are no ulterior motives.

++ And how do you think the songs have aged? To me they sound so fresh!

PS: The songs evoke really happy, creative times. I was in a band with good friends and we all really enjoyed ourselves. If I’m honest, there is a tinge of sadness associated with it for me as the world was a much easier place to inhabit then than it is today and I yearn for those times again. As for the music, I think they stand up very well on their own; a little naive in places but we were cutting our teeth as musicians and we spent a lot of time honing our craft. We had high standards and ditched a lot of material if we didn’t all feel it was up to the standard we set ourselves.

++ And looking back in time, what would you say were the highlights of being in Feverfew?

PS: For me, the gigs were such a high, the friendships in the band and recording our own material in a proper studio and coming away with a cassette you could play on your Walkman.

PB: When I reflect back I realize how lucky I was to be able to write songs and to perform with some very talented and creative musicians and above all that I was fortunate enough to meet and enjoy a friendship with some wonderful, generous and honest people.

++ Now the important questions, are you still playing music?

PS: After Feverfew Keith and I formed Blueboy who were signed to Sarah Records and released 3 albums and a few singles. After that we had a brief fling as Arabesque and then later as Beaumont on Siesta Records which amounted to a further 3 albums. After Keith’s sad death a few years ago I began writing again and am now preparing material for a new baroque-pop inspired project called Edwardia (see www.myspace.com/edwardiamusic).

PB: I have just started playing once more after a gap of more than 15 years, I am now playing bass with The Occasional Orchestra a band comprising the ex-members of indie favourites Home & Abroad

++ What other interests and hobbies keep you busy or entertained when not making music?

PS: I have amassed a collection of old tat from the 1930s and ‘40s and my work in a Museum just outside London keeps me very busy.

PB: I have a very demanding job plus family commitments (a wife, three children and a dog) therefore I do not have so much additional spare time outside of the “Occasionals” and normal life so I try to make time to spend with my family, to read and relax as much as I can.

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

PS: Thank you for including us in your writings; it is flattering to know that people are still interested in something that we did such a long time ago !

PB: Yes, also from my side thank you so much for the opportunity. In addition it’s been a real pleasure to get to know and to work with you over the last months, thanks for the many interesting conversations!! Keep up the good work!

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Listen
Feverfew – Crimsom Gloom

Thanks so much to Shimoda-san for the interview!! And also to Hirose-san for the great translation! Thee Windless Gates is one of the most exciting neo-aco bands (even though they want to be rock!) bands from Japan at the moment. After a mini-album, they found their sound on the FABULOUS split CD with Alvysinger, which I recommend getting a copy! Also for all of you that love indiepop family trees, Shimoda-san used to be in the cult Japanese indiepop band Johnny Dee in the 90s, who released a couple of records on Vinyl Japan. So yeah, let me introduce you to Thee Windless Gates! Check more of their stuff on their site too!

++ Hello Shimoda-san! Thanks so much for being up for this interview! First of all how are you doing? Whereabouts in Japan are you these days?
こんにちは。下田さん。今回のインタビューをお引き受け下さり感謝しています。 まず最初に、最近はいかがお過ごしですか？日本のどのあたりで活動なさってるんですか？

Hello Roque-san! Thanks for your interview, indeed. Nowadays I’m too busy for my current work, so I can’t enjoy my musical life thoroughly,what a shame! In 2012,I really want to release our new album which has been stranded at the moment.
【回答】 こちらこそ、ありがとうございます。 仕事が忙しいため音楽活動を十分に出来ていません、作成途中のアルバムも来年はリリースしたいです。

Now we’re in Kumamoto which is situated in the southern part of Japan, maybe somewhere kind of like Glasgow (though I’ve never been there)
TWGは日本の熊本という、恐らく英国のグラスゴーのような（行ったことないけど）町を拠点に活動しています。

++ You used to be in the fantastic Johnny Dee! But ok, that’s a story that will have to be told in another interview. But I’m wondering how different would you say are Thee Windless Gates compared to Johnny Dee?
あなたは、かつて素晴らしいバンドジョニーディーに在籍されてたんですよね！でも、これは別のインタビューになるので、また別の機会に。あなたにとってジョニーディーとウインドレスゲイツの違いって何なんでしょうか？

The period of Johnny Dee was not so long,but for me it was an great experience. The difference between JD and TWG, I can say JD was mecanical sound as we mainly used drum machine, on the other hand,TWG is a three piece band which is my ideal style.
【回答】 JOHNNY DEEというバンドでの活動期間は短かったのですが、僕にとって大変貴重な経験 でした。僕にとってJDとTWGの違いは、JDがリズムマシン主体で無機質であったのに対し、TWGは スリーピースのバンドサウンドであることです。TWGは理想の活動スタイルです。

++ And what happened in between both bands? Were you involved with music?
両者２つのバンド間に何があったんですか？（解散と結成のいきさつ）音楽がらみの何かが原因ですか？

JD was ended naturally, nothing to do with TWG.There was no feud between them. Before JD I was in a neo-psychedelic band called THE WAVE. I started my new band TWG with the member of THE WAVE.
【回答】 JDについては自然消滅的に活動をしなくなっただけです。JDとTWGの因果関係はゼロ。TWGは僕がJDで活動する以前にやっていたバンド(THE WAVEというネオサイケバンド）のメンバーで再び活動始めたんです。

++ So alright, when did Thee Windless Gates start as a band? And is it just you or are there any other band members?
ウインドレスゲイツは、いつバンドとして活動を始めたんですか？ バンドメンバーはあなた一人、それとも他にもバンドのメンバーがいる？（これは ひょっとしたらジョニーディーの元メンのことを言っているかもです）

As I wrote ,TWG was formed with the past member of whom bofore I played as JD. I started TWG in February 2010 with Yamamoto Masaaki on bass and Masuda Takeshi on drums. They were not members of JD.
【回答】先程書いたように、JD活動以前に一緒にやってたメンバー、BASS 山元賢明（やまもと　まさあき）DRUMS 益田剛（ますだ　たけし）と2010年2月から活動を始めました。２人ともJDとは関係ありません。

++ And what’s the story behind the name Thee Windless Gates?
ウインドレスゲイツのバンド名の由来は？

Once I heard chickens at the poultry farm are vulnerable to the stong wind, so they are protected by the windless gate. When I heard that, I thought our band was like chickens, as we were in the musical scene like only tasteless American rock music was main stream.
【回答】 養鶏場のニワトリは風に弱く、ウィンドレスゲートというもの（商品名らしい）で 風から守られているそうです。米国的な暑苦しいロックこそ王道である、というような中で活動しているTWGはニワトリのようなものなのです。

++ As far as I know, there has been one release, a split CD with the great Alvysinger. Care to tell me a bit about the songs on this CD and how come did this release happen? Who released it?
僕の知ってる限りでは、ウインドレスゲイツはアルビーシンガーとスプリットシングルを１枚リリースしていますよね。 このＣＤに収録されている楽曲についてちょっとお話頂けますか？またリリースに至るいきさつを教えて下さい。どこからリリースされたんですか？

We have known each other for more than 10years. Alvysinger has a musical talent and is really nice guy. We decided to release split single , then we managed to make it by self production.
I think we did a really good job.
【回答】アルビーとは１０年来の付き合いです。大変才能あるアーティストでナイスガイです。アルビーとTWGでシングルを作ろうという事になり、セルフリリースにて作成しました。楽曲についても大変良いものが出来たと思います。

++ I really like the artwork for this release, who made it? What’s the idea behind it?
このシングルのアートワークが大好きなんですが、どなたがデザインされたんです か？またジャケット製作の背景にはどのようなアイデアをお持ちなんでしょうか？

As far as artwork’s concerned , Alvysinger directed by himself. We TWG are pleased with the artwork,which can tell our musical taste .
【回答】 アートワークに関してはアルビーのディレクションによるものです。我々も気に入ってます。楽曲のイメージ通りのアートワークです。

++ And yeah, for us Westerners, what’s the best way to get a copy of it?
で、われわれ西洋人がこのＣＤを入手する一番の方法は？

There are few Japanese record shops you can get the CD. You can order at the record shops below.

DISQUE BLUE-VERY

APPLE CRUMBLE RECORD

PEANUTS RECORD

【回答】少数の日本のショップで扱っています。DISQUE BLUE-VERY, APPLE CRUMBLE RECORD, PEANUTS RECORD 　であればオーダー可能です。

++ On Youtube I also found that there was a CD (?) called “How Does it Feel” that included 5 tracks. Was this released? And when was this recorded?
youtubeで拝見したんですが、５曲収録の”How Does it Feel”ってＣＤがありますよね。これはリリースされたんですか？またいつ製作されたんですか？

As I wrote before, TWG were formed in February 2010, and we made 1st mini album called “HOW DOES IT FEEL?” in May 2010. The sound was so rough and experimental ,as we just wanted to find out our musical direction in this album. It was totally different from our present sound .However we are fond of the album and if you want , you can get it for free through our web site and also MP3 download is available through SOUNDCLOUD.
【回答】 先に書いたとおり、TWGは2010/2に活動開始した訳ですが、2010/5に1ST MINI ALBUMとして “HOW DOES IT FEEL?” を作成しました。バンドの方向性を確認するための音源で荒削りであり、今のTWGサウンドとは異なりますが我々は気に入った作品です。ちなみにWEBから無償で配布しており、SOUND CLOUDからもMP3のDLが可能です。

++ So I can say I know 7 Thee Windless Gates songs, 2 from the split, and 5 from “How Does it Feel”. Are there any more songs available from your band? Are you planning another release soon?
で、２曲をスプリットから５曲を”How Does it Feel”から 僕は、計７曲ＴＷＧの曲を知っているんですがあなたのバンドでこれら以外にも入手が可能な曲はあるんですか？また近々リリースされる予定はあるんですか？

In September thee windless gates and Alvysinger had a gig called MTMR in Kyoto. http://5by5.up.seesaa.net/image/mtmr0922omote-3931b.jpg

At that time we gave another split single ,which contained 2 each songs ,to the audience for free. In this single we played “KISS ME SUGAR” and “HAPPIEST MOMENT”. Now we are planning to release a full album or a mini album in 2012.

++ For me, I’d say my favourite song is “In Another Day”. It’s just pop perfection!! Those guitars!! Where did you learn to play like that!? Who were your guitar heroes?
僕は”In Another Day”.が一番のお気に入りなんですが、まさにポップスの最高傑作です！あのギター！！あの（マーばりの）ギタースタイルはどこで身につけられたんですか？あなたのギターヒーローって誰でしたか？

I’m glad to hear that! As you can image, I was inspired by JOHNNY MARR a lot , although my skill’ll never catch up with him, ha ha! Apart from him ,I like PAUL WELLER, NOEL GALLAGHER,BRIAN MAY (you might think he’s quite unexpected ), GRAHAM COXON,ADAM FRANKLIN,PADDY MCALOON and so on.
【回答】うれしい！マー先生には到底及ぶわけありませんが（笑）JOHNNY MARRはじめ、ポール・ウェラー、ノエル・ギャラガー、ブライアン・メイ（これ意外かも）、グレアム・コクソン、アダム・フランクリン、パディ・マクアルーン ETC

++ And yeah, care to tell me the story behind this fabulous song?
で、この超名曲の裏話を教えて下さいますか？

Thanks, this may not be a behind story, but for us JIM JIMINEE ‘s TOWN & COUNTRY BLUES is one of the killer tunes in our club scene. I just wanted to express such kind of speedy sound in TWG, that’s the sound of “In Another Day”, right?
【回答】裏ばなしって程のことではありませんが、我々にとってクラブでのキラーチューンといえば、JIM JIMINEE の TOWN & COUNTRY BLUESなのです。あの疾走感をTWG風に再現したかった。それが「IN ANOTHER DAY」です。

++ Which would you say is your own favourite song?
あなた自身の曲で一番のお気に入りの曲は、何ですか？ （念のために他のアーチストの楽曲でもお気に入りをお願いします）

As far as TWG is concerned, I like “MEXICAN HOUSEWIFE” and “IN ANOTHER DAY”.
If I choose my fabs from other artists, there seems to be countless, so I ‘ll show you the numbers I listened lately.
The Cribs ～ We Share The Same Skies
GEORGE HARRISON ～ SEIL LOVE YOU
BEN FOLDS FIVE ～ UNDERGROUND
MORRISSEY ～ SUEDEHEAD
【回答】 「MEXICAN HOIUSEWIFE」「IN ANOTHER DAY」 他のアーチストはあげればキリないので、ここ一週間くらいで聴き返して良かったモノ

++ Have you played gigs as Thee Windless Gates? If so, any favourites?
ＴＷＧとしてはライブはされましたか？もしされたのならライブでのお気に入りの ナンバー（よかったライブ）は？

We played a gig in October, which was our last gig in this year. We’ve been playing gigs once or twice a month mainly in our local town. Lately we play “IN ANOTHER DAY” pretty well.
【回答】今年１０月を最後に今年のライブは終わりました。月１回～２回は地元中心にライブをしています。最近は「IN ANOTHER DAY」が良いノリで演奏できます。

++ And what about your inspiration, what inspires you to craft your songs?
曲を作る際にきっかけとなるものは何ですか？ひらめきのきっかけとなるようなも のは？

I’m not particular about writing lyrics at all, but I want to compose music that can make audience imagine the scenery. That’s my ideal writing style. Even though they can’t understand the words, I always wish the sound will move them.
【回答】 歌詞への思い入れなど一切ありません、音で情景がイメージできるような、そういうサ ウンドが理想です。言葉分からなくても音が心に響けばなあっておもいます。

++ So, when you are not making music, what other things do you like to do? Do you know how to make sushi?
作曲以外では、何が趣味ですか？何をするのが好きですか？寿司がにぎれるとか（笑）？

I’m afraid I can’t make sushi, but I used to go fishing. I am keen on watching anime nowadays. My favourites are Natsume Yujin Cho and Gintama
【回答】寿司は握れませんが、釣りは以前は良くいってました。あと、最近はアニメを見ることが好きになりました。「夏目友人帳」「銀魂」がお気に入りです。

++ Haha, talking about food, which are your favourite Japanese specialties that you’d recommend?
食に関しては、あなたのお勧めの日本食は何ですか？

If you visit Japan, please have Ramen, not soba or udon. There are several kinds of Ramen in Japan. There are many differences in each Ramenshop. There are some popular Ramenshops in every town.
【回答】もし、日本に来ることがあれば、そばやうどんではなく「ラーメン」をたべてください。都市や店によって無数の種類があり、その土地によって有名店が存在します。

++ And what about the sights in your town that you recommend a tourist like me if I was to visit?
もしもあなたの町を訪れたとしたら僕のような（海外からの）ツーリストにお勧め の観光スポットはありますか？

Kumamoto is popular for the sea and mountain , we also have rich hot spa where many foreigners visit. Kumamoto is also famous for Basashi (horse-meat sashimi ) , you can’t image, can you?
【回答】 熊本は海・山の観光スポットがあり、温泉も豊富で海外からの旅行者も多いです。 想像できないかもしれませんが、「馬刺し」という食べ物があります。

++ What about the neo-aco scene? Do you like any other bands at the moment in Japan? What about any international band? Do you follow any?
現在のネオアコシーンについてはいかがですか？今の日本で他に好きなバンドはあ りますか？海外のバンドでは？フォローしてるバンドっていますか？

Well, actually we are not in such kind of scene and I don’t want to be related, either. I want TWG to be a rock band, not a neo-accoustic band. In Japan I like Alvysinger and Sloppy Joe, they are absolutely cool! And there are quite a few up and coming young bands in Kumamoto.
【回答】 うーん、そういうシーンに関わっていないし、関わるつもりもないです。 ネオアコというよりもロックバンドでいたいのです。 日本のアルビー、スロッピージョーはイイですね。 あと、熊本には若い良いバンドがたくさんいます。

++ What was the last record you bought? And was it online or from a record store?
あなたが最後に買ったレコードは何ですか？ネットで購入？それともレコード店で？

The last record I bought was SONIC NURSE / SONIC YOUTH, Haha… I bought it at the record store.
【回答】 一番最近買ったのはレコードショップで SONIC YOUTH の SONIC NURSE （笑）

++ One last question, what comes easier for you, as I notice you do both, singing in English or in Japanese? Why?
最後の質問です。あなたは英語と日本語で歌っていますがどっちのほうがしっくり きますか？またその理由は？

I like English better than Japanese, though my English isn’t good enough. As I’ve been listening to British music for a long time, I don’t have any good command of Japanese words, It seems quite difficult for me to write Japanese words for the melodies I wrote.
【回答】 英語がいいですね。英語は下手ですが。 ずっと英国音楽を聴いてきたので、メロディーの乗せ方が日本語だと イメージ通りにならないのです。

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Listen
Thee Windless Gates – In Another Day

Thanks so much to Michael Weare for the interview. After being told by Uwe Firestation on how fabulous were The Mulberry Ceilings (and The Aurbisons) I always wondered how they sounded like. Months ago Dave Driscoll (from Fruitier Than Thou blog, and The Aurbisons) shared with me 4 songs recorded live by The Mulberry Ceilings, and they blew my mind. They were just so good, impressively good. The guitars were jingly jangle, chiming, just my cup of tea. Some weeks ago some videos appeared on Youtube by The Mulberry Ceilings and then, well, I couldn’t stop smiling. It was just fabulous indiepop. I hope, and wish, one day, these songs get a proper release. So good. Please enjoy!

++ Hi Michael! Thanks a lot for being up for this interview! I hear you live in Sweden these days, how come? Do you miss the UK at all?

Yeah, I’ve lived in Sweden for 11 years now. I live in the south of Sweden, a small town/village called Bjärred, near Malmö. I’m married and have 2 kids Lucas 8 and Emmie 6. I do miss the gigs and the pubs.

++ So yeah, I heard about The Mulberry Ceilings earlier this year thanks to Dave Driscoll. Four live songs. And they were fantastic! It’s a shame that they are not properly recorded. But, did you properly record any songs? Was there any intention to release some of your stuff at some point?

We recorded 2 tracks – Pillow Crazy and Tea in a China Cup. They were done on a 4-track at Liz’s house. She had this great room that used to be a barn so we could make plenty of noise. Unfortunately I no longer have a copy of these songs as I lent them to a friend and never got the tape back. It also included some live tracks when we played as a 3 piece. Chris Kelly, Liz Paton and myself.

++ You did make two promo videos though, what was the main idea behind them? And was it an easy choice which song to make a video of?

We only did one video for Pillow Crazy. It was done on black and white super8. We didn’t do it for any promotional use. Sean Johnston thought it would be cool to do a video. He wrote and directed it. Andy the bass player couldn’t make the filming so we used Liz’s brother Tim as a stand in. The blonde girl in the video who I’m trying to give flowers to is Chris’ girlfriend at the time Jo.

Sean also made a couple of videos for The Aurbisons, Creating a Fuss and Holy Cow. I was a stand in for Steve Harris for the Holy Cow video as he did not liked to be filmed. We made a mask that looked like Steve and I mimed along. I was also the back end of the pantomime cow- my first 15 minutes of fame.

We also made some gross out splatter movies that we showed as back drop when we played gigs. I remember at one gig people were not clapping or cheering when we just played one of our best songs. All I heard was “that’s disgusting and urggh” I turned around and the scene behind us was one of blood and guts and the audience was watching our films in the background. The films were not of the highest quality and but we still had a couple of people coming up to us uttering their disgust at the films.

++ When did the Mulberry Ceilings start as a band? Was it your first band? And who were the band and how did the recruitment process work?

Mulberry Ceilings were not my first band. I was in a band called Tomorrow the World- A very bad goth band that didn’t even dress in black. We later changed the name to The Monkey Puzzle and played only a couple of gigs in my hometown of Fleet. The Mulberry Ceilings were formed when I met Chris Kelly at a college in Basingstoke. He had a couple of songs that we practiced in his bedroom. Pillow Crazy and Tea in a China Cup. Liz joined me on vocals and but we did not have a bass player or drummer. We borrowed Sean Johnston (drums) and Andy Bennett (bass) from the Aurbisons who helped us record these 2 songs.

++ What were the expectations when you started the band?

We did not have any expectations. We just wanted to write some songs and play a few gigs.

++ Where in the UK were you based then by the way? Which were the venues you’d usually go see bands? And what were the places or neighborhoods you’d see The Mulberry Ceilings hanging out on say, a Saturday night?

We were based in Fleet/Basingstoke. 2 small towns in the south of England not too far from London. We had a fantastic venue called the West End Centre in Aldershot. There was a couple called Jo and Danny who put on some great gigs. It was called the Buzz Club. They managed to get The Stone Roses, Primal Scream, Blur, Manic Street Preaches, The Charlatans, The Beautiful South, Blue Aeroplanes and many others to play. The support bands were mostly local bands. The venue was not that big so you always had a cracking atmosphere especially if there was a big band playing.The Mulberry Ceilings only played once at the West End Centre. It was a local band night and we played in the bar as a 3 piece. Chris, Liz and myself.

++ What about the band name? Where does it come from?

Chris the guitarist suggested it and it stuck.

++ From those songs I’ve heard, I was impressed by the cover you did of The Poppyheads. Were you mates with them?

Someone had this on a mix tape and thought it would be a cool song to play. We only had a couple of our own songs and we needed to fill out our set for a gig.

++ And speaking of that, how much of a fan, and how involved were you, with the indiepop scene that was happening in the UK then? Which were your favourite bands?

I was really into the indie scene at that time. The jangly and faster the better.
We listened to everything from the 14 Iced Bears, Flatmates, Mighty Mighty, The Jazz Butcher,The Bodines, Close Lobters, The Primatives, The Fall and The Wedding Present to name but a few. I’ve just been looking back at an old scrap book and I was going to 2 to 3 gigs a week. The only band I never managed to see live was New Order but that was probably a blessing in disguise.

++ What about covering The Aurbisons’ “Debbie Rix”? I guess that happened because of the Dave Driscoll connection? What other covers did you use to play? Or which covers would you have liked to play and never did?

We did a cover version of Never seen Before by The Close Lobsters, not as the Mulberry Ceilings, but as the Aurbisons. I liked doing cover versions like this. Songs that people hadn’t heard of much that we could pass off as our own but I had forgotton that we did a cover version of the Poppyheads.

++ What about gigs? Did you play many? Do you have any favourites? Any anecdotes that you could share?

We didn’t play that many as a 3 piece. We played at Farnborough Technical College, The West End Centre-Aldershot, The Basingstoke Caribbean Club, a hospital in West London and some busking in a shopping centre in Farnborough.
Not very glamorous I have to admit.

++ The other two songs I’ve had the chance to listen were “Pillow Crazy” and “Two Lumps Please”. Both are great! Would you care telling me the story behind both?

Chris came up with the guitar riff for Pillow Crazy and we wrote the lyrics and tune together in his bedroom. It was the first song we wrote together. It was the first song that I had I recorded and couldn’t stop playing the demo to all my friends at college. It was always one of the live favourites. Two Lumps Please – I think the tune and lyrics came first and Chris came up with the guitar riff after that. It was such a long time ago this maybe incorrect.

++ So how played guitar? I love the guitars of your songs, they are fast, jangly, chiming, I don’t know, just perfect for indiepop. Wish more bands played them like that. Where did you take inspiration? Did you have any musical heroes?

Chris Kelly played guitar. He loved the Wedding Present and all he wanted was to be able to play guitar as fast as them.I don’t really have any musical heroes but I loved Joy Division and New Order. I have never thought as them musical geniuses. I always thought they sounded like amateurs but they managed to make a great sound together.

++ How long did the band last and when and why did The Mulberry Ceilings split? Were you involved with music after?

The Mulberry Ceilings never really split up. We sort of evolved into the Aurbisions. The Mulberry Ceilings and the Aurbisons were going to play at the same gig. We were going to be the support band.
We needed a drummer and a bass player for the night so Sean and Andy from The Aurbisons were going to help us out. So both bands decided to practice at the same time to save on time. Someone suggested that for one night only we should play as one band.

Everyone thought that this was a great idea especially Steve Harris. He always wanted to have a big band sound. We went under the name The Aurbisons and that was the end of the name Mulberry Ceilings.
We decided to swap singing duties on the night and that’s how I ended up singing Debbie Rix.

I cannot remember how many times we played as a 7 piece but it wasn’t many. Steve Harris never really got the big band sound that he wanted and left the band. We carried on playing as a 6 piece but changed the name of the band to Cow and started getting in the baggy scene but that is another story.

The main core of the band carried on Liz, Sean, Dave and I until 2000 when I moved to Sweden and Sean moved to New York. Sean and I have been friends since we met at school aged 11.
We have always been in the same band and I’m sure we would still be doing something in a band now if we hadn’t moved away. We all still keep in touch even though we are so far apart.
I recently found Chris Kelly with the help of Facebook.

++ Looking back in hindsight, what would you say were the highlights of The Mulberry Ceilings?

Playing as a 3 piece at a student bar in Farnborough. For one of the songs we did a cover version a Splendids’ song. The Splendids was a friend’s band whose singer had a unique way of dancing with a hat. We started the song and there was a groan in the room. The small audience mainly made of friends thought it was a bad song choice. I thought we had 2 and half minutes left and people were not happy so I decided to start dancing in the same style as singer from the Splendids. Nobody expected this not even Liz and Chris and I managed to capture the singers dancing down to it. The audience thought this was hilarious and we got a huge round of applause when we reached the end of the song. That broke the ice and the rest of the gig was warmly received.

++ And aside of music, what other hobbies or interests do you have?

I still listen to plenty of music. I love bands like Primal Scream, Film School, Low, Efterklang, Broken Social Scene etc. Just recently I have started playing football (Soccer). I’m not very good but I get stuck in.

++ What about Stockholm? I really loved it there when I visited, would love to move one day even! What are your favourite places to have a beer, or to eat? Any Swedish specialty that you would recommend?

Stockholm is a beautiful place especially in the summer. It is made up hundreds of islands so I would recommend a boat trip next time you are over. If you go in the winter visit the Ice Bar. The drinks, mostly vodka, are served in ice glasses and you are given a extremly thick winter jacket and gloves. It is so cold you can only stay inside for about 20-20 minutes.

++ And how easy was to learn Swedish for you? Would you recommend someone to move and live in Sweden? Why?

I’ve never learnt a language before so it took me quite a while to learn the it. Nearly all Swedish people have a very good knowledge of English and even though I speak Swedish with them they sometimes answer in English.
I would recommend moving to Sweden if you have any connection here. If I hadn’t moved to Malmö I would have chosen Gothenburg or Stockholm as the other alternatives.

You cannot visit Sweden without trying the Swedish meatballs.

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Listen
The Mulberry Ceilings – Pillow Crazy

Thanks again so much to Johnny. If you didn’t know the ex-East Village and ex-Episode Four released some years ago an excellent solo album called “Quiet Storm” on the Japanese label Excellent Records. I recommend getting it! It’s a bit different to his previous projects, but great anyways. Now sit down and enjoy this trip down memory lane.

++ Hi Johnny, hope you are doing well. I’ve been listening a whole lot your solo record since ordering from Excellent Records a couple of months back. So I’m very glad that you are up for the interview. My first thought, and question, is if you were making any music in between this album and the last East Village release? What happened in those “lost years”?

++ And also, how did your music evolve from the jangly masterful and luminous songs of East Village to the personal, introspective and moody songs of your solo album?

Well, obviously EV were four people, who all had empathy. We had been together a long time and had evolved our sound. Great guitars and amps helped too of course. So, for me the QS songs aren’t far removed from EV but just myself playing them with no amps. The fact they are moody and introspective was just where my head was at that time …

++ There are some great notes you wrote about the album. On them you mention the album took life on an inter-railing trip around Europe. I’d love to do a similar trip! What gave you the energy or the will to take the train and just travel around? What places struck you and you would recommend visiting?

Spain was great – Seville. Palermo, Sicily. Athens. Sophia, Bulgaria. Budapest. All resonated with me, for differing reasons. But it was fantastic. I was still at a low place – this was a few months before Sept. 11th – and just had to get away from everything. I was working night shift sorting parcels for the Royal Mail. I was going nowhere. A friend said ‘if you’re feeling lost, why don’t you literally get lost?’ So I did. Spent a month sleeping on trains, no plan. Saw some great places, got inspired.

++ How long did you travel? Did you carry your guitar with you? How did these places shaped your songs? And can you connect particular places to particular songs?

++ Did you ever think of having a band for recording this album, or did you know you wanted to do it yourself from the start? Would you say that was an advantage or a disadvantage?

All I had in mind was to get the songs on tape for posterity. I had a lot of ideas for musical parts. Not just guitar but for other instruments too. So I just played them all on guitar in case I was ever going to get a band together again. It could be a template. But I didn’t have the energy or inclination to form one. The songs were about me. I didn’t have any dreams.

++ What about the name of the album, “Quiet Storm”? Where did that come from?

++ And is that you on the front cover? Do you smoke?

Unfortunately I do. I wish I could stop – if you know how, please help!

++ The second song on the album is about “Casey Jones”, the TV series, right? Was that your favourite TV show when growing up? What other shows did you enjoy as a kid?

Yeah, inspired by that show … not about it! A cartoon called Marine Boy. I loved that. There was a European version of Robinson Crusoe with lovely theme music. Captain Scarlett was a fave. Other things like Hawaii 5-0, Kojak etc.

++ The third track is called “Tony Joe”. Is it based on a real person?

was trying to write a tribute to Tony Joe White, the American singer-songwriter. Some of his songs knocked me out and his style of singing influenced me too.

++ Which would you say is your favourite song on the album and why?

‘Misty’ because it has the most direct memories of that euro train journey. I like the sentiment of it. Equally I like Orphan Child. It works well I think.

++ You were saying that the songs were recorded as demos. You mean you would have wanted to re-record them or? I don’t think many notice that! They do sound very good to me, but then I’m no musician 🙂

Maybe it crossed my mind to re-record them. It was suggested by someone. But Eexcellent Records liked them the way they were and I thought OK.

++ So how did the contact with Excellent Records come about? You never expected to release these songs as an album, right?

No I never expected that. They were in London and wanted to meet EV because they were fans. They wanted to re-issue the Drop Out album. So we had dinner and they asked me if I had done anything musically since EV. Well, it just so happened I had a cassette of 3 or 4 of the songs, so I gave it to them and they got back to me and asked me to do some more in the same way.

++ I just heard that Excellent Records will be folding or has already fold, which makes me very sad as it was a great label. How important and supportive were they to you?

Yes it’s such a shame. They put out an album for me and gave me something positive, which I needed. And of course they re-issued the EV albums. So very important to us and me. I think they were a little put out that I didn’t promote the album with gigs etc but Kei came to understand my reasons and wanted to promote it again because of those reasons.

++ After releasing the “Quiet Storm”, do you have any plans of making more records? I do know you have recorded some songs!

My life took off in other directions once i’d finished QS but I recently realised I had 10 or so songs written and quickly recorded a couple of them when I ws in England a couple of months back. But they are pretty rough mixes so far. Yeah, I would like to make something of them.

++ By the way, how do you record yourself? And at what time would you say is the best for you to make music?

A lot of the QS songs were written dead of night. In EV days they were written anytime, anywhere. But the recent ones just as they come. I learnt a lot of other peoples songs over the last couple of years and these ones are a kind of mix of what I learnt, I think. I also recently discovered an old Episode 4 era song that never got past rehearsals. It sounds pretty good to me so I might well resurrect that one too!

++ And going back to your traveling, and now that you are living there, is China inspiring you, in any ways, to make music?

I think so. Take a walk in the park and people are out there singing old songs, playing traditional instruments. I love that.

++ And what about the city where you live in China, are there any sights or places that you recommend visiting?

This city is so new, so big. Some nice parks, beaches, friends houses. Why are you coming over for a visit?

++ One last question Johnny, what would you say has been the most rewarding thing music has given to you?

well, that’s quite hard to answer. The chance to express myself for one. The chance to do what everyone wants to do – be in a band, tour, make records for another. But – without being too cheesy – some of the feedback i’ve had about my/E4/EV music has made me feel like I achieved something in a good way. To know you have affected people in their lives, is something else.

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

thanks Roque ….

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Listen
John Wood – Misty