Rocket Probes July 2010 Playlist

High Wolf – Ascension

(Really good vinyl only album of warm repetitive drones..... from (future Rocket artist) Annapurna Illusion’s other guise)

Deehunter – Cryptograms

(Great summery sonic indie pop with very nice droning interludes)

Various – Black Chains with Black Exhaust

(Thanks to Plastic Crimewave to sending us this great comp a few years ago, some of the best heavy fuzz funk to soundtrack these summer days)

Fennez – Infinite summer

(Sonic mastery...one for the headphones!!)

Optimo – Acid eyefull podcast

(It’s Summer 1989 again....)

Mugstar – ...Sun, Broken....

(Great album from this great band from Liverpool...lovely artwork too, hopefully Important Records will do a nice vinyl version)

Shit & Shine – Bass Puppy

(the mighty $&$ twisted take on dubstep....shame this great band are parting from these shores, they will be missed!!!)

Pyramid – Dawn Defender

(fantastic 30min kosmiche track, it’s up there with AR Machines Echoes!!!)

The Moles – Future Sound of Ashton

(Early Flaming Floydian Lips pop through the eye of a kaleidoscopic lens)

video here

This Heat - Deceit

(Hard edged Mondrian-like psychedelic methodology)

Soggy - S/T

(Kicking out the Jams French metallised Stooges like Punk from 80-82, Thanks to Dave W)

Loop - A Gilded Eternity

(This re-issue has been on constant flow, deeply penetrating repetition)

Gong - Continental Circus

(We are not big Gong fans on the whole, but this 71-72 motorbike film soundtrack drives on the right side of the cosmos)

Walter Wegmuller - Tarot

(Classic Krautrock with members of Ash Ra Temple & Klaus Schulze)

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PROCESS: The Working Practices of Barney Bubbles

PROCESS:

The working practices of Barney Bubbles

curated by Paul Gorman

14.09.10 – 23.10.10

Private View: Tuesday 21st September 6 – 8.30pm

“Barney Bubbles is the missing link between art and culture.”

Peter Saville.

This autumn Chelsea Space hosts PROCESS, an exciting exhibition focusing on the working practices of one of the giants of graphic design, Barney Bubbles.

The show will contain many never-before-seen items drawn from private collections, including student notebooks, working sketches, original artwork, paintings, books and photography. These were the raw material for videos, record sleeves, t-shirts and posters created by Bubbles for such performers as Ian Dury, Hawkwind, Elvis Costello, The Damned and Billy Bragg (who is contributing a one-off rug with a rendition of the designer's Masereel-quoting cover for his album Brewing Up With).

Bubbles (b. Colin Fulcher, 1942-1983) is cited as a major influence by such contemporary practitioners as Neville Brody, Art Chantry, Malcolm Garrett, Kate Moross, Rob O'Connor and Peter Saville.

Until recently a marginalised figure, his oeuvre has been reappraised in the wake of the publication of Paul Gorman's monograph Reasons To Be Cheerful: The Life & Work Of Barney Bubbles.

Gorman is curating PROCESS, which will demonstrate how Bubbles problem-solved on behalf of his clients by employing powerful symbols and an intense colour sense with bright primaries, stark contrasts, strategies and interventions, such as the deliberate revelation of the printing colour code on the sleeve of Elvis Costello's album This Year's Model (1978).

After five years at Twickenham art school, Bubbles cut his teeth in the mid-60s as senior graphic designer at Conran Design. His idiosyncratic, non-stylised approach was honed via art direction of such publications as Oz, Friends and the NME.

In parallel he emerged as the most audacious record sleeve designer of his generation with such packaging as the giant tri-fold sleeve for The Glastonbury Fayre (1972), the Constructivist cover to Your Generation by Generation X (1977) and the kaleidoscopic Armed Forces by Elvis Costello & The Attractions (1979).

Donald Smith

Director of Exhibitions

Chelsea College of Art & Design

16 John Islip Street

London

SW1P 4JU

United Kingdom

Tel: 020 7514 6000 ext. 3710

Mobile: 07905 143 932

Email: info@chelseaspace.org

Web: www.chelseaspace.org

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Nothing is... returns

What is Nothing Is you ask?
It's hard to say; it's nothing like what it was,
and bears no resemblance to what it will be,
but it's safe to say Nothing Is quite what it seems.
Come join us for a trip down to the psychedelic
end of the cosmic universe.

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Music:
Cage and Aviary (Wall have Ears/DFA)
Rik Motor (Rocket Recordings)
Little Dirty (Lithe Recordings)
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Visuals:
Katherine Ferguson/Maya Stocks
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The Alibi / 91 Kingsland High Street, Dalston, London E8 2PB
Friday 6th August
8.30pm – 3am
Free entry

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The Heads - Interview with Hugo Morgan

The Heads - Interview with Hugo Morgan (translated from French)

The last group to plunder the British energy reserves, called The Heads. A bunch of irresponsible not even in the game. And refuse to bow to the business, to avoid a sodomy profitable, irreversible effects level credibility. What interests them is cool enough to prodding to collapse the wall of indifference. Kamikaze hesitating between the tire burned and menthol, to make a napalm synthesis. From the lightning towards the sun, and back in one hour. Mercenaries underground dynamite Watts and PA systems, the group broke Bristol ears of a strange cult in the media as complete anonymity. Fuzzine managed to catch the bass player for some questions. When their last live album (from 150 copies, already sold out) propels the car from our Lou, in the early morning rain. And at a time when their hard scariest quietly (for once) E Bay. Tremble young chic, rock is still moving.


Fuzzine: Introduction to our readers. Who are you? How the group formed?

Hugo Morgan: I am Hugo, better known by the name of HO Morgan. I play bass since the beginning. Before joining The Heads, I was in independent groups in the area. Of the kind that gives a concert in all and for all. But when I arrived, I was part of Quinton, who released one album on PopGod. And also Soundhouse, which added a trip in Husker Du. I knew Simon Price, through mutual friends, who one day asked me if I would meet him (Dave Spencer) to beef, to start a band. Simon worked at Replay independent record store in Bristol. Me, I was at H.M.V. but I was regularly raiding homes Replay, they had a large radius of vinyl used, and working with distributors coolest. Not a single album for Simply Red.

Simon and Dave came from Spasmodics. After an extended stay in Africa, Simon has returned to find his place occupied. He and Dave tried something a little more underground. After a few repetitions, with Mel on drums, we felt ready to play live.

Our first gig was opening for Babes In Toyland, Fleece in Bristol. The same day, I gave the last gig with Quinton, at Ashton Court Festival. We played 4 songs, 35 minutes, mostly instrumental (apart from the classic Banana). The reception was good, and we were offered more concerts. We were really excited to open for Swervedriver, but Mel has a broken ankle, and we sought a replacement. Wayne Maskell, who was with me in Soundhouse, has suggested. Soundhouse has continued for a while, in parallel to The Heads, but after a few months we went on to become members of The Heads at full time. Training with Simon Price (vocals / guitar) Dave Spencer (lead guitar / vocals) Wayne on drums and me on bass, began looking for gigs around Bristol. In the first part of Here And Now, the Moonflowers Mayfest, headlining in smaller venues. We played constantly in our garage Syndham Lane. Then back to Simon to hear the result, drinking gallons of tea, with lots of grass and joints. Simon has managed to put enough money aside, and we send Whitehouse studios to record a demo of six songs. Spliff Conga'd out on the single Rocket Sessions 1 comes from there.

Unfortunately, shortly after, Dave decided to leave, leaving us in deep shit. Rather than give up, we looked for another guitarist. We all lived in the same barrack prefabricated, so we have put ads, and invited the candidates to the house. After a few auditions, they chose Jim, who was a great way to manipulate his pedal wah wah. He started up his own group, after another round of demos in the studio. It was back to the starting point, again, to look around us.

A couple of friends suggested we approach Paul Allen, who played in a local group. We jammed with him, and he admitted incredibly well. A great guitarist, never afraid to take things further. Since then, dark without looking back.



F: Do you live in your music?

HM: In short, no. All the money we earn goes into the group. The rehearsal studio, equipment broken, have more promotion material, set up our own label, Rooster. When we started, we had a foretaste of glory, when our first album went to John Peel, and on Radio One. We opened for The Mice in England, Motorpsycho in Europe, and played our own concerts in England. But in front of small audiences. To make things worse, Talking Heads without David Byrne had reformed, renamed itself The Heads. The promoters found themselves whether Shaun Ryder (Happy Mondays) would play with us! After so much work to get there, it was really frustrating. Especially when you read that The American Heads claimed they had separated. Although it was quickly clear that we would never be in the first division, it has made us more inclined to make music for us, rather than trying to stick to the current fashion.



F: It is assumed that you have a live band. It's hard to turn without sponsors?

HM: It's hard to turn without support. Fortunately, just as it occurs, it is in position to be paid a reasonable sum. In principle, what is perceived covers the cost of the truck, fuel and driver, but not much more. Even with the participation of a label, if you do not bring them the money they throw you after two years. Then there is the possibility of paying for playing with larger groups. We offered 50 pounds a night to play the first part of Nebula, recently. When taking into account all costs, and lost wages of our regular jobs, you lose before reaching the first concert hall.



F: Who would you like to be sponsored for a concert of your choice, somewhere in the universe?

HM: No problem with being funded by the Ministry of Culture English. We are sure it will not happen. Sure, the concert will happen in space, but the organization would be a nightmare for us and for the public.



F: What is your opinion on downloading? What would you need to sign a major label?

HM: The download has completely changed the way people listen to music. And I think the sound quality of a current MP 3, is far less than the vinyl. Anyway, I spent so much time working in record stores, that my opinion is all done. It seems that most people who exchange files, and downloading illegally, are big fans of music, trying to find new sounds. And these people slamming a maximum of money for music. It gives someone who is at the other end of the world the chance to listen. Whether legal or illegal. Signing with a big box, I think it will never happen. Our music is too eclectic and underground to make money. They do not affect us with a gaff.



F: You are a psychedelic band?

HM: I believe that our audience thinks. We do things the DIY, our sound is rough, we love things loud and repetitive, it is not afraid to go ever further. All of us have been influenced by so-called psychedelic groups, but also by many other different music. This helps us to have a unique sound. For many, it's just a wall of noise. On our second single, Coogan's Bluff, there was a song called 'Jaywalking', it was an attempt to sound indie pop. But today, it sounds horribly dated. We knew we would never be in the charts.



F: Some interesting new groups?

MH: Unfortunately, I hear little news to share what I sometimes hear on the radio. I liked the album from Fleet Foxes last year. When we played in Finland, Psycho Tropic Caravan festival in February, saw Pharaoh Overlord, for the first time. Most guys are in Circle, which I am a big fan. I also like Teeth Of The Sea.



F: The Heads sound?

HM: No, never. We tried once, when some friends who run a club in Bristol, invited groups to play acoustic in a pub. We said ok, tried two songs, but it sounded like crap. So, we returned with our sound system, to balance our usual racket. To the great chagrin of the tenant. In a sense, it would make us service. Because now, if you want to do a session for radio, they will cram into a small room, hoping for a nice set not too noisy. To avoid disturbing other programs.



F: And now?

HM: We try to organize the registration of a new album. And of course, is easier said than done. Good luck we play in Scandinavia in October / November. And in Ireland.



F: It has also discovered Fuzz Against Junk your project, which one is literally crazy stiff. You can tell us a little more?

HM: It was in the air for a while. Paul, The Heads, plays guitar for themselves. They asked me to join them when Billy, bassist, has left to concentrate on his new band The Moles. He played with Robert Plant, too. I was responsible for the true rock deposit. I had already taken the place of Billy, when FAJ open Comets On Fire, Thekla at Bristol a few years ago. Paul has brought a shitty old organ, and he now plays instead of the guitar. They are all nice guys, and musically it works well between us. We are working on a set of thirty minutes, and are looking for gigs. Fuzz Against Junk is still a side project and temporary, the news is The Heads!


Interview conducted by Lawrence, with the collaboration of Venukse and Lou.

http://fuzzine.over-blog.com/article-the-heads-entretien-with-hugo-morgan-53994594.html

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The Heads announce reissue date of Relaxing With...

Finally! The Heads have announced a date for the reissue of their debt album Relaxing With...

Along with a re-mastered version of the original album from 1996, this new release will come with a 17-track bonus disc, including unreleased tracks, long out of print singles, and various BBC radio sessions.

The album will be available from Rooster on the 30th August in a double CD format, digital download (with digital booklet) and will eventually be released on LP.

DISC 1
01. Quad
02. Don’t Know Yet
03. Chipped
04. Slow Down
05. U33
06. Television
07. Woke Up
08. Widowmaker
09. Taken Too Much
10. Coogan’s Bluff

DISC2
01. Spliff Riff (Garage Tape)
02. Quad 7”
03. Woke Up 7”
04. Looking At You * (Alternate Version)
05. Coogan’s Bluff 7”
06. Theme 7”
07. Television 7”
08. Steamroller 7”
09. Jellystoned Park 7”
10. Quad (BBC Radio 1 Rock Show - 31/03/96)
11. U33 (BBC Radio 1 Mark Radcliffe - 02/05/96)
12. Television (BBC Radio 1 Mark Radcliffe - 02/05/96)
13. Chipped (BBC Radio 1 Peel Session - 10/11/95)
14. Widowmaker (BBC Radio 1 Peel Session - 10/11/95)
15. Theme (BBC Radio 1 Peel Session - 10/11/95)
16. Woke Up (BBC Radio 1 Peel Session - 10/11/95)
17. Spliff Riff (BBC Radio 1 Peel Session - 10/11/95)

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WIN all the Quietus's top 30 albums of year so far, including the nearly sold out Gnod / WHite Hills 2LP

See how to enter here

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Jimmy Martin speaks

Teeth of the Sea's Jimmy Martin has been invited to give a talk at the ICA on 12 August.

Talking about what you ask?.... music, journalism, some blatant self promotion of TOTS, but more than likely it will be all about his love for Black Metal..

More info here

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Teeth of the Sea up and coming shows

Thursday July 15th

Cafe Oto

Dalston London

Supporting Damo Suzuki

http://www.cafeoto.co.uk/DamoSuzukijuly.shtm

Thursday August 5th

City Arts And Music (CAMP)

Old Street London

Saturday August 7th

Noise on Noise Alldayer

The Others

Manor Road, Stoke Newington

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Quietus interview Dave and Kid from White Hills

You can read this very amusing interview with Dave W and Kid Millions, talking about White Hills, Gnod, Oneida and the Boredoms here

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Nute Records c60 mixes

The people behind the great label Trensmat have another little label set up called Nute Records...

And they have put together some great mixes that you can stream/download.

You can hear them here

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Profs Plop #3 (Comments on Various Musics)

SWEET SLAG TRACKING WITH CLOSE UPS 1970 (PRESIDENT)

MICK KERENSKY - GUITAR

PAUL JOLLY - SAX, FLUTES

JACK ‘MOTH’ ONEILL - BASS AND TROMBONE

AL CHAMBERS - PERCUSSION

The grotty 1970 cover draws you in with its amazing cheapo Davida typeface and litter filled back lane. Heinz beef broth and crushed dustbins gives us the first insight into the grotty negative free jazz proto-prog lying under the sludge and Hartley jamjars.

The sleeve continues with the aesthetic maintained as a four-piece of hairy and unhairy pissed off moody free jazz proggers stand around some old church window hole. Theres the notes too:

WELCOME SLAGGERS TO A VITROLIC ELECTRIC BIT OF CONTUNITY FROM THE SLAGS. THIS ALBUM REPRESENTS A TRAIL OF IMAGES WHERE BEEN, WHERE SEEN. THEY ARE VERY FIERCE ICONIC IMAGES. THESE TRACKS ARE NOT MERE ARTIFACT, THEY ARE INTENSELY PERSONAL INVOLVING A GREAT DEAL OF IDEALISTIC RESPONSIBILITY. AFTER ALL, WE ARE NOT TOO DIFFERENT FROM EACH OTHER, THEREFORE EACH PERSON WILL FEEL THE RELATIONSHIP WITH THESE TRACKS…IN TURN, THIS IS TRACKING WITH CLOSE-UPS. (KEITH EDWARDS.)

My first impression was that this band were playing that King Crimson 69 jazz freakout type stuff over Mick Kerensky backofthethroat odd angry vocal. The difference lies within the intensity in the playing and, mostly, the lyrics and their subject matter. Dystopian post-war concrete nightmares and bleak misanthropic rants with some other grim subjects including ‘BABYI AR’ a poem based on a 1941 horrific WW2 incident. Sounds a bit too much but the crazed playing and quite strange vocal/lyric are always more than interesting. Especially on the aforementioned track which transcends into the darkness with conviction while nicely maintaining a scratchy Amon Duul mark I element from Mick and is that violin?

A couple of tracks start from an odd mixture of boogie and country but its vague and these tracks descend into the usual chaotic moments like Beefheart without the precision, rice diet and band torture.

RAIN AGAIN and WORLD OF ICE are a bit more mellow with the latter being the most reflective and despairing . RAIN AGAIN is bit more easy going but tangent heavy with a cool spooky rumble near the ending. It drags a little bit this minor for me as I love every track on this odd LP.

You don’t have to use much imagination to wonder what ‘Twisted Trip Woman’ is all about. Its obviously about a very wrong relationship which is proving to be a bit of a ballache. Its initially a bit more riffy with a bit of fuzz bass before the free elements kick in again.

Anyway here’s the track listing and Micks notes on some of the songs which is quite revealing.

SPECIFIC

MILK TRAIN

RAIN AGAIN

PATIENCE

TWISTED TRIP WOMAN

WORLD OF ICE

BABYI AR

MICK SAYS

MILK TRAIN – a rebellion against the early infusion of the work concept.

RAIN AGAIN – written in the Welsh mountains inscribed within these grooves is the death knell of the classical oboe.

WORLD OF ICE- I wrote this one on a drizzly Wandsworth morning after a particularly grotty all night session..suicidal sums it up.

BABYI AR – based on the poem by Yevegny Yevtushenko ..owes quite a lot conceptually to Stockhausen whom I admire intensely sort of stock rock (bad pun).

This entire album is dedicated to the staff of the Granada Motorway Services…the original electric village.

As with these sort of records this one is relatively obscure. President Records I think had a bit of a distribution problem with boxes of their singles turning up in warehouses years and years after they were released. Apparently 100 or so Sweet Slag lps were found in one box 10 years ago but these got bought up quite quickly. It would be great to see this one reissued on vinyl for the mad music and that great sleeve.

Rocket, the time has come.

Prof.

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Gnod/White Hills makes Quietus albums of year so far

Gnod dropout with White Hills II has made number 17 in The Quietus's best albums of the year so far....

Read about it here

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