Continuing then with the Indietracks bands that are unknown to me. We added to the list of bands to see Owls of Now and Common or Garden. Hopefully after these 5 we can add some more?

Kidsmoke: when the guitar started chiming on their latest song, March 2018’s “Passenger” I immediately thought I was going to like them. And that was the case indeed. The band is formed by Lance, James, Sophie & Ash and they hail from Wrexham. This is good stuff. Happy to add a new band to the list of bands to check out!

Current Affairs: Joan, Josh, Sebastian and Andrew form this Glasgow based band who released a 7″ last year on Brogues label Not Unloved! I didn’t notice he had put this record out. Knowing Brogues, who has great taste, it is no surprise he put this out. It is good, maybe not as indiepoppy as I like my music and a bit more punk, post-punky, but it is enjoyable. I would be curious to see them live.

Songs for Walter: I would guess this Manchester band will play on the train or the church stage. I am listening to their latest album “An Endless Summer Daze” and it is a folk record, acoustic and sweet. It is all right, not my indiepop style it is true, but could be enjoyable as there are nice melodies in his music.

Athabaska: I only found a song on Bandcamp by this London band. It is called “Muddy Moons” and it is from this quick review of bands the one that I haven’t liked so far. So moving on.

Junk Whale: now a band from Oxford. I am listening to “The Captain” and I feel this will be the 2nd band I won’t like today. Oh well. The guitar is way too rocky for my taste. And the vocals too.

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I have to say I’m quite ignorant about the band Gameface. It seems it was pretty popular. Or at least there are many websites mentioning it. One of their band members was in No Such Thing back in the late 80s, so that’s what I’ve been mostly stumbling upon through Google. You see, I heard this song “Marching” on Youtube and thought it was pretty good. I started doing my investigation and well, it now makes sense why the high price on Discogs for the 7″ No Such Thing released in 1988. It is because Gameface fans will be interested in it. Right?

From what I read, Gameface was a hardcore, popcore, band. No Such Thing doesn’t sound like that. The two songs on the 7″ are very 80s sounding. “Not a Word”, the A side, is a bit rockier, more new wave. I’ve read of people likening it to U2. Maybe. The B side, “Marching”, is jangly pop tune. Guitars chiming. People say this one has been influenced by R.E.M. Perhaps?

The 7″ was released in 1988 on the Strategically Placed Raindrops (NST-2501) label. It is the only record listed under this label on Discogs. It might be a self-release? We do know that both songs were recorded at South Coast Studios. This recording studio is based in Santa Ana, California. Oh! I did mention this is an American band? Maybe not. I’m writing as I research this time.

We know thanks to the sleeve who the band members were. Scott Joslyn played bass, John Slick the drums, Michael Bains the guitar and Jeff Caudill sang. The A side was written by Caudill and Bains while the B side is just credited to Bains. The B side has addictional vocals by someone called Laurie. We know the sleeve, with that fanzine style, was created by someone called Jeffrey and that the producer for the songs was Jim Dotson. Oh! Jeff Caudill is the famous member that went to be on Gameface (and also onto bands like Ice, Jeff Caudill & the Goodtimes Band, March, Your Favorite Trainwreck).

The sleeve also gives us an address. Costa Mesa in California. Was that where they were based?

Costa Mesa is a city in Orange County, California. Since its incorporation in 1953, the city has grown from a semi-rural farming community of 16,840 to a primarily suburban and edge city with an economy based on retail, commerce, and light manufacturing. The population was 109,960 at the 2010 United States Census.

Orange County. I see many mentions to this area on interviews to Jeff Caudill. On an interview on the website No Echo he mentions that the first band he was involved with was No Such Thing. He also mentions that two of the band members were older than him. Here he also mentions the band that came after No Such Thing, it was called Ourselves and they released a tape demo.

Sadly, as it is the cases of many of these bands that released the one 7″ in the 80s the information is scarce. The great Wilfully Obscure blog has dedicated them a post where we learn that the band was active between 1986 and 1988. That they were named after an Agent Orange song and played everything from Social Distortion to The Plimsouls. Most importantly we know that the band recorded about a dozen original songs but they only released two. I would love to hear to all of those other recordings someday!

Not much information, but perhaps some Californian friends remember them? I’d be curious to find out more. Who remembers them?!

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Listen
No Such Thing – Marching

Thanks so much to Richard for the interview! Not so long ago I was interviewing Richard about the great band he is in these days (since the 90s actually!) The Relationships! But as I am a big fan of all the records The Anyways I realised I needed to ask him questions about his previous band and he was up for the challenge! So here are his answers, please sit back and enjoy!

++ Hi Richard! Thanks so much for being up for this interview! How are you? We were just talking about The Relationships some days ago, now it is time for The Anyways. How different or similar do you find the two bands?

Hi Roque, and many thanks for inviting me! I’m well, thanks, if a little deaf after many decades of amplified music. (Pardon?) The Anyways lasted from 1986-1994 and encompassed many different people and musical styles in that period. Meanwhile The Relationships have been going since 1994 (25 years old – how did that happen?!?). Again, there have been a few line-up changes, but maybe the musical feel has been slightly more consistent. The main similarity between the two is that I was/am the main songwriter in both bands. The main difference is that The Relationships – while influenced by a wide variety of acts including many fine American ones – has a more British approach. I admit it, I frequently used to sing in (my version of) an American accent in The Anyways, which I probably wouldn’t do now.

++ Was The Anyways your first band or had you been in other bands before that? What about the rest of the members? If so, how did all of these bands sound like? Are there any recordings?

The Anyways wasn’t my first band. I’d done cover versions in a school band, then had a one-gig punk incarnation in 1978 (Dick Terminal and the Deathbeds, no less). Things really got going when I joined a local Oxford band called Discontinued Lines, which morphed into Ward 10 in the early 80s. After the demise of that, Pete Lock (the drummer from those two bands) and I got together with Angus Stevenson, Peter Momtchiloff and Valerie Howell – Here Comes Everybody was the result. It was kind of a springboard for Angus joining Razorcuts, Peter M forming Talulah Gosh with Amelia Fletcher, and Pete L and me starting up The Anyways. As for recordings, I believe there might be one track by Here Comes Everybody on a MySpace site if you can still find it! There is also some footage in Jon Spira’s 2009 Oxford music film, Anyone Can Play Guitar.

++ Where were you from originally, Oxford?

No, I was born in Woking, Surrey, home of Paul Weller and The Jam! I came to study in Oxford and stayed on.

++ How was Oxford at the time? Were there any bands that you liked? What were the good record stores? Or what about the pubs or venues to go check out up and coming bands?

There was quite a polarised scene in Oxford when I first arrived here. On the one hand there was a hard rock basement venue called The Corn Dolly – I went there once, but didn’t have a dirty denim jacket, so didn’t feel at home! I preferred The Oranges and Lemons, which hosted punk bands. But I wasn’t really punky enough to fit in there either, so didn’t go very often! There was a tremendous chain of record stores called Music Market, which I used to hang around in. Later I used to go to The Cape of Good Hope and the Caribbean Club, both to see other bands and to play gigs with my own groups. Good local acts? The Stereotypes, Strange Fruit, the Leather Fish, The Communists, The Mistakes.

++ When and how did the band start? How did you all meet? How was the recruiting process?

In 1986 I recorded some of my new songs – literally in my bedroom – with Pete Lock and a guy called Ste Nunn who played amazing orchestral keyboards. Ste was staying there temporarily, having moved up from a house-share in Bristol with one of my friends. He was involved in making videos for the Jesus and Mary Chain, and wasn’t up for forming a band, so Pete and I started looking around. We met Alan Buckley through HCE fans who’d become friends, Chris Hill and Tim Breadin, at a gig in an old converted church in Oxford. Alan played bass and really liked the Velvet Underground – so he was in! Then my friend Susan introduced us to Jennie Crisp and Trudy Aspinwall – who joined on keyboards and vocals/tambourine. Our first gig was a kind of a warm-up, just to the members of an Oxford college. Trudy stayed in the audience – she wasn’t quite ready to perform yet! Later she became an enthusiastic onstage presence, and she used to bring along quite a following to gigs!

++ Were there any lineup changes at all?

Jennie – who started dating a member of Talulah Gosh – left after about a year, and Ali Day joined on keyboards. Lead guitarist Hamish Ferguson joined a couple years later, then Karen Cleave came in on keyboards when Ali and Trudy left. The final incarnation saw Mark Price on lead guitar after Hamish and Karen left to form their own country band! Pete, Alan and I were the constants throughout.

++ What’s the story behind the name The Anyways?

I suppose it was a word I liked, and it seemed to convey the slightly amateurish nature (in a good way) of what we wanted to do!

++ How was the creative process for you? Where did you usually practice?

I enjoyed – and still enjoy with The Relationships – the whole phenomenon of bringing a song along to the rest of the band and seeing what they do with it. We rehearsed mostly in the same place where The R-ships still rehearse – South Oxford Community Centre!

++ You were around in the late 80s and early 90s in the UK and there was an ebullient scene of pop bands and labels. Why do you think that happened at that time? Did you feel part of a scene?

As an older pop/rock fan [puts on tweed cap and puffs at briar pipe], I think that there seem to be waves of creativity in the world of music. Or at least used to be in the late 20^th century… about every ten years. The late 60s/early 70s revolution was one. Then the punk phenomenon in the late 70s/early 80s. Then the indie explosion in the late 80s/early 90s. Yes, we felt like part of a scene – certainly at first, playing at the Black Horse and The Falcon in Camden, chatting to Bob Stanley when he still ran a fanzine (long before St Etienne), receiving advice from Bobby Gillespie about having more guitar solos in the band!

++ And who would you say were influences in the sound of the band?

Hmm, let me answer that by telling you some of the songs we covered at gigs during the days of The Anyways. Sweet Jane by The Velvet Underground. See My Friends by The Kinks. I’m Free by The Rolling Stones (long before the more famous chart version by The Soup Dragons!). Call On Me by Captain Beefheart. Codine as interpreted by The Charlatans (original American ones). Circle Sky by The Monkees. The Beatles’ If I Needed Someone. The Bangles – Going Down to Liverpool. I Can See For Miles by The Who. Robert de Niro’s Waiting by Bananarama (with Amelia Fletcher on vocals).

++ Your first release dates from 1987, the “Confession” 7″ that was released by Notown Records. I have never heard of this label, other than on your release. Was it your own label? Or who was behind it?

After our low-key college debut, our first ever public gig earned us a review in Sounds, a national music paper! We were supporting Talulah Gosh at the Jericho Tavern, Oxford. The reviewer, Roger Holland, later set up Notown Records. He released our 7” Confession/Now You Are, followed by a 7” by another Oxford band, Shake Appeal (who later morphed into Swervedriver), a few months later. Then he ran away to Bologna with an Italian waitress he’d met – so that was the end of Notown Records!

++ The two songs on the record were recorded at Union Studios in Oxford. How was that experience? Was it your first time at a proper studio?

It was very, very exciting. Yes, first time in a proper studio. (Actually in the basement of a terraced house in East Oxford, a few streets away from where I lived). There was a squeaky door at the top of the stairs. As I finished my vocal take on Now You Are, someone opened the door. You can hear it at the end of the track. Hence also the message scratched on the run-out groove of the 7”.

++ I suppose you did release demo tapes? I saw one on Discogs with “Some Psychedelic Song”, “Painting the Desert” and “Silver” on it. A green cassette. Was this the only one? Or were there more? Did you sell them or were mainly for promoting the band?

We did some more recording for Notown at Union Studios, but then Roger the Notown man disappeared off to Italy. We eventually released three of those songs on that green cassette – just on sale in local shops and at gigs. Meanwhile we appeared on an Oxford compilation album, The Jericho Collection, in 1988. Dave Newton who later became Ride’s manager was behind it. Shake Appeal and The Anyways had a track each on the album proper, and were also featured on a free single given away with the album. Some more recording followed at Union Studios, including a session engineered by Tim Turan – who now drums for The Relationships! Then we recorded a whole lot more – at Dungeon Studios, out in deepest rural Warwickshire – with the Hamish/Karen line-up. Only one song from those sessions got released at the time, on Revolution No 9, a charity Beatles compilation which also featured my fellow Woking-ite Paul Weller!

++ Then it took 5 years for your next release, the “Sunshine Down EP” on Marineville Records. Why did it take so long? And how did you end up signing to Marineville? How was your relationship with them?

I suppose it didn’t seem that long, given all the line-up changes and recording sessions and compilation and cassette releases in between! The lead guitar player in our final incarnation, Mark Price, lived in Brighton. I can’t remember how he came across Marineville, but they were based down there too. The Marineville guy was nice, and worked as a baker! I only met him a couple of times, and we exchanged some cassettes of music we liked. I recall he was very into obscure glitter rock – the kind of stuff later compiled by Bob Stanley on his ‘junk shop glam’ albums.

++ Tell me a bit about the photo on the sleeve. Is that you all? Where was it taken?

Yes, that’s the final line-up. You know what – I have no idea where it was taken. Probably outside the South Oxford Community Centre (like the picture on the Confession/Now You Are sleeve).

++ Then the next year your album “Older than Yesterday” was released. It took me a while to find a copy 10 years ago or so, because I think only 400 copies were pressed. Why so little?

Thank you for your kind words about Older Than Yesterday! Yes, it was a compilation of recordings from 1987 to 1993, which we put together in the final days of the band. Mastered, incidentally, by Tim Turan (R-ships drum dude!). It came out after the band was over. That fact plus financial considerations meant only 400 were produced.

++ Tell me about the photo on the front. Is it Marston Street in Oxford? Does it have any particular meaning?

The little girl pictured is Helen, daughter of Pete Lock. Yes, Marston Street is in East Oxford – it’s where a few of us lived at different times, in a legendary shared house which I moved into in my final year as a student (Amelia Fletcher, Peter Momtchiloff and Chris Scott from Talulah Gosh spent some time living there too). It was unofficially known as Indie Central for a while in the late 80s! The cover shot has no particular meaning – just a fun image.

++ It is hard for me to pick a favourite song but I really like “Silver” and “Sweet Marie”, was wondering if you could tell me the story behind these songs? Was Marie a real person?

Oh thanks. Silver was kind of a reaction to seeing My Bloody Valentine play at The Wheatsheaf in Oxford. Maybe the first time we tried mixing the vocals way down low, so they just peeped out of the guitars. Modern psychedelia! Sweet Marie was influenced by the Country Gothic end of what was going on in American alternative music at the time – Violent Femmes, The Gun Club, later stuff by The Dream Syndicate. I’d like to say Sweet Marie was a real person… maybe she was Sweet Jane’s country cousin!

++ If you were to choose your favourite The Anyways song, which one would that be and why?

It changes from week to week. Special One had a real enthusiasm to it – possibly the best interplay between Trudy and me on vocals. I think it was the first session when we were really well recorded by someone who ‘got’ the band. (Stand up, Mr Turan!) Then Tower of Fools had a beautiful feel to it – loved that drum intro from Pete (later used again, shamelessly, at least once!), and all the shimmering layered guitars and keyboards. The late great Hamish Ferguson did an absolutely amazing 12-string guitar break on that one – makes the hair stand up on the back of my neck. But this week maybe I’d have to say The Way I’ve Found. Another example of that Country Gothic style I was talking about earlier. Lovely tone on Alan’s bass in the intro. More of those layered guitars and keyboards. Splendid backing vocals courtesy of Pete Lock, with Karen’s housemate Selina. I even like the hilarious impersonation I do of Mick Jagger on the middle eight!

++ What about gigs? Did you play many? All over the UK?

Yes, a lot – Oxford of course, but also London and surrounding area, Brighton, Bristol, mid-Wales. Pete Lock was heroic driving us around in a van! We used to think nothing of getting home at 2 or 3 in the morning, then going to work the next day, young tykes that we were!

++ And what were the best gigs you remember? Any anecdotes you can share?

We played at a Hindu wedding in Hendon (London outskirts). When we inspected our set-list, all the songs were called things like Love Gone Bad and Cold & Blue. Not exactly wedding-y. They seemed to enjoy it anyway. We also did a rather notable set supporting One Thousand Violins at this club in Aldershot, Hampshire. Aldershot is a big army town, and the audience were all military kids, we reckoned. They came in to see all the bands, clapped and whooped enthusiastically, then all filed out in orderly fashion to the bar area in between bands. Otherwise our gigs in Jeff Barrett’s clubs in London were always a blast – the Black Horse and The Falcon. (Though one of the ones at The Falcon featured a terrible smell – the pub cat had come in and disgraced itself in the gig room before sound-check!) We did a couple at the 100 Club in London, organised by Dan Treacy from the Television Personalities. It felt absolutely like being in a film, playing at this legendary London venue with this punk/indie legend promoting!

++ And were there any bad ones?

Hmm, there was the one where Jennie knocked over her fizzy soda and it shorted out the keyboard – oops! Oh, and the one we did at the Fulham Greyhound. We got a terrific crowd along… but when we went to get paid, the tough-guy promoter informed us there was no money. He had burly mates with dogs… we didn’t argue! But for the most part they were pretty good gigs, though maybe that’s the rose-tinted spectacles of nostalgia! Most of the acts we shared bills with were really nice people, which helped. For example, I had terrible stage fright for a while. We supported Jonathan Richman at the Jericho in Oxford, and he was extremely kind and understanding and talked me out of my nerves. So it all came good in the end.

++ When and why did The Anyways stop making music? Were you involved in any other bands afterwards?

Things changed in people’s lives. Alan, Pete and Mark wanted to do more of their own songs. Pete wanted to move out from behind the drumkit and develop his singing and guitar-playing. I had some new song ideas which maybe suited a new vehicle – which became The Relationships.

++ What about the rest of the band, had they been in other bands afterwards?

Yes, Pete, Alan and Mark formed a band called Blue Kite, which later turned into Moiety when Alan left to become a performance poet! Meanwhile Angus, Pete and I started putting The Relationships together.

++ Has there ever been a reunion? Or talks of playing again together?

The Anyways got back together for various different reunion sets in 1998, 2008, 2009. Plus one song in 2015 at a birthday bash for Pete!

++ Did you get much attention from the radio?

Our most exciting radio play was on John Peel’s show in 1987! Just one play of Confession. The late great Mr Peel commented on and chuckled over the name of the label, Notown Records, and said in his distinctive lugubrious voice, ‘I don’t know where this lot are from’. I had it taped off the radio on a cassette… but then, unbelievably, I recorded over it by mistake!

++ What about the press? Did they give you any attention?

As previously mentioned, our first ever public gig was reviewed in a national paper, Sounds, and Melody Maker did a couple of short pieces about us too. We had some good press in Oxford music papers – Local Support, Curfew and Nightshift. I remember the Oxford Times gave us one good review and one bad one. A load of local fans wrote in to complain about the less positive review, which was gratifying! Ronan from Curfew and Nightshift has always been very supportive. (He does an amazing job, by the way –  Oxford would be a far less exciting place without his tireless efforts as a chronicler of the local music scene).

++ What about from fanzines?

Bob Stanley’s fanzine – Caff, I think it was called – gave us a nice mention in 1987.

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

Hmm, I can’t pick one. But… all those ‘for the first time’ things, I suppose. Playing to a packed Jericho Tavern with cheering people hanging off the walls. Being reviewed in a national music paper. Being offered a record deal. Going to a real recording studio. Being played by our hero John Peel on the radio.

++ Aside from music, what other hobbies do you have?

My girlfriend and I like to go for walks and eat nice roast lunches. We both read quite a lot. Otherwise old movies are pretty popular. For example Whistle Down the Wind, with Hayley Mills and Alan Bates. Brilliant combination of funny/sad, realistic/fantastical, child’s-eye-view/cynical.

++ I asked this same question to Angus in the Relationships interview, but would love your take on it. I’ve never been to Oxford so I will ask a local for some recommendations! What are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Try the Prince of Wales in Iffley Village (on the outskirts of East Oxford) for a traditional British Sunday roast lunch!

++ Anything else you’d like to add?

It’s been a pleasure talking to you, Roque!

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Listen
The Anyways – Silver

Well, well, there are many new releases that I want to feature but let’s stick to the Indietracks announcements for now, figure out which are the bands one has to see for sure.  If it was me I would totally see Kero Kero Bonito, The Orielles, Tracyanne & Danny, The Spook School, The Catenary Wires, Holy Now, Seazoo, L I P S, Foundlings, Jetstream Pony and The BV’s. There are a bunch of bands that I don’t know of course and last week I reviewed 5 of them. I thought Jacqui and Geoff was fine. But let’s see who else is worth checking out. Here are another 5 that are totally new to me.

Common or Garden: the latest song by this London band is called “Big Conversations in Bad Hotels (Uh oh)” and dates from last month. Before that the band recorded the song “Bought” and a cover of David Byrne’s “Bullet”. Three songs. That’s all they have so far? Maybe.  In this case the synth-driven “Big Conversations…” song is really nice and poppy. “Bought” is not as great, but still I think this is the first unknown Indietracks band that I’m enjoying. Add it to the list.

Squiggles: this is Niall from The Spook School. So that means that this is probably a good band to check out. I can’t seem to find any recordings though.

Grawl!x: a local band, from Derby, very close to Indietracks grounds. Their latest is an EP called “Minutiae” that was released on January 1st this year. Sadly I don’t think this is the kind of music I enjoy. I don’t see any indiepop in it. Indie sure, but it lacks the pop part.

Solution Hours: a London duo formed by Charlotte on vocals and drums and Andrew on guitar. They released a tape called “Try Again” last year in May. This is not indiepop either, it is more of an emo, post-hardcore, sort of band. It is good for what it is, but if I was to cross the Atlantic for indiepop, you know I won’t be at their stage.

Owls of Now: thought it was cool that their EP was called “Episode Four”. That’s one of my favourite bands. This Glasgow band is quite a nice surprise I think. The four songs of their EP are pretty good! As far as I know the songs were released on tape last August. Now, why not on 7″? I think they are pretty promising. The band is formed by Caz, J. Bell, Kate & Vicky.  I would totally see them if I was to attend Indietracks!

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The 2002 compilation “These are the Songs We Always Wanted to Hear” (FST045) that Firestation Records released introduced me to a few bands. One of them was The Blue Chairs. I thought of course that their song “Ask Me Tomorrow”, which appears in the compilation, was the only song they ever released. I thought it was a shame. It was a wonderful song. Only today I found out that it was actually self-released on a CD with another song accompanying it.

I don’t know much about this CD release. I found a review on the web on a page called I-94 Bar. Just a few lines long. The website looks old. Early days of the web. But here it mentions that there was a CD with this wonderful song, “Ask Me Tomorrow”, and another one called “Show Me Your Love”. The reviewer likens both songs to The Go-Betweens and The Bats. And that is always a good thing, isn’t it?

It seems that The Blue Chairs was a one-man band. The person behind it was Jürgen Felder from Germany. The reviewer does mention that the CD is not easy to obtain, that you could only get it directly from Jürgen. I wonder if Jürgen still has copies. I’d love one.

Only now too I’m putting two and two together. I do own a release by The Blue Chairs. One dating from 2009. It was a mini-CD that was released by Vollwert Records in their Edition59 series (EDI018). It included three songs, “It’s Written”, “A New Day” and “Since I Know You”. I should play this again.

Looking for any information on it on the web I find the 2008 Twee.net poll. Here I find Jürgen’s votes. He voted for himself and his songs as the best of that year. Fair enough.

Last.fm has a biography, written by The Blue Chairs themselves. It adds a new character to the story, Erich Hartig. So it seems Jürgen and Erich started the band in the early 90s as The Chairs, recording in Jürgen’s bedroom. When they noticed some other band had the same name, they changed to The Blue Chairs. They knew each other since school and actually had started playing together in the early 80s!

By the time they started The Blue Chairs they had already recorded a few hundred of demos! And then the information I was looking for, the CD with the two songs was released in 2002 on Casino Records. Perhaps, their own label?

Then it mentions that they got together in 2008 to record their first album. At this time they weren’t living in the same city. Thanks to this line I conclude that it was a duo. Not a full-band, not a one-man band, but a duo. Jürgen and Erich.

And lastly, I find the bounty. A Soundcloud page with their latest recordings. There are two albums! It seems they were only released digitally, though I couldn’t tell. They’ve only been uploaded a month ago. The interesting thing is that both albums are dated 2010! Two albums in a single year?!

“Noizeflash” had thirteen songs, “I Don’t Wanna Be Like You”, “Keep the Fire Burning”, “You Know”, “Take Me”, “It’s Just a Lie”, “Too Late”, “In the Street”, “Luck”, “Turn Around”, “On Your Way Down”, “Escape to Silence”, “The Time I Spent” and “Hang’em High in Tupelo”.

The other album is called “Art Effects” and has 14 songs: “When I Meet You”, “If I Could Hold You”, “This Way has End”, “Another Day Goes By”, “Won’t Let Her Go”, “Thank You”, “No No No”, “Square Dance”, “Dream On”, “I Am the One”, “Everytime”, “You Keep Me Waiting”, “Eighteen Three” and “Polarbeat”.

Well, well, there’s a lot of new music then to listen! But it would be great to know about their 80s and 90s projects. About the other song on their limited CD on Casino, if there is a way to find a copy of it, and if they had been involved in other bands. That and many other questions. For example, where in Germany where they based?! Who knows?!

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Listen
The Blue Chairs – Ask Me Tomorrow

Indietracks announced yesterday the first batch of bands that will be playing the festival! So as usual I will check out all the bands I don’t know. There are many of them this year too. I do have to say that at first glance this time the festival looks better than the previous years as there are some great bands like Tracyanne and Danny, The BV’s, Jetstream Pony, The Catenary Wires, Seazoo, Holy Now, etc. For those not aware of the festival, be sure that it will be happening at the same place as always, at the Midland Railway in Butterley, Derbyshire, between July 26 and the 28th. So let’s start the review!

I’ll start from the end, from the bands that are perhaps smaller towards the headliners if that’s ok.

She’s Got Spies: named after a Super Furry Animals song, the Cardiff band seems to be a one-woman project in reality. From what I understand the band has been going since 2005 which is a long time now. Their debut album though was released in September 2018 and is called “Wedi”. It is in Welsh. The Bandcamp doesn’t have any tracks to preview but I could find songs on Soundcloud. It is all right. What catches my attention is the Welsh language, though I must say I’m not bowled over by the music. These songs are 7 years old though, maybe they got better?

Rosehip Teahouse: another Cardiff band. Two in a row. Are the Welsh taking over Indietracks this year? I’m checking their latest song, “A Million Times”, which is available on Bandcamp. The band is formed by Faye, William and The One and Only Tony. It sounds fragile, and it could work in the church stage. I’m just not convinced by the vocals… they are a bit too much for me.

JC Quick: JC is based in Bristol and he plays some lo-fi punky songs. His latest song is called “Passport”. It seems it was recorded in his bedroom or on his phone (?), it is way too lo-fi. I suppose that’s the whole intention, but I don’t see the charm in it. Maybe well recorded these songs could be better. I suppose for a gig this doesn’t matter unless of course he plays by himself. I think with a band backing him it could be ok. If not, I think I would skip.

Jacqui and Geoff: So Jacqui and Geoff is not them two but also a third member, Stewart Harris. Their latest release dates from 2016, an album “Moon on a Stick”. They are more a folky pop band but I must say that so far this is the best I’ve heard on this little review! The guitars remind me sometimes of the great Zoey van Goey, and that is a good thing. They sound fine. I would see this Cambridge band at Indietracks.

Nim Chimpsky: “It Was Inside Us All Along” is the name of the digital EP the band put out on January last year. It seems that they are releasing their debut album sometime soon. They are based in Coventry  and they play some punky pop that can be a bit all over the place. Like on “No Survivors”, it is fine track, with good melodies but at some point it slow downs and gets acoustic and loses my attention.

But do tell me, which bands are you looking forward the most?

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So I have started compiling tracks and bands for a series of compilations documenting Australian indiepop 1984 to 1994. It is coming along, a bit slow, but coming nonetheless. And one band I’d like to include in them would be the Frontier Scouts who released two records in 1983, a 7″ single and a 12″ EP.

To be honest though, I know very little about them. I remember hearing some of their songs many years ago when in Soulseek a folder called “Future of Leamington Spa” was shared and shared. I don’t know who made that selection of bands. There were many bands that weren’t English in there. So it wouldn’t have fit the bill. Nonetheless it introduced me to new music.

Based in Sydney, Andy Wilson on guitar and vocals, Bradley Allen-Waters on bass and tambourine and Graeme Hutchinson on drums formed the Frontier Scouts. Their first release was the single “When Daddy Blows His Top” with “Out of Your Shell” on the flipside. It was released in 1983 by the fine Au Go Go (ANDA 28) label. Debbie Auchnichie is credited for backing vocals. These songs were recorded between April and May 1983 at Central Recorders Sydney with Steve Marr as engineer. I believe there was a video made by Kriv Stenders who photographed it in Super 8 (who made the Go-Betweens documentary) is credited for film clip as well as Robin Gold, who directed. You can watch this video here! The video was shot in Darlinghurst, Sydney, April 1983. The photos on the record are credited to Tony Hayes and Marjorie McIntosh.

Their next release was “Museum Collection”, an EP released also on Au Go Go (ANDA 34) that had 5 songs. The A side featured “Soul too Sold” and “A Fact Unknown; Even to You” while the B side had “Under the Wings Of”, “You Should Be Shot” and “Like in Salem”. These songs were recorded at M Squared Studio between November and December of 1983. David McComb from the Triffids played feedback effects on “A Fact Unknown”.

There are two compilation appearances. The first dates from 1984 on tape called “Distant Violins Number 12” that was released by Distant Violins (DV CASS 1). The band contributed the song “Belmondo”. On this same comp we see other great bands like Tiny Town, The Particles or These Future Kings.

Then in 1999, Chapter Music put together “Amateurism” (CH28), a compilation of three bands Andrew Wilson had been involved with. These bands were Four Gods, Frontier Scouts and Andrew Wilson and Associates. There are 9 songs included here by Frontier Scouts, “When Daddy Blows his Top”, “Out of Your Shell”, “Soul too Sold”, “A Fact Unknown”, “Under the Wings of”, “You Should be Shot”, “LIke in Salem”, “Good Things” and “Belmondo (Live)”.

I could find quite a lot of information about Andrew Wilson. He actually started his musical career in Brisbane with the Four Gods. They were friends with The Go-Betweens and played many gigs together. Even Lindy and Grant played in the 7″ that the Four Gods put out on the Able Label.

And that’s all I could find. Would be great to do an interview with Andrew Wilson, or the other members too, I’m sure they have lots of stories and anecdotes to share. Anyone remembers them?

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Listen
Frontier Scouts – Out of Your Shell

Hope all is good. Today is a bit quiet for me but I do have a few great finds to share.

Doggy: the wonderful French band is back with a new album on the top Spanish label Kocliko Records! Wow! It will be out on March 8th and it will be titled “Radio TP”. On Soundcloud there are 9 songs to enjoy on repeat because they are really really good. We need more Doggy in this world!

The BV’s: next Thursday we will see the release of the wonderful new album by our friends Josh and Fred. Last post I recommended their new video for “Charlie, I Don’t Know Who You Are!” and today I will tell you to check their Bandcamp, because they have another song there that will be included in the album, “Porth Sawsen”. And that is more than enough for me to tell you to head there.

Astragal: just a week ago I was recommending the digital single “Moderne Luxury’ by the Houston, Texas, band. Well today I noticed that the band has released a four track EP on 7”, so my wishes have come true! The A side has the song “Bloomer” while the B side is their older first EP. Interesting choices!! On their Bandcamp, “Bloomer” is part of their second EP which includes three other songs. This second EP will be released in tape pretty soon.

Hobby Club: I really like this band. I think it is superb. I believe they will be releasing a record soon. Not sure which label but from what I know a local one, meaning English. That’s what they told me when I got in touch to express how much I liked their sound. Now they have a new song called “Bedroom” which once again takes cues from the heyday of indiepop, sounding pretty c86 to me.

Apple Orchard: lastly there is this collection of covers, unreleased tracks and demos by the wonderful California by way of the Philippines band. Ryan and Dale crafted pretty bedroom pop songs during the noughties and here are 10 songs that are rare and all but document and show what Apple Orchard were at the time. Top stuff.

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A bunch of young people with a shared love of great pop music who coalesced around singer and songwriter Andy Fitzpatrick, The Dadas came along to brighten up the lives of Dubliners in the early 90’s.
Leaving behind a classic double A-side 12″ single, “Skyscrapers”/”Mercy, Mercy” on the Mickey Rourke’s Fridge label, and memories of some stunning live shows The Dadas parted company in 1993.
Band members: Andy Fitzpatrick (vocals & guitar), Gráinne Tiernan (backing vocals), Maelíosa Tiernan (backing vocals), Brian O’Connor (keyboards), Dan Stuttard (bass), Ciarán Lally (drums).
Recorded at Windmill Lane Studios, Dublin, January/February 1992. Engineered and mixed by Aidan McGovern, Ciarán Byrne and Willie Mannion at Windmill Lane Studios, Dublin, March 1992. Produced by The Dadas, Aidan McGovern and Ciarán Byrne.

That’s the information that appears on the Leamington Spa compilation that was included within the “Still Mad at Me?” boxset that celebrated the 15 years of Firestation Records from Berlin, Germany (FST 100). The song that The Dadas contributed to it was “Mercy Mercy”, one of the B sides of their one and only release.

This release was a 12″ single that was released by the fantastic Mickey Rourke’s Fridge (MRF 006). If you remember there’s an interview with Seán from the label on the blog. I do think though that the version that was included in the Firestation comp might be different as in the booklet it mentions that it was recorded at Windmill Lane Studios. On Discogs, the info for the 12″ says that the songs were recorded at Rockgarden Dublin in June 23rd 1992. The songs being of course “Skyscrapers (Don’t Go Jumping From)” on the A side and “Mercy Mercy” and “Maybe” on the B side.

I believe this single was also released on tape. And even a better find is that there is a video for “Skyscrapers” which you can check on Youtube! This video was produced by the band, Ciarán Byrne and Aidan McGovern. It was made on location at Windmill Lane Recording Studios on March 4th 1992.

Aside from the Firestation boxset there is another compilation appearance for the band. They contributed the song “Dandruff” to the tape compilation “My Favourite Things” (MRF 11) that was put out in 1993 by Mickey Rourke’s Fridge.

I keep looking for more information about them. The great resource that is the blog Fanning Sessions deliver again. They have a session available to stream with the songs “Dandruff”, “Early Days”, “Good to be Happy” and “Mercy Mercy”.  Here there’s a mention about Andy Fitzpatrick involvement as a long-standing member of The Harvest Ministers. He also has a solo career releasing several albums and EPs, his most recent being “Antoinette Plaza” from 2017. He now lives in New York City. Wow. I could have crossed paths with him, maybe being the same subway car. Who knows.

There is a cool article on the Blackpool Sentinel about The Rock Garden venue in Dublin. There is a whole paragraph about The Dadas which I copy here:
I had a real soft spot for The Dadas, a Northside combo led by Andy Fitzpatrick, who later went on to buttress William Merriman’s excellent Harvest Ministers ;- I honestly thought that The Dadas’ honey-coated canon had a real sparkle to it. After they attracted less than a score of paying punters into what could often be an unforgiving old cavern, Fursty took off on one in the offices upstairs. Like Brian Blessed in leather biker’s keks, he upped the ante and the volume ;- ‘The Dodos [sic]’, he drawled, ‘will never be booked here again’. An arrangement that, I suspect, suited the band as much as it suited the venue.

Not much more on the web about them. I’m looking for a copy of the record too of course. No luck as of yet. Also if there are more songs that they recorded would be great to know. Everything I’ve heard sounded great. Would love to know more about this terrific Irish band. Anyone remember them?

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Listen
The Dadas – Skyscrapers (Don’t Go Jumping From)

I have been shocked by the news that our friend Dicki Hermansah, who I got to know through the band Sunny Summer Day passed away a few days ago. To be honest I don’t know the details, I have learned about this event on Facebook, through several posts of friends mourning him. I can’t believe this has happened.

I didn’t get the change to meet in person. Online we talked quite a bit. The first time we were in touch must have been more than 10 years ago, in 2007, on Myspace. I was then working on the Cloudberry 3″CD series and I asked his band, based in Bandung, Indonesia, to contribute 3 songs to this project. They were keen on it and even sent me 5 songs. 2 extra ones. The songs on this 3″ were “You’re The One For Me”, “Happy in the Summer” and “Something in Your Eyes”. The limited CD was a success as the 100 copies sold pretty fast. I remember when looking for imagery for the artwork he asked me to use some flowers, make it look kind of Sarah-ish but in colour. That’s how it ended being that way.

The other two songs he offered me would end up in other compilations I put out, for example “Shining Light” appeared on the first volume of “The Sound of Young Java” and “Colours of Fantasy” on the “Nothing Matters When We’re Dancing EP” that was given away at many indiepop clubs around the world. Later on, in 2008, the band would contribute the most amazing song they wrote, “In Summertime” to the “Sound of Young Java Vol.3”. This song was a collaboration between the band and the talented Cris Miller of Silver Screen. Many years later, at a NYC Popfest, Cris would play this song, and we all wished Sunny Summer Day was there to play it together with him.

I do know that Sunny Summer Day was invited to NYC Popfest. They applied and were up to coming to play here in 2016. I would have loved that so much. I think they had all the intentions to be here but visa issues made it complicated for them to get to this country. Seeing them and meeting in person would have been great after many years of chatting about music.

Now I remember too when he asked me to share on Youtube some songs he recorded with the band. I ended up uploading a video of them playing the Field Mice’s “Emma’s House” and also of “We’re Going Fun“. The next year they would cover Ride’s “Vapour Trail” and they asked me to add it to my channel as well.

He was just 34 years old. And with so much talent and great taste. His band spearheaded an Indonesian indiepop scene that in 2007 was just starting to make waves. Now we all think of Indonesia as a country that produces great indiepop. Back then it was new. He was one of the few that believed in our music.

The band released a perfect record in 2016 called “Traveled Backwards” that was released by Lisdia Records on CD and tape. Dicki was so kind enough to send me two copies and a t-shirt. I’ve played this record yesterday night on repeat. It is so good. I wonder how his next album would have sounded. Even better I am sure.

I think of his friends, his band mates and his family. Me being so far, not even having met him in real life, and I’m really sad about this. I can’t even imagine how they feel. Or how the Indonesian scene must be feeling.

His legacy and his songs will live on. That album and the two EPs they released will be cherished by everyone that will discover their jangly sounds. It is very easy to fall in love with Sunny Summer Day’s music let me tell you. And we’ll remember Dicki as one of the most enthusiastic popkids from Bandung, Indonesia, and the whole world to boot.

Rest in peace my friend.

Let’s start the week! On Friday I got to see the New Zealand band The Beths in Brooklyn, at the Williamsburg Music Hall and it was great! There were no new records to buy, just the album, but I already got that one. If you haven’t got a copy yet I urge you to get it, it was definitely one of my favourite from last year. I did buy a cool t-shirt and took a photo with Elizabeth, the vocalist of the band while everyone was checking out one of the opening bands. It was quite a surprise to see that the gig was sold out. I didn’t know the band was that famous or well-known. The crowd as usual was very different, I didn’t see any friendly faces of other indiepop gigs. This is something that surprises me about NYC, the crowd is always different even if it is a small genre like indiepop. The gig lasted around an hour, from 10pm to roughly 11. I couldn’t get into the main floor as it was packed and was impossible to move there so went to the mezzanine this time where I got a good view of the band. Sadly this meant that I wasn’t going to be able to get a setlist. That was a bummer. But it was better than not seeing the band and being uncomfortable. The band was great of course. They played their hits and even a song from their earlier 2017 EP. They started with maybe my favourite of theirs, “Whatever”, and ended the gig with an encore of two songs. I was pretty happy to have seen a NZ band in NYC, it is not that common I must say. Indiepop gigs are not happening too often here, though today The Monochrome Set is playing but I think I will be missing it. It is tough on a Monday. Next week though I will go see Roxanne’s post Veronica Falls band Patience, which should be good too!

Now, what’s new in indiepop world?

The BV’s: the German/English band released our last 7″ so far and they’ve kept busy. They are releasing a new album on the always perfect Kleine Untergrund label from Augsburg, Germany. The album will be called “Cartography” and it will be out on March 14th. To celebrate this the band have unveiled a superb video for the song “Charlie, I don’t Know Who You Are!”. I have already been able to listen to the album and believe me it is a serious contender for best of 2019!

The Vegetablets: the lovely pop duo formed by Koichi and Miki (who I’ve interviewed in the past about their previous projects, Chain Lettery and Bitter Cherry Jam), are back with a lovely new album called “3”.  It is available on CD and it includes 8 songs. If you want an extra souvenir the band is also selling a lovely handmade “vege bear” keychain which is really cute!

The Catherines: now the Hamburg duo, a band that appears time and time again on the blog because of their ability to create top songs all the time, are releasing an album on Mondo Canapé Records. Many of the songs are already familiar of course, but it is a good chance to get a copy on CD and tape. 8 tracks appear on this self-titled album.

Heartlings: on the Depok, Indonesia, based label Don’t Fade Away Records there are lots of treats. The latest are two songs by the band Heartlings that is formed by Andi, Amy, Christo and Yanu. The songs on this digital single are “A Hundred Wishes” and “Summer Breeze” and they are two breezy tracks!

Elenin: more on this label and from a band we’ve mentioned in the past too, Elenin. Now it is just the one song, “Turtleneck”, but as it is so pretty I had to recommend it of course. Check it out.

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Edward Montgomery “Monty” Clift (October 17, 1920 – July 23, 1966) was an American actor. His New York Times obituary noted his portrayal of “moody, sensitive young men”. He is best remembered for roles in Red River (1948), The Heiress (1949), A Place in the Sun (1951), Alfred Hitchcock’s I Confess (1953), From Here to Eternity (1953), The Young Lions (1958), Judgment at Nuremberg (1961), and The Misfits (1961). He received four Academy Award nominations during his career: three for Best Actor and one for Best Supporting Actor.

Along with Marlon Brando and James Dean, Clift was one of the original method actors in Hollywood; he was one of the first actors to be invited to study in the Actors Studio with Lee Strasberg and Elia Kazan. He also executed a rare move by not signing a contract after arriving in Hollywood, only doing so after his first two films were a success. This was described as “a power differential that would go on to structure the star-studio relationship for the next 40 years”.

Don’t confuse The Montgomery Clifts with another band with the same name from Australia, from the noughties. Nope. These Montgomery Clifts I like hail from England, from the late 80s and early 90s.

They were formed in 1986 by Andy Bevan (vocals, guitar), Jeremy Purches (guitar), Myles “Bill” Crampton (bass), Dave Burbidge (drums) and Bill Bell (mandolin, fiddle, percussion, harmonica & backing vocals). They debuted in Bristol, played an open air free festival in Cornwall, and ended up in London via Hull. Bill Bell was actually part of the Blue Aeroplanes before joining The Montgomery Clifts. They recorded a demo tape and got airplay on Capitol Radio and then Native Records snatched them. With this label they released their album “Deadwood Chronicles”, which was recorded in London with Creation in-house producer Ian Shaw and was released in 1990. That’s more or less the biography available for them on Last.fm.

Discogs gives me a bit more information. Two demo tapes are listed which is great. The first one is a 3 track tape that included the songs “Next World”, “Lovesville U.S.A.” and “Lakeside (1970)”. These songs were recorded at Granny’s Recording Studio in Fulham, London. The black and white photocopy sleeve gives us an address for the band in Bristol.

The second tape included two songs, “Moth to Your Flame” and “Cradle to the Grave”. Not much more information on this one.

For the album we do know that it was called “Deadwood Chronicles” and was released by Native (NTVLP 58) and included 10 songs. 5 on each side. The A had “Next World”, “Lovesville USA”, “Her Summers”, “The Fountain” and “Jessica Daydream”. The B side on the other hand had “Judas Introduce Yourself”, “Spine”, “Lakeside (1970)”, “Tumbleweed Girl” and “Swansong”.

Two compilation appearances are listed. Their song “Next World” was included on “Guitar and Drums” a compilation released by Native Records in 1991 on CD and LP. A superb compilation this one that included the likes of The Darling Buds, Treebound Story, The Kennedy Pill and more. The other compilation listed is a US CD from 2005 called “Holiday Heart, A Hospice Awareness & Benefit Project”. I’m 99% sure that this is a different Montgomery Clifts on this comp.

I look for more information. I find out that Bill, who had been in The Blue Aeroplanes, was also later on in a bluegrass-tinged band called Angel Band. Another mention I see is that the band Nautical William used to play gigs with The Montgomery Clifts.

Dave Burbidge played drums for Hazel Winter’s second album “Death Row Bride”. He also drummed for the album “Come Around” by Shaun McCrindle. I believe that lately he has been involved in the country influenced band The Leylines.

Can’t find any information on the rest of the members though. It may or may not be that Jeremy Purches passed away though. I hope he hasn’t there is a photo of a guitar player with the same name on a “remembering” site.

I am sure my Bristol friends remember them. Their album sounds great so I’m going to try to order myself a copy in the next few days. All I have listened by them sounds great. I wonder if any one remembers them and can give me a few more details! Would definitely want to find out more about this top sounding indiepop band!

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Listen
The Montgomery Clifts – Next World

Please don’t forget that on March 9th, if you are in Stockholm, you must attend Bongo Bar in Jarlsgatan 37, at 9pm. Why? Because one of our favourite bands from the city, one that we were lucky to put out a 7″, Salt Lake Alley, will be playing a gig!! And that is not common. I wish I could be there. So please don’t miss it. More information here.

And today I will be going to see the brilliant New Zealand band The Beths!! I’ll tell you on Monday how it went!

The Artisans: the jangly band that our friend Kevin McGrother is part these days is releasing their debut album. And what can I tell you? It shimmers and shimmers. It is one not to be missed. There are 12 songs which I’ve been lucky to listen so far, including a cover of “A Week of Wednesdays” which was released on Cloudberry years ago by Kevin. The self-titled album is going to be out on April 8th and on Soundcloud you are able to check two of the songs that will be included “Two Hits, Three Misses” and “A Week of Wednesdays”. I believe we already have a contender for best indiepop album of the year here.

Hatchie: “Without a Blush” is the latest from Hatchie who surprised all of us with a wonderful EP not too long ago. This song has a video as you can see and it will be included in the debut album that is to be released on June 21st on Double Double Whammy and Heavenly Recordings.

Melenas: the most amazing Melenas have a new single out. To promote it they’ve made a video that is super cool. The song is called “Ya No Me Importa” and I’m hooked. I just ordered a copy myself of the record which is on pre-order at Snap! Clap! Club Records. This is a total winner! Definitely one of the best bands right now! So lucky to have seen them last year in Madrid. Living this side of the Atlantic is not ideal I must say!

Robert Forster: another video! now it is the video for the song “Inferno (Brisbane in Summer)” by the ex-Go-Betweens! This song is part of the new album “Inferno” which was just released on March 1st on Tapete Records. It sounds great! I really hope Robert comes to play in NYC!

Stars in Coma: our friend André has just unveiled a new video to promote his upcoming album “Every Evening, Sunset Crooks its Thumb Across the River”. The promo video is for the song “Destroying the Love” and we can see his new home, Lisbon, on the video. The album will be out on March 29th.

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Time again to fly to Japan, one of the countries that has produced lots of indiepop but for some reason many of their bands still remain unknown to the rest of the indiepopworld.

I keep exploring these Bluebadge Label compilations that were released in the early 2000s. That was a great label. It should be famous. Maybe it is in Japan. The quality of the bands they put out was great, and the bands they picked for the compilations too. I was revisiting the 3rd compilation they did, “Guitar Pop Crazy! (Bluebadge Compilation Vol. 3)” (BBCD-009) and I found out about a lovely jangly band called Showcase. I said to myself, I need to know more!

This compilation was released in 2005 on CD and included a bunch of great bands of course. Among them I see Pitcher56, Margarets Hope* and Cyclon 86 among others. Showcase appears with the second song, the aforementioned “Hello”. There are some credits for it, the lyrics and music were written by Ikunori Nakaya. Was it a one-man band perhaps?

Two years later they appear on another compilation. The 2007 CD comp “Boys (& Girls) Wonder Shibuya-K Indie-Pop Collection Vol. 2” that was released by TKO New Music Corporation (TKOK-0002) included the band’s song “Fireman”. I haven’t listened to this song yet, so I’m hoping someone can hook me up. Other bands that you might know thanks to the blog that appear on this CD are Pastelshot, Flannel, Cherry Letter and Trans Alphabet.

There is not other information about the band sadly. I believe though that I have found some information about Ikunori. It seems he is based in Tokyo and works in the information technology and services industry.

I am not sure how to continue this search. “Hello” and its guitars are fantastic. I definitely want to hear more by this band. I am hoping they had more recordings. But I probably will need some Japanese indiepop fans to help me on this one. Anyone remember the band Showcase?

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Listen
Showcase – Hello

Well, well, here is a new post.

Univers: our Barcelona friends are back with a release on the Modern Obscure Music label. The A side comes with “Joventuts Unides” and “L’Home i L’Epasa” and the B side comes with a bunch of remixes. I like of course the guitar based songs the best, you know me, not a fan of remixes. But so happy to hear these songs, do check “L’Home i L’Espasa” on Youtube which I’m linking here. Great track!

No Fucks: Discos de Kirlian is releasing a 10″ vinyl record by the wonderful Spanish band No Fucks. 10 short songs, including the superb “Punkipop”, fit perfectly in the record. Formed by Elisa, Stephen and Dani or Dru on bass, the Asturian band looks to be in good form. Now, if I’m lucky when I visit Asturias in the summer, will I get the chance to see them live?

Andy Pawlak: a few days ago the “Lost Demos 1985-1986” album was released by Firestation Records. I noticed I didn’t recommend anyone yet to check the song “Squeeky Clean” which is available on the label’s Bandcamp. I think  it is a good idea to do so and order the record too of course!

Carnival: another new release on Firestation will be that of this Liverpool band on 12″ vinyl. Titled “From Strawberry Fields to the Pyramid Club (With Love)”, the record includes 5 songs. I wasn’t aware of this band before but it seems it was around the early 80s. The story goes that Ian Fradgley from the band ordered a copy of the Candy Opera album that Firestation released and the label was sure to ask if a release could be done for Carnival!

The Linger Effect: I must say that this is fhe first time I listen to this St John’s, Canada, band. But it does say that 2019 marks 20 years since the first release of the band. Wow. To celebrate this landmark Kent Burt, who is behind the band, has re-recorded five favourites from the cassette years (1999-2002).

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I don’t have the complete catalog for the US label Candy Floss. I mean, in my collection. Though I must say I’m not sure if the label only released 17 records. Maybe there was more? Would be great to be in touch with Mike Toy who ran the label back then. I do have a CD and some 7″s. The first ever release on the label, the Delightful Little Nothings 7″ has always been a favourite for example. Or the Poastal 7″. That one is fantastic as well. I should dedicate some posts to the bands on the San Francisco 90s label, as they are not that well known (unless you are The Brian Jonestown Massacre that is). Maybe I can do that in the next months.

About The Cherry Smash I know very little. I know they put out one 7″ on the label though there is no date listed. A safe guess would be sometime between 1995 and 1996. It had the catalog number of CF-010 and it had three songs in it. The A side was “Nowhere Generation” while on the B side we find “Californya Burn Trip [You Made Me Hate the Beach Boys]” and “Airport Girl”. The first one has a sample from the Beach Boys. They must have paid some good money to do that (?)!

The 7″ EP was titled “West Coast Rip-Off”. I wonder why this name. The sleeve shows an illustration of three silhouettes, three guys. Maybe there were three people in the band?

Three compilations are listed. The first dating from 1997 on the Mint Sound (MSRCD4) label, a compilation CD called “Attack of the Terrible Boots” where the band contributes the track “Lousy California Feeling”.  The next year, 1998, they contribute a song to a CD compilation on Candy Floss (CF-017) called “Pure Spun Sugar”. The song was “Split Screen”. I have actually written a bit about this compilation in the past when I wrote about the band The Sleazy Beats who also appear in it.

Lastly, and oddly, in 2009 their song “Nowhere Generation” was included in a Captured Tracks compilation called “Captured Tracks Mix CD”. I don’t understand how the song ended up there, and you know my aversion to this label, but that’s what happened.

According to the superb Wilfully Obscure blog, the guy behind The Cherry Smash was singer/guitarist/songwriter Blake Miller who was later in the band Moving Units. With this band he has released a few albums in the noughties. He has also been in other bands like Lies in Disguise, Spectacle, Trade Secrets and Weird Science. From what I understand Cherry Smash changed names to Spectacle, and under this name they released the album “Glow in the dark Soul” on Supreme Recordings that was part of Island Records. I guess another story of an indie band signing to a major and not succeeding.

Spectacle does have a Wikipedia entry and lists three more members Alex Crain, Brad Laner (ex-Medicine) and Brent Rademaker (later of Further and Beachwood Sparks). So two of them were in The Cherry Smash. Who then?

Not much more information about them on the web as usual. So now I will have to trust in your memories, if any of you remember them. Maybe you saw them live? Maybe you know of more songs? What happened with them? Why did they change names? Had they been in other bands previously? Any information will be appreciated!

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Listen
The Cherry Smash – Nowhere Generation

Thanks so much to Nick Potter and Sean Bergin for the interview! I wrote some months ago about the brilliant Moss Poles on the blog and was lucky that Nick got in touch and that both him and Sean were up for answering all my questions! The Moss Poles released a few records in the 80s, mostly on the Idea label, leaving classic songs like “One Summer” or “Underground”. Sadly their 2nd album remains unreleased and I wish so much it sees the light of day in the near future! Now, time to rediscover them!

++ Let’s go back in time, let’s go in chronological order. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen at home while growing up?

NICK: I grew up on punk with bands like The Clash and the Damned.  I always wanted to play guitar, but was never particularly competent – still not.  I still can’t get too far past a nice distorted guitar even if the song is marshmallow.

SEAN: punk band in Stafford Sensa Yuma lent me a bass then kicked me out after first gig /older brother raised me punk/mum and dad Ray Charles /Rretha and Beatles

++ I believe some of you were in the V8s before being in The Moss Poles, right? How did they sound? Were there any recordings?

NICK: The V8s were a very early version of the Moss Poles with Sean, Michael Kemp, myself and a drum machine.  My recollection is that we just morphed into The Moss Poles when we got a drummer.

We kind of left Michael behind at the direction of MCA who first picked us up.  Absolutely horrible situation – we were just friends having fun in a band, but effectively being offered a deal if we dropped the guitarist.

SEAN: Mick wanted to finish his degree

++ And aside from The V8s were you or any of the members involved in other bands before being in The Moss Poles?

NICK: I was in a punk band called The Wasted (for not too subtle reasons) with Jebs, Steve and Jamie.  I think I have a really bad tape somewhere.  The World is Full of Happy Little Oranges; Beyond the U, This is the End – songs that never got past the local village hall!

SEAN: one gig with Sensa Yuma then Moss Poles

++ Were you all originally from London?\

NICK: I am from London, but grew up in Bedford, then went back to London.

SEAN: Stafford

++ How was your city at the time? Were there any bands that you liked? What were the good record stores? Or what about the pubs or venues to go check out up and coming bands?

NICK: London was great for music and student life. Cheap beer, always something to do.

SEAN: lots of gigs and people who talked very nice

++ When and how did the band start? How did you all meet? How was the recruiting process?

NICK: Sean and I met whilst working over the summer at UCL.  I had hardly ever written a song before, but we somehow just complemented each other.  I think One Summer was one of the first songs we wrote together.

Michael was also working there behind the bar.  We kinda all just got on.

I also met my wife – Allison – who was on a placement from Glasgow Catering College (or something like that).  It’s fair to say that she is behind a few of the songs!

SEAN: nail on the head good times

++ You were in the University of London at the time, right? What year were you in in your studies? And what were you all studying when you started The Moss Poles?

NICK: I was studying Philosophy.  Same year as Paul Breuer who was in a band called Kill Devil Hills and then went onto form another band who I believe were reasonably successful, but I can’t for the life of me remember their name.

SEAN: I was on placement like Allison but from Stafford sixth form my mate crutch had done it year before and met Nick told me someone who liked Gun Club at the time unknown

++ Were there any lineup changes?

NICK: We had about 8 drummers with Dave Kirk the main man playing on the album(s) and singles.

I guess the core of the group was always Sean and myself, with Michael there at the start.  Sean and I split up after the third single was recorded, so Paul Breuer played bass on the second album – it wasn’t the same although there are so great songs on there that never got any exposure.  What could have been if we’d stayed together – sigh…….

I recorded a third solo studio album, but by then it was really all over.

SEAN: Dave Bickley drummed on one summer his band The Big Boat are worth a look /and later The Skinny Millionaires did some cool stuff but Dave Kirk was the man really for the tour and album then Jim? seem bit Star Trek related

++ What’s the story behind the name The Moss Poles?

NICK: We couldn’t agree on a name, but sitting in the front room one day, Allison said ‘Moss Pole’ – it was the first name that we all didn’t hate, but I don’t think I would go there if I had my time again!

SEAN: shit name last of the V8s was far less catchy

++ How was the creative process for you? Where did you usually practice?

NICK: Usually drunk sitting around a four-track recorder just smashing things out.  I remember it being very productive and creative even if a bit crude at times.  Sean would write songs, I would write songs and sometimes we worked things out together.  Michael also wrote some classics – Don’t Worry is one of my favourite songs ever!!

Sean has a gift for lyrics and songwriting.  He is also a tremendous bass player.  I remember thinking it, but not always saying it.

We usually hired a rehearsal studio when we could afford it.  Looking back, I don’t know how we managed to pay for things – strings, petrol, cigarettes, studios – we were pretty much broke all the time.

SEAN: yeah get drunk spew it all out /pretty organic /finish each others songs /even crap sounded good when we were in the right mood

++ You were around in the late 80s and in the UK there was a great explosion of guitar pop bands, why do you think that was? Did you feel part of a scene?

NICK: I don’t honestly know.  If anything I remember feeling that we were out of phase and had missed the wave.  I don’t think we were what we were because of what was happening around us – I think we just played what we thought sounded good and that happened to be guitar-based, melodic love songs for the most part

SEAN:pop music with guitars is always great/never felt part of a scene

++ And who would you say were influences in the sound of the band?

NICK: I don’t think we consciously were influenced by a particular band, but were a blend.  We were described as a mix between The Beatles and Jesus and Mary Chain.  I like that, but it wasn’t deliberate.

SEAN: everything that went before us

++ Your records came out on Idea Records. Who were behind this label? How did you end up working with them and how was your relationship with the label?

NICK: We were first picked up by MCA, but after a failed attempt to record a demo of One Summer with them, somehow we got passed over to Jeff Chegwin who became our publisher.  Geoff put us in touch with Harry Barter who became our Manager.  Harry was well-known in the business and managed Johnnie Walker (Radio 1 DJ), Roger Cook and a few other big names that I now forget.

We got a recording deal with IDEA who were a development label owned by Warner Chappel.  They had a studio near Marble Arch where we recorded the album and first two singles working with Andrew Fryer as producer.

We didn’t really know too much about how it all worked at the time, but were just blown away to be taken seriously.

We were signed to Mayking records for the third single (10,00 Miles) and second album, but they went belly-up so the tapes were seized and that was that.

SEAN: Jeff was a nice bloke  don’t think there was a carreer plan to be honest

++ Your first 7″ was the brilliant “One Summer” that was released on both 7″ and 12″. This is a terrific song and I’ll ask you about it later. But something that always caught my eye about this release was the artwork, which is very different to the other two releases of yours. Who made it? And how important were the aesthetics and look of the band?

NICK: I remember the guy who designed it was called Paul – he was somebody known to Jeff Chegwin I think.  I don’t remember too much about how / why we chose that particular design, but it seemed to fit the song.

In terms of overall aesthetic, I think Sean was the only one who looked good.  I used to struggle not to look like ‘the Man from Millets’ as I was once labelled by a journalist!

SEAN: we had custard creams and tea from Mari Wilson /top eighties singer and her man husband was graphic designer for one summer based on me wanting it to be childlike pic thought he dd a great job

++ I want to ask the story behind at least one of them. So if it is not much to ask, in a few sentences, what inspired the fantastic “One Summer”?

NICK: Sean had written the song with a different verse.  I had a verse that worked with his chorus – happened really quickly.  They are Sean’s lyrics so he’d be best placed to explain what they are about.

SEAN: met Laurie at uni where the band all met she was visiting from America /spent one night chatting sharing souls blah blah wrote song /hope shes heard it

++ This first single and the next were released on 7″ and 12″. I always have the thought that if a label released a record in both formats it must mean they had big expectations in the band. Was that the case?

NICK: We were absolutely on a roll and were getting a lot of attention when we imploded.  The songs were getting better and better, but we blew it.  I know that the people around us – record label, etc. were pretty upset at events, but we weren’t the first and won’t be the last.

SEAN: I remember Jon Fat Beast not talking to me cos I left The Moss Poles. I didn’t know anyone cared that much. Sweet naive youth

++ This second single was the great song “Underground”. Would love to ask you again what is the story behind this song!

NICK: Another Sean song!

SEAN: Sean song arranged by Nick. I would still rather play or see a band in a small venue than a cavern, although Morrissey at a big place in Brum was excellent

++ This single and the album had for the artwork photos of you two. Who took those photos?  Where were they taken? Are they from the same session?

NICK: They were taken by a neighbour – David somebody (who lived with Elissa, who’s name we stole for our first daughter). The only serious photo session we had at that time.  There are hundreds of shots, but all pretty much the same – me and Sean looking moody with a white a background!

SEAN: I think the record company thought we were sorting out covers but come deadline we were asleep

++ Then came out the album “Shorn”. I always thought it was an original name for an album. On this record you got the help from Dave Kirk and Andrew Fryer. What did they bring on the table for the band?

NICK: Dave was our longest standing and best drummer.  He played in another band as well – the Groovy Chainsaws.

Andrew was the house producer / engineer for Warner.  He also played a few keyboards on some of the tracks.  Top guy!

SEAN: top studio /top guy /top session /Andrew had recorded Bolthrowers debut the week before so I brought it after /in battle there is no law/ gave it to someone who appreciates such aural violence

++ And how different was recording the album compared to the singles?

NICK: Shorn and the first two singles were pretty much recorded at. The same time and in the same studio.  10,000 Miles was recorded somewhere in Wales.  That was pure fun – a weekend away in the country with beer and amps!

SEAN: thought the album was Wales where damned recorded Black Album /bugger

++ I read that “10,000 Miles” should have been a 3rd single. What happened? Why wasn’t it released?

NICK: As per above – the record company went bust and the studio seized the mater tapes. Nightmare!!

SEAN: don’t remember

++ And what about the 2nd album? I believe it was fully recorded, right? What songs were in it? Where was it recorded? Why didn’t it come out?

NICK: The unreleased second album was recorded in the same studio in Wales as 10,000 Miles but with Paul Breuer on Bass. Corny, but true, the playing is tighter and Paul was a great bass player, but it was never the same as bashing out stuff with Sean.

++ As far as I know you only appeared on the compilation “The Idea Compendium”. Is that all or were there any other comp appearances by the band?

NICK: Not at the time, but Cherry Red released One Summer and 10,000 Miles on their C88 and C89 compilations over the last two years.

SEAN:.Nick just sent me copies /nicely done but one summer seems slow to me /could be my record player

++ Aside from the 3rd single and the 2nd album, both unreleased, are there any other songs that are still waiting to be released? Perhaps songs in demo form? Or other studio recordings?

NICK: There is the Soundcloud site where I’ve posted a few recently recorded songs – some of which are just rubbish but some of which I’m really happy with.

https://soundcloud.com/nicky-moss-pole

There are also a few Youtube videos.

SEAN: “Loop” should ve been second or third single /rehearsal with Mick on youtube /sad as shit

++ If you were to choose your favourite The Moss Poles’ song, which one would that be and why?

NICK: So hard – maybe “Don’t Worry” or “More and More”.  I think they are both naïve, but honest. Great melody, corny lyrics, but pure emotion.

SEAN: “Take it or leave it”, “Little prince”, shit songs didn’t really make the cut

++ What about gigs? Did you play many? What was the farthest you played from London?

NICK: We played a lot around London – most weekends I remember.  We had a national tour being driven around the country in a van as is the way.  Can’t remember all the locations, but I think we went to Lancaster, Nottingham, Retford (the worst), Andover, Hull, Peterborough, Manchester (tough crowd) and maybe a few more.

SEAN: Sir George Robey with extreme noise terror (Mickey Harris from Napalm Death on drums) and Cud was a great gig Micks true love Janet told me off for shouting shake your tits to this song (“Little Prince”) I was on a massive learning curve /and the bassist said we were alright after taking the piss all night cos we had a manager

++ And what were the best gigs you remember? Any anecdotes you can share?

NICK: Hammersmith Palais in front of 3,000 teenagers.  We got hired to play at some end of school party – or something like that.  The main memory I have is of Allison tipping an ashtray over some 15 year-olds’ head to stop him groping some poor girl.  There were huge amounts of hormones in the air that night – it was like Caligula.  Even the bouncers were struggling to keep the lid on things and it was supposedly a no alcohol event!!

SEAN: see previous /the Palais night my wife poured beer over someone they were scum probably our current government

++ And were there any bad ones?

NICK: Retford stays in the memory, not because we played bad – actually I think we were pretty good that night.  The problem was we were supporting 999 who still had a skinhead following.  After we played we couldn’t get out of the club – I think they had shut the lift down or something.  We had to spend an uncomfortable night dodging angry skinheads and a generally unpleasant bunch of people before we finally got out at something like 2 in the morning.

++ I read at some point Steve Lamacq followed you on a tour in his van. What year was it? Did he go with you to every single gig? How did that happen? What anecdotes do you remember from that time?

NICK: Yes – Steve Lamacq followed us around on tour in his Mini.  He interviewed us along the way and recorded the gigs.  He made up a tape and I think I have it somewhere.  It’s embarrassing stuff though!

SEAN: the live tape (besides the interview ) is great and accompanies the album swell/ Retford was shit /Manchester Boardwalk same

++ When and why did The Moss Poles stop making music? You moved to Australia, right? Were you involved in any other bands afterwards?

NICK: Sean and I had a big row one night after playing at the Rock Garden in Covent Garden. Stupid waste really. We tried to pick up again, but when it’s stopped being fun, it’s really too hard to keep going.

I moved to Edinburgh for 10 years and then to Australia.  I never really had an appetite to keep playing after the Moss Poles.

SEAN: don’t remember the row /but we met blossomed and died very quickly I think a natural thing /music is very personal but its gotta be fun

++ What about the rest of the band, had they been in other bands afterwards? I ready Sean was in a punk band?

NICK: Never really kept in touch so not sure about the various drummers. I haven’t played music for many years until maybe 2 years ago, but solo stuff using Pro Tools.  I know Sean has kept busy though.

SEAN: always played but never Moss Poles stuff  until recently some mates did “One Summer” it was horrendous. Flyboy and Painsville have stuff out there somewhere. With Nick I have three ex bandmates in Oz, I must be someone you’ve really gotta get away from

++ Has there ever been a reunion? Or talks of playing again together?

NICK: Never. We lost touch until maybe 2 months ago.  I managed to get in touch with Sean to share the royalties from the C88 and C89 CD’s.  I would love to, but it’s just not going to happen. What’s done is done.

SEAN: no we need a Moss Poles tribute band

++ Did you get much attention from the radio? or TV? Were there any promo videos?

NICK: We sure did.  Plenty of exposure on Radio 1, a live session on Greater London Radio and a few other things.

We recorded a video for “Underground”, but gave away the only copy we had to a French TV Channel.  It was pretty frickin cool though.  I’d love to see it again.

The only other video footage is on Youtube – we were filmed at an early gig in Dingwalls by some people from France.  At least it’s something.

SEAN: would love to see the “Undergound” promo

++ How did the Janice Long session come to be? How was that experience?

NICK: Janice Long is Jeff Chegwin’s sister so we had a bit of inside help to get that session.  But, to be fair Janice was a big fan and genuinely liked the band. Again, we don’t even have a copy of the session – we couldn’t afford to pay the BBC for a copy.

I was in awe at being in Maida Vale Studios – overwhelming!

SEAN: don’t think ive heard the session since

++ What about the press? Did they give you any attention?

NICK: We had a lot of press after a while.  Helen Meade from the NME gave us a page and a half and we had a lot of smaller articles in the Melody Maker, etc.  I do have all of those tucked away in the cupboard.  I think we were named on the cover next to Ziggy Marley and the Stone Roses!

There was also a story in the Daily Mirror about me being George Michael’s gardener – which was true.  However, they were after his new address as he had just bought a house in Hampstead.  They offered us a large piece if I told them where he lived.  I didn’t do it, but they still ran a small piece which is 50% accurate, but mostly exaggerated nonsense.

SEAN: remember a page in one of the weeklies

++ What about from fanzines?

NICK: None that I can remember.

SEAN: I read Steve :amacq did a fanzine with the tape of the tour but I never saw it

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

NICK: Without doubt for me, the first album and being so proud to have been able to record songs that I / we loved and to then get that buzz when we made the charts and started to get noticed. Being in a band was all I had ever wanted to do when I was growing up.

++ Aside from music, what other hobbies do you have?

NICK: NOTHING!

++ I’ve been to London many times, but it is always good to hear from a local for some recommendations! What are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

NICK: I’ve not lived in the UK for 18 years so not sure I’m afraid

SEAN: my daughter lives in London now and it is so different from the 80s /which is as it should be /always find it out for yourself

++ Anything else you’d like to add?

NICK: It was what it was – I would change a few things if I could, but I can’t.  I’m truly grateful for at least having done what we did.

SEAN: we were good I think and its not a bad album still

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Listen
The Moss Poles – One Summer