Category: interviews & columns

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a new future bible heroes interview!

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future bible heroes is a songwriting collaboration between stephin merritt and christopher ewen (figures on a beach, the hiddle variable, famous boston DJ) with vocals from claudia gonson and merritt. in addition to reissuing their earlier recordings, they’re about to release their first album in 11 years, titled partygoing, and it’s effing ace (as good as their debut, memories of love). they will play chickfactor 21 on june 12 along with the aluminum group, honeybunch and true love always, mc gaylord fields and special guests. stephin will not perform due to ear issues; the live lineup will feature gonson, ewen, magnetic fields singer shirley simms and anthony kaczynski (figures on a beach). see you at bell house!

I did this interview to write their bio for merge records, but I wanted to print it here. I interviewed them back in chickfactor 11 also! interview by gail

chickfactor: the previous FBH album came out in 2002. now it’s 2013. have you been working on it for 11 years or did you begin more recently? what took so long?

stephin: since 2002 I’ve made four stage musicals and four magnetic fields albums, a gothic archies album and a through-sung live score to a silent film. but in fact chris and I have been working on FBH too, and parts of the songs “when evening falls on tinseltown” and “a drink is just the thing” are quite old. the first describes my experience of living in los angeles—and leaving it, which I did while recording partygoing; the second describes solving all your problems with alcohol, which I don’t do much anymore either. writing true and heartfelt lyrics is pointless because once you get around to singing them, they’re lies.

cf: do you feel freer and more playful making FBH music because it’s not your “day job”? your singing—especially on “how very strange” and “drink nothing but champagne”—is very funny.

stephin: thank you. I had other funny voices that didn’t make it onto the record, but they should be available as either bonus tracks or blackmail fodder. after singing exactly like angela lansbury on “mr. punch,” claudia has retired her stage-cockney voice, but I hope she changes her mind for the concerts. I want to see that.

cf: do you know when you write a song whether it will be for FBH, TMF or something else?

stephin: I only write FBH songs to chris’s instrumental songs (which are often perfectly listenable and finished before I get them), so I always know whose song I’m writing. I don’t always know what album I’m writing for, though: this album has less science fiction than before, but I had dozens of half-finished songs in that j.g. ballard universe mapped so much better by gary numan and john foxx.

cf: was there a theme for this record? I know it’s called partygoing but it seems like aging, rejection, death and austerity are recurring themes.

stephin: write what you know (as they tell you in school, when you don’t know anything yet). those happen to be the themes of most of my work, I’m happy to report. aging is a great theme for any writer, because one never runs out of material, and everyone over 12 is obsessed with it.

cf: do you have a different lyrical approach for FBH than for TMF?

stephin: other than a tendency toward science fiction, which sort of matches the “futuristic” synthesizers, I’m not aware of any difference. I’m still just sitting around in bars with a song in my head, rhyming “arcade” and “rodomontade.”

cf: how has FBH’s recording process changed since the previous releases?

stephin: for partygoing I encouraged chris to let me do more of the work, and just give me skeletal fragments, and then we could toss them back and forth as though we were playing a “sport” of some kind. and I did some remixing, not like junior vasquez, but like me, and the results sound a bit more like me than chris sometimes. which some will hate of course.

cf: are there any ’80s-sounding new bands that you’re fond of? contemporary acts?

stephin: the “electroclash” moment came and went without anyone ever contacting us about it, but I always quite liked ladytron, miss kittin, robyn, peaches, goldfrapp and their imitators. they’re all women. what can I say, I’m a gay man, I cried in public when donna summer died. my favorite country song of the last ten years is “you and I” by lady gaga (closely followed by trailer choir’s “rockin’ the beer gut,” a major feminist accomplishment which could never have been in the country charts I grew up on). our roots are in new wave.

cf: you seem to be able to get away with writing about anything as a lyricist. has anyone ever been offended by something you wrote? whose lyrics inspire you?

stephin: when the new york times trashed my first chinese opera adaptation, the reviewer was shocked that I used the word “fucking” in a song, and implied that it indicated a lack of seriousness on my part. now, on my planet, any medium that can’t use the word “fucking” is aimed at pre-school american children, a demographic not known for its patronage of opera, chinese or no. I’ve been listening to nothing but felt recently.

cf: any plans for the 6ths, the gothic archies, TMF? theater and film?

stephin: I’m writing a lot these days for all of the above, but nothing I can talk about yet.

cf: how does recording for FBH differ from working on TMF records?

claudia: chris first composes lots of sonic ideas, like dozens of them, and sends them to stephin. then, stephin makes melody lines over some of them, and decides which are the ones he wants to use for the album. the process goes back and forth. sometimes chris adjusts the pitch or tempo or adds a new section to accommodate the melody stephin has written. once the songs are written, we record lead vocals and harmonies, and a few more instruments.

cf: you sing on partygoing—do you contribute any other sounds / ideas?

claudia: on one song, there is a musique concrète solo. each member was instructed to go out and do field recordings of various ambient sounds, and stephin and his engineer charles knitted together all these sounds to make the solo. on other songs too, stephin added a few other instrumental lines. but the instrumental backing tracks, for the most part, are chris’s work.

cf: why do FBH play live so rarely?

claudia: we put out albums so rarely, that we didn’t have much occasion to tour. we did tour a bit after the first two albums, but back then it was incredibly difficult to get a stage set up with all those enormous bulky synths. we may do some shows for this album release, but the issue will revolve around the opposite problem, how to perform live in an interesting way without just hitting a button on a computer.

cf: do you feel freer and more playful making FBH music because it’s not your “day job”?

claudia: as the band’s manager, I can certainly say yes. but I also feel this way about playing with the magnetic fields. I enjoy my creative role with the band, since most of my time is spent wrangling over deals and contracts.

cf: who is pretending to be david bowie?

claudia: stephin.

cf: is the FBH fan different from the TMF fan?

claudia: I think we have a lot of crossover but I have discovered that people, like my daughter and my parents, really enjoy FBH, because it’s got a synth-based sound and catchy beats. It’s very accessible to the disco set.

cf: how do you feel this album compares with the previous releases?

claudia: I really like the album. stephin and chris wrote some exceptional songs. it’s a bit depressing, lots of songs about suicide, and a nostalgic yearning for youth and happiness. but I think most of the FBH albums are like that.

cf: can we expect another FBH album in 2024?

claudia: hope so!

cf: the previous FBH album came out in 2002. now it’s 2013. what took so long? have you been working on it for 11 years or did you begin more recently?

chris: we began more recently. part of the reason it took so long is that stephin is obviously involved with a lot of other musical projects. another is that—since we all live in different cities, especially when stephin was living in los angeles—it was a bit more of a challenge for us to coordinate everything. back when we were recording eternal youth, we were both experimenting with different recording technologies, and successfully integrating them was somewhat of a hurdle. technology has finally caught up with what we want to do, so it seemed like the right time to collaborate again. I started coming up with some new ideas for FBH towards the end of 2009. a couple of TMF albums happened between then and now, so 2013 has turned out to be the year we’re releasing a new album.

cf: there are a lot of modern-day new bands that try to sound 1980s. are there any that match up to those from the original decade?

chris: when we released memories of love back in 1997, I was very surprised that the american press were quick to dub us an ’80s “new wave” band. it wasn’t our intention to be classified that way, and it certainly wasn’t what was in my head as we were writing and recording the album. I think that happened because we used a lot of synthesizers, which wasn’t very much in fashion back then. the times seem to have changed, and synthesizers are back in vogue, but this time around we didn’t make a conscious decision to make a blatantly new wave revival record either. however, we did use a lot of synths. ¶ one of the things that continues to attract me to a lot of music that came out in the ’80s is that it sounded like itself. it was new, fresh and surprising at the time…some of it still sounds that way. musical approaches and points of reference were blurred or sometimes completely obliterated. these days, it’s pretty easy for me to pick out what ’80s band influenced the sound of any particular new band, so the element of wonder is I experience listening to them isn’t as apparent. that said, I’m currently really enjoying the most recent albums by the soft moon, the knife / fever ray, freezepop, yan wagner and the horrors, to name a few.

cf: what kind of changes in technology have had an effect on the way FBH works?

chris: when we recorded our first two albums, we used our phones and the mail a lot, and sent things to each other on cassette or DAT. or we had to be in the same city. these days, it’s a lot easier for us to send music & ideas back and forth and develop them more fully. my studio set-up now is a lot more conducive to multi-track recording, and I’m not a slave to MIDI anymore. overall, the ways we work together have become much more flexible.

cf: there are scant details on the two first FBH albums about the “sounds” you make. can you share more info here and do SM / CG contribute to the music also?

chris: on those first two albums, I would basically come up with some song idea, and record all or most of the instruments at my studio in boston, usually MIDI sequences driven by a hardware sequencer live to two track. stephin would then get these fully formed instrumental tracks and have to write the lyrics and vocal melodies either around what I had come up with, or complementing it in some way. It became a process unto itself, as the instrumental tracks were already fully mixed, and any changes would mean lots of editing and completely re-recording the track on my end, or completely rewriting the lyrics on his. as far as the sounds go, I enjoy experimenting in my studio, and am quite content to just play around with sound manipulation. some songs came about because of a certain sound I was happy with…a full track could be inspired by something very simple. I also like to write at a piano, and then arrange those pieces for a fuller instrumentation. on the first couple of albums, since the music was already pretty much finished by the time stephin got the tracks, he & claudia would come up with elaborate backing vocal tracks, and in a few instances, stephin would add a lead instrument. these days, we have a lot more options.

cf: the house of tomorrow site says: “future bible heroes are a songwriting collaboration between stephin merritt (words and melodies) and chris ewen (instruments).” can you clarify your roles?

chris: nowadays we are much more of an integrated collaboration, and there isn’t one particular way a song will develop. “living, loving, partygoing” began as an idea stephin sang into my voicemail one night. “love is a luxury” began with the lyrics. as far as the tracks I instigated go, I made a point of sending stephin a lot of demos or song sketches, which I’d then develop more fully as necessary. this time around, we were able to write songs together using different approaches, and were able to arrange them along the way.

cf: whose music gives you inspiration?

chris: I love producers who love experimenting in the studio…conny plank, martin hannett, joe meek, lindsey buckingham. I continue to admire the magnetic fields of course, all of yellow magic orchestra, abba, brian eno, the gentlemen in cluster (or now, qluster), vince clarke, the throbbing gristle family, the human league and a lot of french and german synth-pop. recent inspirations include laurie spiegel’s the expanding universe re-issue, and everything john foxx has been doing lately.

cf: how long have you known stephin and claudia? how have they changed?

chris: we go back a while… we met around 1987 or 1988 I think, during the buffalo rome days. it’s hard to pinpoint exact changes—we’ve remained good friends over the years and through many scenarios, which means that they continue to possess the qualities that drew us together in the first place. claudia has become more self-assured. stephin’s become a more social creature. I think we’ve all grown up, which is probably something I’ve needed to do.

cf: are you involved in other musical projects these days?

chris: I’ve decided to completely revamp a project I started a few years ago called the hidden variable. It was a collaboration I instigated with several dark fiction authors, whose lyrics I set to music. besides a song I wrote with neil gaiman that claudia sings on, and one with gahan wilson that cosey fanni tutti sings, I’m planning on re-recording the entire album. there may also be the possibility of some instrumental solo material, and I’ll continue to come up with new ideas for FBH, in case we feel the urge to record a new album at some point.

 

 

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a new james mcnew / dump interview!

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most people know james mcnew from his other band, the condo fucks (and yo la tengo). as long as he has been in yo la tengo, he has been making his own recordings under the name dump. dump songs have sort have been filtered into yo la tengo these days so he is less prolific. we interviewed dump + yo la tengo for chickfactor 8 back in the mid-90s and again later, but here we are doing it again! we love dump and gilmore tamny conducts the interview this time and asks some excellent Qs. ps. dump performs at chickfactor 21 on june 13 with the pastels, lois and jim ruiz set. he also plays with the condo fucks and the pastels on june 15 at maxwell’s!

chickfactor: what chickfactor show do you remember best? missed but wished you’d attended? any particular fond/joyful/amusing chickfactor memories?

james: I think I Ioved every one I ever saw, and I definitely loved playing at them. I saw a lot of them. getting to see nice at under acme was a once-in-a-lifetime kind of thing. same goes for the georgia hubley trio at fez. versus were just bloodthirsty at the bell house last year (“another face”!). gail was really the only person who ever asked dump to play, and that always meant a great deal to me. I will always remember the sight of magnetic fields fans in the front row with their fingers in their ears while I played my opening set.

who else will be playing with you for the chickfactor show unless that’s ruining a surprise? are you getting besieged with requests?

that shit’s top secret.

how has your relationship with the dump songs (if it does) change over time? the things that you like/that bug you tend to be the same when you revisit?

I cringed a few times while putting together the reissues, but I guess everybody does that, like when you see old photos of yourself. unless you’re really good-looking. but I still liked most of the songs, or at least the ideas. I feel like I have gotten a lot better at writing songs since then, but I can still relate to old me. depression is timeless.

many are superstoked about superpowerless and I can hear music getting reissued—tell us a bit about how that came about?

I was approached by thomas moor of the/his moor music label, of berlin. I was already a fan of their catalog & bands; he was a fan of the dump records. I am always kinda surprised when anyone says that, since they were so difficult to find. I dragged my heels on doing the project until he finally convinced me. so I spent a LOT of time turning it into a deluxe package; bonus tracks, photos, a bunch of new artwork and a ton of new notes I wrote for them. there’s no doubt at least one frustrated moor employee will punch me one day. still, I am very happy with the results. I’m glad he thought of it.

I read once that charles barkley was so keyed up after his games that afterward he’d often vacuum the house to relax. do you have to do any such similar things after shows?

I love charles, so I’ll try that. I also heard he would get his lady friends to shave his head for him. normally I like to pretend like I didn’t just play, and get on with my life, then scrutinize it later.

I’d think touring so much would—if you were inclined—turn one into a bit of armchair sociologist/anthropologist, noting regional differences or ways fans interact, or bass player vs. guitar personalities, etc. any thoughts?

everyone, everywhere, is nuts.

who do you know or admire that might prompt you to say: “that gentlewoman or gentleman, __. _______ _______, has exquisite taste.”?

walt “clyde” frazier.

are there any human virtues you admire or weaknesses that depress you that, when manifesting themselves in music, make you admire/loathe even more? like: subtlety. or: showoffyness.  or, the opposite?

traditional “weaknesses” like not being a virtuoso, or having an unusual voice or take on reality, can be total pluses. fearlessness, whether to express yourself or challenge yourself, or just in general, is definitely something to strive for. also, personally, I don’t like when artists supply me with answers. I like mystery; I don’t want them to tell me what their songs mean. I don’t even want a lyric sheet. I prefer to use my imagination and come up with my own meanings.

what show have you played that has most felt like a hallucination? place you’d like to play you haven’t (parthenon, etc.?)

many of them feel hallucinatory, if all goes according to plan. the shows I played as a member of man forever were all that way. I have been insanely lucky to play at some pretty sweet places. that said, I would like to play at an aquarium.

what’s your perspective on musical literacy? If it isn’t too nosey, how technically literate are you or have you had to become? how would you say or observed it being a help/hindrance?

not very. I have learned to do some stuff. I am mostly self-taught, and completely self-taught on bass (I learned by watching and studying the greats, namely sue garner). I took guitar lessons from age 9 to about 12. one day my teacher refused (in disgust) to teach me a van halen song, instead trying to get me to play some fingerpicky blues thing. That was it for lessons. Technical proficiency is by no means a prerequisite for great, important music. by itself, without feeling or ideas behind it, it’s just dumb. to me, few use it for good. But just to name some who do, glenn jones, william tyler, mary halvorson, tortoise and the boredoms all make music I absolutely love.

what non-musical (piece of?) art(s) has had the biggest influence on your music?

the work of jim woodring, for sure.

do you ever feel like you glimpse, out of the corner of your mind’s eye, some instrument not yet invented that you wish was? can you describe?

no, but I would love it if I could get a car horn that is not only deafening but is also a flamethrower.

would you ever—presuming you haven’t, pardon if my internet research skills are lacking—like to do some sort of sound installation à la christo or spiral jetty (etc.)?

oh, most definitely. when do you need it by?

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a new chickfactor interview with lois!

 

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basically if olympia, washington, singer-songwriter lois maffeo isn’t there, then it’s not really a chickfactor party. even though we interviewed miss lois for chickfactor #5 back in 1994, we are interviewing her again! she performs at the bell house in brooklyn on thursday, june 13 with the pastels, dump and jim ruiz set, mc sukhdev sandhu and special guests.

interview by gilmore tamny (of the yips & wiglet fame)

chickfactor: tell us a bit about the last your experience playing the last chickfactor show yonder brooklyn? highlights? unexpected pleasures? things you’re looking forward to this time?

lois: there’s a reason that gail always calls her chickfactor shows parties. there is a togetherness on these nights that doesn’t exist on most (any?) festival bills. It’s like everyone there, bands and audience, has this connection through these shared loves. It’s really magical.

any dish on chickfactor or gail or pam you wanna share? gaudy nights? bank jobs pulled? musical japes not yet known to adoring chickfactor public?

gail o’hara and a magnum of veuve cliquot is a dangerous combination. the last time that lois and dump shared a bill, gail, james and I sat on some steps at NYU (or was it columbia?—editor) and drank this massive bottle of champagne in scavenged paper cups. needless to say, I don’t remember much about that show and fear my set may have been a disaster.

how do you view the songwriting process these days?

sadness and torment are such invigorating tools for songwriting. but handily enough, I have avoided them for a long time and as such, my output has languished. but I’m not complaining.

what are the upsides/downside to playing out less? what do you miss or how do you feel freed up?

I miss being lost. so often we would be on the outskirts of a city and running late and having to ask someone on the roadside how to get to the club. inevitably the answer was “just turn there by the kroger. you can’t miss it.” and lo, we missed it every time.

how has birdie’s variety changed/enhanced your relationship to inatmate objects? history/the past?

I’ll just note here that birdie’s variety is both the name of my fanzine and the once-a-year sale of recycled cookware and useful things that I hold. (this year it will be at the unknown in anacortes, washington, on july 20.) apart from helping people get their hands on non-toxic and durable cookware, the appeal of the birdie’s sale comes in writing the pricetags. that is where I get to detail my thoughts on each object. (see photos.)

Is there (a) holy grail or grails of objects you’d like to find?

I don’t really search for things. I like to just come across them. what I like about finding things in thrift stores is that a person donated the object so it could benefit someone else. and estate sales can be fascinating in the way they illustrate a life through the stuff that was acquired along the way. In short, there are other ways of establishing value beyond looking up the price of something on ebay.

do you feel like lovejoy with nose for authenticity?

Your question hits upon one of the few ye olde TV sleuths that I don’t follow!

any lois maffeo recipes for cobbler/pesto/drinky-winkies you can share?

just some advice: grow herbs and put them in everything.

any artists (bands/writers/painters/what have you) of late that are driving you wild?

I’ve been listening to troubadours like idiot glee and karl blau, studying the songs of leslie bricusse & anthony newley, rocking out to hot hooves and faithfully following jarvis cocker’s sunday service on BBC 6. and gail introduced me to connie converse and molly drake who both made these spare and perfect songs that get right to the heart of things.

gilmore tamny wrote a novel, my days with millicent, which is being serialized on-line, and has a tumblr of line drawings here.

photograph by tae won yu


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thalia zedek: chickfactor interview

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thalia zedek is kind of an indie-rock bad-ass. before she formed come with chris brokaw, she was in uzi, live skull and dangerous birds. this spring, she is touring solo to support her new thrill jockey release via, and then touring with come as matador gets ready to reissue 11: 11 in may. gilmore tamny (from wiglet/the yips) managed to ask thalia a few questions to get the dirt.

chickfactor: any opinions on the “roadrunner” official song for massachusetts?

thalia: I’m all for it. I think that jonathan richman is an american icon right up there with woody guthrie and massachusetts should take advantage of the bragging rights

cf: touring for via with low (portland, san francisco, etc.) coming up and then I think with the come reissue—sounds like a great lineup. Any plans beyond the spring or later with come?

I have got some new material that I’m really excited about working on and hopefully recording in the near future. I don’t want to wait 4 years this time!

cf: what do you like/love/find not awesome/hate about touring?

I love traveling and looking out the window from a van, meeting new cool people and exploring new cities. and reconnecting with old friends. what I don’t like is flying and club promoters who don’t appreciate musicians and the effort that it takes to tour.

cf: writers like to talk about their writerly routines and I’m curious if you have a particular sort with song-writing or practicing. is it cyclic? daily? inspiration based? do you work better under looming deadlines or slogging along day-in/day-out (etc.)?

I’m definitely inspiration based but looming deadlines definitely speed up my process. I find that sitting down and just noodling around on my guitar is how most of my songs start out. sometimes finishing them is a problem for me!

cf: how do you write the lyrics for your songs? go they come first/second or hatch as the song does? who are some of your favorite lyricists?

lyrics pretty much always come last for me, but on the rare occasion that the music and words come at the same time, that is truly magic and those songs are my favorite. some of my favorite lyricists are nick cave, leonard cohen, vic chesnutt.

cf: first few favorite-favorite songs as kid/young person?

“the boxer” by simon and garfunkel. I used to sing the La Di Li part over and over again!

cf: are there any artists–books, painters, dancers, whatever–that you would say have influenced you a lot in last 10 years?

carla bozulich is doing some really cool things these days. she used to be in geraldine fibbers but has a new project now called evangelista that has put out a lot of cool records on constellation records. I find her music and her work ethic really inspiring!

cf: tell us a little about the recording process for via. I imagine you are pretty technically conversant at this point with so much recording under your belt. what sort of sound were you looking for, if you had an idea ahead of time, and then how you went about executing it?

we worked with andrew schneider again as the engineer and producer. I personally think he is a genius. he just makes us sound like us and sounding natural in the studio is actually no mean feat. I wanted the record to sound warm and deep, but I don’t really like getting into the technical aspects of it. it’s just not my thing so  I just try and record with really talented engineers.

cf: is there any show you were dying to see that you are still kicking yourself for having missed?

I had the chance to see rowland howard perform in melbourne in 2005 but I was too jetlagged and exhausted from touring to make the show. he has since passed away , and I really really regret not seeing him that night. he was a big influence on my guitar playing.

cf: how many guitars do you own? What are some of your favorites?

4 electric guitars and 1 acoustic. I have a tele deluxe that I used on the early come records and two black hagstrom I guitars. also a pale blue kalamazoo. my first hagstrom which I got as a birthday gift from a bunch of my friends in the ’90s is my favorite. they knew that I had put a down payment on it and they pooled together the rest and gave it to me for my birthday. it was amazing!

cf: is there any folk music from a region or tradition you particularly dig?

rebetica, which are greek “hash songs,” indian music, as well turkish and romanian music too.

cf: what are some things you do outside of playing music that best ‘feed’ your music? I mean, like: biking? reading? watching bad TV? cooking? etc.

I love cooking, especially BBQ in the summer and biking around!

cf: I know you’ve done some volunteering with girls rock camp boston. could you talk a bit about your experience?

it was great. I volunteered at the first boston rock camp for girls as a guitar instructor and band coach and also at a ladies rock camp as a band coach. kids love making noise so it was a lot of fun to encourage them to thrash away and see them just break out with these huge smiles! I also discovered what I had already suspected, that I’m not that great at teaching people instruments. I’m a great band coach though!

cf: short list of places you’d like to travel, either touring or not?

lithuania, latvia, indonesia, new zealand, israel for a start. china and japan too!

cf: I’ve always thought you were a very stylish gal. any influences in that area? anyone whose style you admire?

thanks! ’70s-era mick jagger meets goodwill is what I’m going for. not sure if I’ve achieved it or not.

cf: do you have any animal cam weaknesses?

I love to watch baby seals frolic!
photograph by lana caplan


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interview from CF16: jennifer o’connor

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jennifer o’connor is a smoky-voiced new york songwriter, bartender, ebay enthusiast and all-around pop girl extraordinaire. we caught up with ms. jen at the magician on the lower east side in the early days of summer. (this interview originally ran in chickfactor 16 and took place in 2004 in manhattan). interview by gail

chickfactor: when did you write your first song and what was it called and what was it about?

jennifer o’connor: it was in 1996 and it was called “circus” and it was for a band I had just joined—well, it wasn’t even a band yet. I didn’t really play music yet. this guy told me I should be in this band. I went to an open mike with him one night and played bass, then the next day I wrote a song. it was sort of about playing music. it was in atlanta, right after college.

cf: did you want to be a singer when you were little?

jennifer: not realistically. I wanted to be a basketball player. music was always my favorite thing but I didn’t really think of it as something I would ever really do. I played basketball from age 9 to 20.

cf: what was your first concert?

jennifer: van halen in 1987.

cf: they were so past their prime!

jennifer: I know. it was right when hagar joined the band. my first small club show was the replacements in 1991.

cf: first record you bought?

jennifer: probably “physical” by olivia newton-john. I used to buy top 40 singles every week. I used to have a notebook and write it down, the top 40.

cf: me too!

jennifer: you did that? I listened to it on my walkman and I would figure out which ones I wanted to go buy.

cf: you grew up in the south?

jennifer: I grew up in a small town in connecticut until I was 13, a really small town. we moved to florida before I started high school.

cf: when did you play your first show?

jennifer: after I moved here. it was at acme underground. I sent out a bunch of tapes after I moved here. that was in ’99. I tried to get shows at better places after that.

cf: what’s the best venue in nyc?

jennifer: I like, I play at the knitting factory a lot, it’s not my favorite, but I worked there. I like southpaw.

cf: has anything really embarrassing happened onstage?

jennifer: the last show I played was pretty embarrassing. a few weeks ago I played a show and there was no soundcheck as usual and it was the guy’s first night doing sound. I started playing and there was no guitar and somebody went to help him. they turned the guitar on and it fed back really loud. I picked the quietest prettiest song first. I spilled beer and thought I was going to electrocute myself. the snare was moving on the drum kit behind me. just a series of bad things.

cf: what did you do at the knitting factory?

jennifer: marketing and promotion. I wrote to writers such as yourself trying to get them to come to shows or preview shows. flyering and stuff.

cf: when’s the new album out?

jennifer: I don’t know. the beginning of ’05?

cf: do you record at home?

jennifer: a little bit. ultimately I would like to have the ability to do it all at home. I would like to have someone do the levels.

cf: are you bartending these days?

jennifer: no. I was. I really liked it but I was drinking a lot. I quit cause there was a gas leak in the bar and they weren’t fixing it and it made me really nervous.

cf: no one smokes anymore, it’s not that dangerous. do people smoke after hours?

jennifer: and even before.

cf: people are breaking the law?!

jennifer: they are, they do. a lot of places in new york start smoking around 2. but I haven’t had a cigarette in 18 days. but I want one right now.

cf: what’s the best bar in brooklyn?

jennifer: I like o’connors which is right down the street from me. I don’t go to bars that much.

cf: why would you want to play solo anyway? isn’t it scary?

jennifer: it is scary. I do it because…when I first started playing I was in a band and I don’t know. I like playing in a band but I also like having more control. I don’t like to rehearse so having a band…and I like playing with different people. I can’t commit to it. I like being able to do it when I want to do it. maybe eventually I’ll have a band but I like having it mine. plus when I was in a band I had some situations with other members, it’s hard to play with other people. I wasn’t treated very well in some instances and I guess I hold a grudge.

cf: you played at the new york party for the saddest music in the world, the fabulous guy maddin film. who won?

jennifer: did anybody win? I think I won. I was the saddest. no, it wasn’t a competition.

cf: there was a similar party in london, and they had a lot of crappy bands who weren’t nearly sad enough for me and I thought competing to see who was the saddest.

jennifer: we did have to give away tickets for the movie but that was the only contest of the night. kendall’s set was pretty sad too.

cf: what song do you wish you’d written?

jennifer: there’s a lot probably. “your song” by elton john. although I always think it’s weird that he didn’t write his own lyrics.

cf: even weirder that courtney love hired bernie taupin to write some lyrics for her.

jennifer: yeah! so weird. she’s just, sad.

cf: were you a fan?

jennifer: huge fan. huge hole fan. huge nirvana fan. I was in my freshman year of college when the whole nirvana thing broke. I saw hole in ’94. she was a mess then. she was talking to the ceiling and talking to him. I wish I’d written a lot of elliott smith songs. dylan songs. mark eitzel songs. I hung out with him one night on the lower east side, me and him drinking for hours, it was fun.

cf: what are your songs about?

jennifer: death. endurance. continuing. I used to write more about love and stuff but I don’t do that much anymore.

cf: what about driving?

jennifer: there’s a lot of driving and moving in my songs. I write a lot or come up with things when I’m driving. I like new york better with a car actually. I don’t feel trapped as much.

cf: are you still doing the ebay thing?

jennifer: I do that and I do a little promoting for bars.

cf: do you buy or sell stuff on ebay?

jennifer: I sell stuff. I can’t afford to buy anything! mostly I look to see what sells. I do mostly music stuff but I like it because I have a revolving record collection. and this time of year I go to a lot of stoop sales in brooklyn and find stuff. it’s like having a record store without having to buy anything.

cf: what made you the most money?

jennifer: I sold a couple of loren mazzacane connors records for $200 or $300 to jim o’rourke! it was pretty exciting. and I did a good deed because they’re using them to remaster and make the records.

cf: you couldn’t just give them to him?

jennifer: I didn’t know he needed them! he has the money! two records I sold allowed me to pay my rent and continue working on my music.

cf: you’re the middle man.

jennifer: I’m a recyclist.

cf: I hear you signed to red panda records.

jennifer: it’s a big up and coming indie label.

cf: why did you choose to go with them after that huge bidding war?

jennifer: I love the idea behind it and the people running it and I trust them.

cf: what’s in your fridge?

jennifer: romaine lettuce. tomato paste. seltzer water. milk. that’s it.

cf: what were you doing touring france? are you big in france?

jennifer: I used to know a lady in new york who’s french and moved back and she was helping put on a festival in lille and they wanted to do a night or a series of nights of new york artists and they liked my record so they flew me out there and paid me.

cf: didn’t you play a ladyfest once?

jennifer: I didn’t make it. I was supposed to play ladyfest richmond.

cf: didn’t you play one in new york?

jennifer: I was on a compilation but I didn’t actually play.

cf: what’s the pop scene like in nyc?

jennifer: I don’t know. there’s so much here but most of it is williamsburg type stuff. I haven’t found much of a community but I think red panda might change that.

cf: who’s your favorite new york band?

jennifer: I don’t know. I suddenly like the yeah yeah yeahs—they were on mtv awards the other night and it was so gorgeous.

cf: aren’t they from new jersey? have you ever dreamt about a song and remembered it?

jennifer: I do but I don’t remember it to write it.

cf: have you had a dream with rock stars in them?

jennifer: I’ve had dreams with courtney love and nirvana…oh, you mean a hot sex dream?

cf: have you had a hot sex dream with someone you really don’t like?

jennifer: oh yeah.

cf: what melody is stuck in your head?

jennifer: that britney song “toxic.”

cf: do you like any mainstream bitches?

jennifer: not really. I listen to a lot of mainstream hip-hop. I like the franz ferdinand single. I didn’t buy it but I listened to courtney love’s album at the jukebox where I worked. didn’t really stick for me. I probably should buy it—the last album was like that for me at first too.

cf: if you buy it maybe it’ll keep her out of prison.

jennifer: it’s so sad, it really is. did you read that interview in something online? I couldn’t believe how sad it was. she’s broke.

cf: not another behind the music story.

jennifer: that’s what it was like.

cf: kurt must sell a lot of records. sounds like she hasn’t done a very good job of managing her money.

jennifer: no, she hasn’t. that’s exactly what the article is about.

cf: it’s kind of embarrassing to be a celebrity and to talk about that stuff in public.

jennifer: I guess that’s part of the job.

cf: she doesn’t hold back.

jennifer: she doesn’t hold anything back.

cf: if courtney asked you to be in her band, would you do it?

jennifer: you know it’s funny that you should ask that. did you know they took out a full page ad in the village voice last year for a bassist. and I thought about it for a whole day. the ad said they wanted somebody who looked a certain way.

cf: a goth metal chick like auf der maur?

jennifer: I was like that’s not me.

cf: they could do your hair and makeup.

jennifer: they wanted someone who behaved like flea but didn’t play like flea or something.

cf: why do you think they wanted a girl?

jennifer: um, I think that’s pretty cool. that’s something I waffled about if I put a band together. I prefer to play with women if they’re good. it’s easier. my first band was with two guys and that’s part of the reason I don’t want to have a band anymore. some bad shit happened and I think it was in some ways because I was a girl just learning how to play. I’m not saying all guys are like that because they’re not.

cf: do you like to sing karaoke?

jennifer: not really. I’m kinda shy about it. I like watching people.

cf: what’s your sign?

jennifer: scorpio.

cf: ever been to a psychic?

jennifer: yeah.

cf: what did they tell you?

jennifer: stupid shit. when I lived in florida a while ago, I wanted to find out if I should move back to new york. said I was going to be very famous and rich. of course I’m still waiting for that. have you been to a psychic?

cf: hasn’t everyone? are you going to check out the spongebob movie?

jennifer: I want to.

cf: who’s your idol?

jennifer: sleater-kinney. as a group.

cf: all three of them?

jennifer: yeah, they’re great.

cf: better than hole?

jennifer: they’re better than hole.

cf: they’re definitely better than hole. who’s your favorite writer?

jennifer: I like michael chabon a lot. I read the mysteries of pittsburgh in high school. I read a lot of music stuff. I just read the bob dylan bio.

cf: you have any phobias?

jennifer: I don’t like to fly. I don’t like heights. I don’t like the subway. I have a lot of anxiety issues in general but I’m working on them. I don’t like elevators either. I don’t like to feel like I’m out of control even though I’m really not anyway.

cf: who do you have a crush on?

jennifer: I have a crush on the brenda character on six feet under. I also have a crush on the amy character on judging amy. she’s sexy. david berman. I love him.

kendall: maybe gail can introduce you.

cf: talented man.

jennifer: is he a jerk? I used to have a big crush on carrie brownstein but I think I’m over it. don’t print that.

cf: right, we won’t. off the record. you’re the first one to have a crush on her.

jennifer: I’m more interested in corin at the moment. I really like the song she wrote about her kid. they’re good rock stars.

cf: who would you want to collaborate with?

jennifer: the guy from neutral milk hotel. kevin shields. dizzee rascal.

cf: what are your top 5 records?

jennifer: the self-titled elliott smith record; bringing it all back home; what would the community think; blue; american water; plastic ono band.

photograph by amy bezunartea. jennifer runs a label called kiam records and her latest LP is called I want what you want.

 

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trish keenan from broadcast: the chickfactor interview (2001)

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trish keenan from broadcast

today (28 september 1968) is the birthday of the leading lady of broadcast, trish keenan, who passed away in 2011. when I went to her birmingham flat on a warm spring day in may 2001, I found a warm, lovely and smart person who was far friendlier than her onstage persona might have suggested. she was charming and candid and I feel lucky to have met her. we are sharing this interview from our 14th print issue (we have a few copies left btw). 

interview by gail o’hara

chickfactor: what was your best experience at this year’s all tomorrow’s parties? any revelations? were you there for the whole thing?

trish: no, we missed the first night. I didn’t actually, I didn’t like anything. I think because if you’re down front you can get the best sound in that room—it’s not a great room. I don’t think it’s a great place to hold gigs at all [pontin’s in camber sands]. the biggest revelation for me and it’s nothing to do with music, is that there was damp in the chalets. the bands get the best of the chalets, but when I went down to a friend’s chalet who paid 100 pounds for a ticket, it was damp and it smelled. and I thought to myself, god, poor british families save up all year round for this holiday? it’s the granny and the kids and it’s supposed to encompass something for everybody and it’s just a damp chalet. there were lots of americans there, and I thought, what must they all be thinking? steve from tommy boy was with us and you know that entrance with the big blue sign, and I heard him in the back of the van going, “fucking hell.” I was like, “yeah, you’re right, it is fucking hell.” I didn’t see many bands; I had a good time. the bands I did see, I was right at the back and it was terrible sound so I didn’t get to see the best of television. couldn’t see all of yo la tengo’s set because we were on before them and we were packing up.

cf: if you curated one of those, who would you invite to play?

trish: they’re all dead. I’ve love for joe meek to play. I’d do a joe meek night, so you’ve got glenda collins and the tornados and what have you. a phil spector night. they should do a producers weekend—that’s what I’d like. three, four nights of just one thing. then maybe a little talk afterwards about how we recorded…

cf: any living producers you’d want to be there? I guess phil spector still works…

trish: good question, I don’t really… in the 50s and 60s when producers were the new phenomenon, they had one sound and they weren’t worried about what the bands wanted and how they wanted to sound, which is what the producers nowadays seem to be more concerned with—they want the band to be happy, which is good. back then, you came as a musician or vocalist to fit in with the producer’s sound. that’s what made it so interesting, that’s what made it one thing, like the spector group, and it had so many connections—the brill building singer-songwriters, and all these fantastic singers could come in and sing their songs. it was almost like this network—it was just like the beatles were. it was like an institute of songwriters and no. 1s and top 20 hits…

cf: surely britney spears is following in that tradition….

trish: see, I like the song but I don’t like the artist. “I did it again” was a phenomenal, amazing song and brilliant vocal performance but she’s crap. she’s crap. I can’t have that.

cf: it’s just a sequel of the formula.

trish: it’s like “oops, I did it again, I wrote the last song again and got a no. 1.” the idea of producers now, I think the bands have got far too much power in the recording studio now. a producer’s job is to somehow throw a net over the five band members’ ideas somehow bring them together. whereas I prefer the producer to go “shut the fuck up and play this.” then you’ve got one mind pushing the whole thing forward. there’s nothing worse than having five babbling voices all wanting to be the greatest thing.

cf: is that how broadcast is?

trish: well, you know, every band can get like that. even if you’re putting a magazine together and everyone has their own ambitions for what they want out of it and you have to be able to compromise. with the producers of the 60s there was no compromise. it was one thing and you joined it, you fitted in with it.

cf: what is the most ridiculous assessment of broadcast that you’ve read?

trish: “futuristic von trapp family.” sometimes writers come up with these things, and it was maybe before the broadcast gig even happened.

cf: what is the best fan gift you’ve gotten?

trish: I have a crocheted brooch. I don’t get things thrown up onstage very often, that’s why I remember the brooch.

cf: what do your fans look like?

trish: it’s quite a mixture actually. ha ha ha. I suppose the one type I’ve come across more than any other is this short, small gay computer or website type guy. I don’t know why. I wouldn’t say they’re nerds. when I meet these people, I say “I know he’s gay and I bet he works in computers,” and it will come out and I think “how bizarre.”

cf: you’re a total heartthrob with straight boys.

trish: I don’t think so. I’m not getting hassled by anybody. boys aren’t like that. girls have got that kind of… especially from 17 to early 20s, if you’re into pop music and chart music, it seems like the girl fans will throw their all at you and they don’t care, they’ve got the confidence. they don’t care if they’re pushed back. boys are different. a girl fronting a band, you don’t get it so much. you just wouldn’t get a group of boys screaming at a girl—it’s just not in their nature.

cf: were you a fangirl at 17?

trish: I was probably just getting into the smiths. coming out of bowie and all the glam 70s things. I was a big bowie fan from about 13 to 16. it’s the age I was growing up. when I started school it was 1980. it was all new romantic stuff as well. I remember throwing myself at morrissey one time; I got up onstage and tried…I don’t know what I tried to do.

cf: he’s very magnetic.

trish: he’s fantastic.

cf: where is broadcast most famous?

trish: san francisco. that’s where we’ve sold the most records. followed very closely by new york.

cf: who would you want to play you in the trish keenan story?

trish: that’s a wicked question! I’m trying to think of someone who looks really irish and pale. um, I can’t think of anyone.

cf: what’s your favorite soundtrack?

trish: I quite like ravi shankar’s soundtrack stuff. I like chappaqua and charly, I’ve been playing those albums for six or seven months. I love krzysztof komeda, especially the knife in the water soundtrack. morricone goes without saying I suppose. I really like the badlands soundtrack actually, the music used in that. but I wouldn’t say I’ve got one guy. james is really into ennio morricone and that would be his answer.

cf: has broadcast been used in films?

trish: we get used occasionally in channel 4 adverts but we’ve been asked to do something but we’re awaiting the arrival of some tapes. if it’s crap, you can send it back.

cf: is there a director you would say yes straightaway to?

trish: no. there’s plenty of good directors out there. I don’t feel that we—not to try and dis the band but the greatest soundtracks have come from composers that are really steeped in the history of music, they can play classical pieces off by heart, they can sight read. all the brill building songwriters were classically trained, and it really puts you on good footing if you’ve got that behind you. if you’re postmodern and you knew punk happened, you don’t need to have that knowledge to put some good sounds together. that’s all right if you’re making an album, but if you’re making a soundtrack all of a sudden you have to represent that scene or those moods and that’s where training would come in handy. for us it would have to be a really good film—we’ll probably end up doing a shit soundtrack for a shit film at some point. right now it would really have to blow us away for us to take it on.

cf: you could always learn to read music. elvis costello learned it when he was 35.

trish: did he? I can read a little bit and I do have a go every now and again. I know I could do it, but it’s just like taking that time out. then you worry about how it will rub off on the writing technique you’ve managed to accumulate up until this point. all of a sudden I’ll start sounding like james galway.

cf: what was your first band called?

trish: pan am flightbag. this was ’90 or ’91, with two members of broadcast. we did two gigs then split off. for a moment there, we were the best local band there was.

cf: were you musical as a child?

trish: I don’t think I stood out, particularly. I didn’t really apply myself in any way and I wasn’t pushed into it from my parents, though they were really into music.

cf: what kind?

trish: I grew up with bob dylan, neil diamond. we had a pontin’s holiday in the ’70s and there was a talent competition and my mom and dad said “you’ve got to get something ready for the talent competition.”

cf: what a riot.

trish: they were there, “go on, get up onstage.” my mom used to do a bit of singing in clubs when she was younger. she didn’t really take it seriously. for the talent competition my dad said, “why don’t you learn ‘love is in the air’ on your recorder?” he taught me all the notes and I wrote them all down. we had our auditions and my mom didn’t get into the final thing. I got in with my recorder. she must have been terrible. a strange thing happened, we were in the chalet. I must have been getting worried about going onstage to play my recorder, my mom said, “come on, it’s 7:30, they want us all backstage and getting ready.” I wouldn’t go. like a 7-year-old kid, I was like, “nooo, moooom.” I must have been nervous though I didn’t feel nervous. my eyes were all red from crying cause I didn’t want to go but I got up and did it. that was it. that was my pontin’s holiday. it’s funny, the second time I would go to pontin’s it would be for music as well…

cf: do you like brazilian music?

trish: I like os mutantes, jorge ben, gal costa…

cf: caetano veloso?

trish: yeah, yeah.

cf: he wrote all the best mutantes songs. what french pop do you like?

trish: dutronc. françoise hardy will always get put on. brigitte fontaine. even a bit of charles aznavour.

cf: what causes a ruckus when it gets put on in the tour bus?

trish: joan baez. I like her, rog likes her, james hates her, and I don’t think tim likes her. for james, I think me liking joan baez represents something that he really hates. that whimsical folk thing, I’ve definitely got that in my taste and in my writing.

cf: you grew up with dylan!

trish: when I saw her sing that song in don’t look back, I had to go and find out what her best albums were. I like that record with all the poems on it.

cf: what melody or lyric do you have stuck in your head?

trish: I’m reading the art of bob dylan at the moment. I do have sections that come into my mind. I have lines going through my head all the time. for me, I’ll like one section of the song; I’ll hate the verse and the chorus but I’ll love the bridge.

cf: weirdest gig?

trish: I think it was in arizona. it was just in somebody’s living room. it was just weird because we were really tired, and we were just looking for a chance to go, “no, we’re not doing it.” and this was our opportunity. there was no PA, there wasn’t even a kettle. we did the gig in the end. I hadn’t seen one person on the street all day. there was a church 100 yards away with barbed wire all around it. we were like, “we’ve gotta get out of this place, it’s horrible.” and all of a sudden like 90 people come out of nowhere and cram into this little room and there was a gig on. you’ll drive to a gig for 40 or 60 miles away, that’s nothing to you. that’s half the length of this country—I couldn’t possibly go that far for a gig. if it’s not a bike ride, most of the time I won’t go. terribly british and lazy.

cf: if someone came to birmingham for the day, what would you show them?

trish: I’d go and see the canals. I think they’re the best thing we’ve got. we’ve got more canal miles than venice. birmingham was the heart of the industrial revolution, and if it wasn’t for the little waterways that were already built, we would have never been anything. you’d never have had black sabbath if it wasn’t for those canals, that’s my theory.

cf: are you from birmingham?

trish: yes, I was born here.

cf: who is the most underappreciated artist in this country?

trish: autechre. I think they’re fantastic. there’s no compromise with what they do. they’re not massive either; they’ll pull a decent crowd, like at camber sands they pulled a good crowd. the autechre fans are always boys that can’t walk properly, they’ll push your pint into you. rude, horrible boys go to autechre gigs. I always get a laugh out of it. if they wanted to do a commercial track, it would be no. 1.

cf: what’s in your fridge?

trish: two very dark brown bananas—I like them that color. easy-peel satsumas, half a tin of baked beans, some salmon, a bag of carrots, there’s usually much more than this. red cabbage, orange juice, mixed salad.

cf: most people just have beer.

trish: I don’t drink. I smoke blow though I don’t keep that in the fridge. I’m not really into alcohol. don’t like it. not a very good buzz. it’s a bit overrated. if they’d legalize some other drugs, alcohol would go right down the pan. that’s why they don’t want to legalize cannabis, especially here because there’s so much tax on alcohol and cigarettes, offer somebody another escape and those two industries will go down the pan.

cf: if your house was on fire, what would you grab on the way out?

trish: I don’t think I’d grab anything. I’d just get the hell out. I’d take my APC shirt and my vivienne westwood shirt, because they’re close to the window.

cf: who is the funniest person in the band?

trish: they’re all really funny. I couldn’t say one’s funnier than the other. roj I’d say he’s the quickest. his comic timing is genius. he really should be on telly. they’re funny but if you put them under pressure to be funny they won’t be. the three of them together (roj, james and tim) are hilarious. they make the tough parts easy. I’m an audience for them, they get a laugh out of me every time.

cf: are you addicted to anything?

trish: cigarettes, cannabis.

cf: do you collect anything?

trish: I mean, if you call records collecting. if you’re into music, that’s just part of what you do. I’m not really that mentality, and there aren’t many girls that are. it’s a boys’ thing, that collecting, and I think it’s innate. I’m not saying no girls can be collecting nerdy types like that, but it attracts the male mind to get into detail about that. you need both, you need the airhead and the one who knows everything. I’m the airhead. I can’t remember names, I’m terrible with band names and track names.

cf: with CDs, no one even looks at the track names. it’s like “I love track 5!” have you ever had something embarrassing happen onstage?

trish: I’ll tell you what I always do, and it really pisses me off. I always end up hitting my mouth on the microphone. I’m not very comfortable onstage. when I walk into a room I like to be unnoticed. I like to slip in. I’m not the kind of person who wants to rule the room with my conversation. I’m a quiet person.

cf: but you ended up the frontman.

trish: I don’t know why. it’s only cause I could sing. I don’t know whether I could sing or can sing…

cf: you can sing!

trish: because my mom and dad always sang, my mom has a karaoke machine, my dad’s irish and they love a good song, and singing is just something you do. you don’t have to be a performer, you can just sing at any point.

cf: what’s your next record like?

trish: it’s not written yet. what’ll usually happen is I’ll put a few songs together on my own, upstairs is where we recorded the last EP, and james will put production ideas together as far as sounds and if he’s got a chord structure that he’s put down, I’ll get it on minidisc and stick it on my four-track and I’ll try and do a vocal on it. hopefully we’ll have a combination of tracks that I’ve just written on my guitar, four-track tracks, and tracks that james put together that I can put a vocal on. then we’ll go to the studio and we’ll take it someplace further.

cf: do you look at music websites?

trish: I do. I don’t download music, I tend to print lyrics. I always go to olga, the online guitar site and get chords and lyrics. and maybe some creative writing websites that give you some exercises to do—just when I feel I need a kick, a boost. looking at a track on paper—I just looked at “you don’t own me”—that’s a real inspiration for me. the biggest inspiration to me is other people’s music and working it out. CF

photo on the cover of chickfactor 14 by gail o’hara. 

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an interview with scrawl!

scrawl
scrawl!

it is an honor and a privilege to present a long-overdue interview with scrawl. gilmore tamny (the yips, wiglet fame) chatted with sue harshe in november and got the scoop on the trio’s recent reunion and other stuff.

chickfactor: how was ATP? highlights? lowlights?

sue: ATP NYC was a lot of fun. we played very well, we had a nice place to stay, we saw a lot of long-time dear friends. I can’t ask for much more than that. for me, there were two highlights: watching these two young men sing every single word of every single song we were playing. I sought them out after the show because I was so shocked and touched. the other highlight was watching marcy sing “my curse” with the afghan whigs. she looked so beautiful and tiny up there and when she began singing, the whole place erupted. I was bawling like a baby. I can’t really think of any low points. I wished there had been more people there but more for the bands who had to play on the indoor stage during the day. it was a little cavernous. ¶ I’m glad I got to see afterhours, an italian metal band with violin. truly amazing. and I was able to see about half of dirty three’s set, which I liked very much.

cf: I see you played with cobra verde at ace of cups—very exciting! you have more shows coming up? how are you pacing it?

sue: we just played with cobra verde and tim lee 3. we (I don’t think) had ever played with cv before, which is odd, considering they live in cleveland. tim lee 3 is from knoxville and we’ve known tim & his wife susan (who plays kick-ass bass in tim lee 3) for years and years. it is always so much fun to play in columbus and to play at marcy’s bar. the sound is always good, the vibe is great, and most bands (unless they’re prima donnas) leave there pretty happy. ¶ this has been an unusually active year for scrawl. we usually play once every couple of years. this year, we’ll have played 8 shows in 6 months. that’s a veritable world tour for us! being asked to play ATP NYC and also being asked to play ATP UK has been a dream, something we feel proud of because you can’t submit to play; you have to be invited. and the two bands who knew us best (afghan whigs and shellac) did the asking. that makes me happy. so, we leave for england after thanksgiving for a week and then play a new year’s eve show in cincinnati with the afghan whigs, and then it’s goodbye 2012.

cf: columbus has really changed in the last 20 years, including the music scene. could you talk about that at all? interesting happenings? things that are irritating? etc. I think too of ace of cups (which I’ve been enjoying seeing video of shows shirley posts from time to time) and how that’s opened, etc.

sue: marcy is better positioned to talk about the columbus music scene because she sees more of it, owning the bar. I think in some respects the last few years have been very healthy and robust (times new viking did well), but I’m just old enough now that I could slip into that very annoying back-in-the-day sentimentality, so I best keep my mouth shut. same with your question “most irritating” (faux folk revival). oops.

cf: I’ve been prowling around the internet—forgive me if I’ve missed an article etc.—but I’ve (long) wondered what has been your songwriting process with scrawl?  how has it changed?

sue: we don’t write much these days, though we have about three or four newer songs, but the process is very much the same: play a riff one thousand times in practice, add and take away, rewrite and rewrite, and then the lyrics are usually added as the last sprinkle on top. we’ve always put a lot of work into songwriting and so, for us, there’s no getting around the sometimes arduous process.

cf: how has playing live changed (presuming it has)?

sue: playing live feels very different for me now. I think it’s just a mindset, but it feels liberating in a completely different way, now that I’m pushing 50. a little more zen, a little less stroppy. regardless of why/what/how, it’s a total blast for me right now.

cf: any chance of a new scrawl record?

sue: we will never say never. I could play music with marcy until I’m 95 and be perfectly happy.

cf: who has been (some of) the most unlikely or unexpected scrawl fan(s)?

sue: hmm. for a while, we attracted very young men to our shows, who would come up to us afterward with tears streaming down their faces. that was always a little disconcerting.

cf: when / why / where you wrote your first song and what was it about?

sue: I can’t even remember. I think it was a hardcore song.

cf: do you come from musical families / upbringing?

sue: my family wanted to be musical but really wasn’t. the best thing my mom did musically was force me to keep taking piano lessons. she said that I would thank her one day. she was absolutely right. she also tap danced and played ukulele as a teenager. I think that’s pretty great.

cf: what are you reading these days?

sue: my husband found half-dozen old classics in the hallway of his office, waiting to be thrown out, so I vowed to read them all this winter. the first one I read was of human bondage by somerset maugham. fantastic! it is so over-the-top. next is tristam shandy by laurence sterne. after that it will be tom jones by henry fielding, and then david copperfield by dickens. If I’m not reading books rescued from the trash, I’ll read the scandinavian crime writers (mankell, larsson, nesbo, alvtegen).

cf: who do you have a crush on and you are welcome to take that in traditional sense or artistic sense or metaphysical sense etc. etc. etc.!

sue: my perennial 25-year crush is on the actor gary oldman. and, after seeing leonard cohen perform a year or so ago, I’ll include him too.

cf: any artists—bands, visual artists, writers, poets, dancers etc—you’re nuts for/intrigued by right now? pourquoi?

sue: there’s a woman from dresden germany called anna matur, who is very intriguing. she’s part performance artist and all musician. I very much like wussy’s record buckeye as well. It’s damn near perfect.

cf: sue, you have a new (fort shame) record coming out? how is that going? are you still scoring films as well?

sue: I haven’t scored any film music lately, but I was invited (along with 11 other composers) to write music for “finding time: columbus public art 2012,” in conjunction with columbus’ bicentennial celebrations this year. that was pretty exciting. and fort shame just released its first CD. it took forever to make but I’m very proud of it.

hear more from scrawl here. photo courtesy of scrawl.

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from chickfactor #15: an interview with nikki mcclure

nikki is an inspiration—a renaissance woman, a jane of all trades. she took the time out of her busy schedule of art, gardening, cooking, making music, nature-watching, and everything else, to answer some questions.

interview by dawn, photo by gail (nikki with cynthia connolly at ladyfest 2000; interview originally appeared in cf#15, 2002)

cf: describe your art.
nikki mcclure: I primarily make papercuts. I cut images from paper using my trusty x-acto knife with a box of fresh sharp blades nearby. I then reproduce the pictures with offset or letterpresses for the masses. the original artwork is sculptural though. at first people think that they are woodblock prints, but when they get real close they see that the paper has been carved like lace. they are 3-d and 2-d at the same time.
cf: describe the process of making your cuts/prints.
nikki: I sketch out ideas working from tiny postage stamp/thumbnail sketches to larger and more definitive drawings. my sketches are usually pretty rough. I save the details for when I am working with the paper. I then draw a new sketch onto black paper with pencil and start cutting. I leave a lot up to chance; making mistakes and fixing them is an important part of my process. the choice of light or dark is of the moment.
cf: how did you get into paper cuts?
nikki: one day I was working with scratchboard and was not getting the look that I wanted and tae won yu was sitting nearby and said, “why don’t you try cutting it out of paper?” I did. it turned out the way I had imagined and it felt good to boot. it really satisfies me.
cf: what is the tradition of paper cuts?
nikki: it has been around since the invention of paper. there are early chinese papercuts that look like snowflakes progressing towards modern cuts that are giant sized and detailed. there is a history of papercutting in mexico, poland, germany, japan, and there is also a jewish tradition. we all have made snowflakes. there is a guild of american papercutters even.
cf: where do you get the inspirations for your books/art pieces?
from living adventures and from happiness. nature, gardens, people working together, swimming in anacortes, new york city, water, the walk home, the morning light, love, those moments where time doesn’t matter, watching birds fly.
cf: did you do a birding map? (I think I read this online) if so, who was it for and why? (can you also describe it?)
nikki: I think you are referring to a guidebook to the birds of east bay (olympia) that I illustrated. I have made maps with birds on them, but they are not necessarily birding maps.
cf: is birding a hobby that inspired your punk rock nature walks during yo-yo a go-go?
nikki: yes. but I am not a hardcore birder by any means, so it really isn’t a hobby. I did bring binoculars with me camping this week and I did get a guide to birds in japan at a garage sale last week…plants and insects are hobbies as well. it’s the whole of the forest and wanting to share some of its secrets that inspired the walks. plus, I wanted to get the punks out into nature.
cf: you taught a letterpress class at the oly ladyfest. do you teach this often? what do you like about the letterpress? do you use it in your work?
nikki: yes. I am eager to share the resources that are at community print with the community. I think it is magic to print and want others to be able to print whatever they want without censorship and by the power of their own hands. therefore, I share more than teach. letterpress is full of mistakes (for me) and I like that. I print text for different things, make posters, an occasional book, and I always wish I had more time to print. I also would love to get a vandercook letterpress. if there is anyone out there who knows where I can get one, please let me know!
cf: what other types of art do you do?
nikki: I print, make a monoprint every so often, draw, watercolor on vacations, and I want to learn how to build things from my woodworking husband.
cf: do you consider your house art? please describe it.
nikki: the garden is always art, even in the winter as the iris seedpods gray. right now it is full of red poppies ringing the baby apple trees; their seeds brought in from the compost. the garden is constantly growing, changing, and more and more lawn is being removed. inside it is looking more like an art gallery with rotating exhibits of friend’s artwork. right now there is work by jean smith, khaela maricich, tae won yu, kanako wynkoop, mal pina chan, katie baldwin, and amber bell. the last issue of nest [magazine] also made me throw out a chair and plan an improved entryway. the kitchen is waiting for cork flooring and the garage is in need of a vandercook to go with the windows salvaged from a cabin on mt. rainier. the house is a 1922 bungalow. wood everywhere and wide open floor plan. (I have yoga class at my house.) I have never been anywhere like it.
cf: what piece of art that you’ve made are you most proud of?
nikki: oh this one’s hard. pride. there are my favorites, of course, but pride is something different. I just made a picture for my 2003 calendar that I am proud of. it was hard. I challenged myself and all it is a man in a field with another figure approaching with a bucket of water. but it is the bucket and how the shadow falls on the water that is what I am proud of. I am proud of pieces, of line width and subtle curves, of hands held right, and water dripping into circles.
cf: when you make art, do you have a specific audience in mind? gail says your art appeals to toddlers. can you explain this?
nikki: my audience usually is me first. I make work to make myself feel good, for the most part. not every picture is a joy, some are work, or rather work, as I make pictures for a client with a picture already in their mind. my book about chickens appeals to the toddler set. they love it. it becomes their favorite book. black and white, find the chickens, what’s going to happen next? pretty suspenseful stuff to a 2-year-old. another audience is everyone’s mothers. and yet another audience are lovers, mine and yours.
cf: does your art support you? if so, in what way—commissioned jobs or selling our work?
nikki: I make art and the art supports me. I sell the original papercuts of all my books and calendars. I have art shows, collaborate on making lamps and furniture with jay t. scott (my husband). I also make the calendars and books as a way for more people to enjoy my art. rather than relying on sales of originals, I can sell the reprints affordably. I also do commissions, logos, illustrations, k2 snowboards for 2003, teach art at schools, trade art for veggies…
I try to do more art from the heart than from assignments. I find that the self-inspired art is the art that supports me the most—financially as well as spiritually. but it is good to do jobs for other people: it is nice to not always have to make up new, brilliant ideas; it is good to not work alone all the time and to develop sketches with a client; and work makes more work.
cf: do you have any non-art jobs?
nikki: at present, no. I have worked doing bird surveys, a year at dept. of ecology, substitute teaching, waitressing. but these are all becoming historical notations. I need to clean out my car, oh and do bookkeeping! that’s work.
cf: what is your involvement with buyolympia.com. tell me how it came about. is it successful?
nikki: buyolympia.com is pat castaldo and aaron tuller and artists/makers in olympia. pat is an old friend of mine. he is a master of computer graphics and I work with him on all my projects. so one day he tells me about his dream of selling olympia wares online. it sounded too good to be true, though I was a bit skeptical that people would find out about it. but buyolympia has done well. they advertise, link to the indie web, work all night mailing out everything during the holidays, call the artists to keep everything in stock, support and encourage new work, and people from sweden can not only buy a book and some olympia honey, but contact me to be in an art show.
cf: I hear your studio is a collective. who else belongs?
nikki: the studios are a community of working artists and members of a self-made economy. stella marrs operates her worldwide card empire; amber bell makes books and quilts and studies to be teacher; lucas gray cartoons; rebecca pearcy makes queen bee necessities (though she moves soon for portland); k records stays abreast of the underground music scene; khaela maricich paints and plans operas; phil elvrum orchestrates the microphones; people drop by to silk screen, sing, say hi, take tours, deliver the mail. then there is community print, add al and cypress and ariana to the mix and some salvaged presses and type and boxes of paper and you have a collective of printers. we took a show called 508 legion way to space 1026 in philadelphia this past march.
cf: where have you shown your artwork? will you have a show in nyc?
nikki: I have shown my work in olympia, seattle, portland, toronto, philly, sweden, tokyo, and kyoto. I would love to show in new york, but how and when require some work.
cf: why do you think that crafting is such a big trend right now? can we blame martha stewart?
nikki: sure, she can be part of the blame. but I think she should be blamed for encouraging classist consumerism instead. the trend to make crafts is due to the lack of using our hands to make work. sure we may type all day on these computers, but nothing real and tangible is being made by pressing all those keys. knitting, crossing sticks and pulling yarn into knots, row after row to make something warm is real work. folding paper and threading needle to sew up a book, make the hands work. crafting is handiwork. our neurons crave it.
cf: who are your favorite artists right now?
nikki: mecca normal
cf: who are your favorite musicians right now?
nikki: mecca normal
cf: do you still make music? perform?
nikki: yes, though pictures are my primary form of expression. I sang in tokyo in february and will perform at the what the heck fest in anacortes in july. I haven’t given it up, but I have less desire.
cf: what are some of your other hobbies? okay, more specifically, do you cook? if so, what and how? what’s your favorite dish to cook? hobbies?
nikki: camping, gardening, foraging, gleaning, and cooking, sure, but it seems too necessary for survival to be merely a hobby. I made cherry pies the other night for a camping trip. the tree at the abandoned house a few doors down called to me like a siren with her cascading red cherries. so jay t. and I got some ladders and filled up a bucket in 15 minutes. pitted with sugar and tapioca, crust made with ice cubes in water and cold butter cut into flour with two knives like my grandma taught me. wrap up the finished pies in parchment, pack them in a box with care, and then carry them in your backpack to a lake in old growth forest. eat them around a campfire and you are set.
cf: I hear you play soccer. on your own for fun, or in a league?
nikki: my mom signed me up for soccer in the 2nd grade and I cried, “but that’s a boys sport!” I have played ever since. my women’s team is called the sharks. I play sweeper/stopper (a defensive midfielder, defensive offense/offensive defense); I have been battling with injuries lately ever since I got kicked in the ankle playing co-ed. I dream about soccer all the time though.
cf: what’s the best thing about living in olympia? the worst?
nikki: the best is the abandoned blueberry farm where you crawl under the bushes or walk on top all crouching dragon style and fill your buckets with blue. the worst…I don’t want to tell. cf

nikki’s first major museum retrospective just opened at the museum of contemporary craft in portland, oregon.

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chessie: the chickfactor interview.


ben and stephen chessie.

chickfactor turns 16 this summer and it’s hard not to think back to the old days of the d.c. indie scene where we found inspiration for the magazine. one of the ubiquitous creatures on the scene in those days was stephen gardner, a lanky kid who played in lorelei and later went on to form chessie, first on his own and later with ben bailes. despite being hailed by the new york times as having made one of 2001’s best albums, chessie remains far too unknown. you should go and get on a train with some chessie in your ears. (oh, and lorelei’s matt dingee recently moved back to the D.C. area so they’re on again at least until another member moves away.) we found ourselves digging the train-obsessed duo’s latest recordings and decided to catch up with them….
chickfactor: I think you were the youngest member of the d.c. indiepop scene way back when. what was it like then and how did you get involved?
stephen gardner: well, I started going to shows actively when I was 11 or so, and I owe that mainly to my older twin sisters. They were in the DC punk scene and I adopted their interests in that way that younger siblings do. Luckily, they — and my parents — were cool enough to let me tag along with them to shows and since I was tall for my age (6’2″ by 13), I passed as much older. The other factor that got me involved was that DC’s laws allow venues to be all-ages and there were tons of shows at churches or other public spaces, mostly put on by other kids. I didn’t realize how special this was until I spent a summer in San Francisco as a 20-year-old and realized I couldn’t go to venues. I was shocked. Also, I’d be remiss if didn’t give credit to Dischord records and for the punk scene of mid to late 80s in DC for making it seem totally possible to be in a band and do something that mattered on your own terms.
As for what it was like, I’m the youngest in my family, so I suppose it felt totally natural to be the youngest at shows or out with friends. Also, being tall helped me to never really feel totally out of place — by 12, I was taller than most adults. I also was surrounded by older people in other areas too, as I started working at skate shop when I was 12 and then a record store by 14, and i was always the youngest there, so I just learned to adapt.
cf: chessie was a one-man act for a long time. why change and become a duo? tell us about ben.
stephen: Ben Bailes and I are old friends from middle school/high school. He was one of the few drummers at our school and actually briefly played with lorelei during one of many line-ups in the first 6 months of being a band. We stayed in touch over the years as he got involved in audio engineering and he liked the first chessie record. I was working on the second album, Meet, while at college and he had just moved to NY to work as an engineer and we arranged for him to come up to engineer a session. We did a couple of songs together and had a blast. Our skill sets complemented each other really well and we had a deep trust from years of friendship. Next Ben and some other friends joined me for a tour as Chessie and after that, I think it was clear that we’d be doing this as a project together, with him expanding into the songwriting from just production initially. In the end, my goal with chessie was to always create a compositional process that would lead my ideas to new places and unexpected outcomes — it’s not a pop project, like lorelei, where I’m trying to execute a perfectly defined composition. If I’ve already conceived the outcome of a song in full, than there’s little point in proceeding. At first, I tried to reach this goal by using processes that took my ideas out of my own hands, like using unsynchronized tapes loops and other techniques that would introduce chance into the compositions. But, in Ben, I found the perfect partner to take my ideas and have them realized in profoundly different and exciting ways. Turns out another human is the best way to introduce chance into your songwriting.
cf: does being a train nerd have the same stigma in the US that it does in the UK?
stephen: I dont think so. I think most Americans don’t have a clue that there are millions of “railfans” out there and I doubt they’d care much if they did. Certainly, the culture is different as well, as the US has lots of rail photographers and history buffs, but very few of the UK’s trainspotters who record every passing passenger car and locomotive. US railfans are an oddity, but not particularly annoying, as they seem to be portrayed in the UK.
cf: was your musical path affected by the new york times endorsement?
stephen: Not the slightest. We been blessed with lots of critical acclaim and almost no record sales or personal attention. So, we just carry on as if none of that really exists, working in our basement studio as time permits.
cf: do you still have a turntable and if so what’s on it?
stephen: Yes. The Huck-a-Bucks “chronic breakdown” 2xLP — a classic mid-90s go-go record. Like all DC kids, I love the go-go and if you listen closely, you’ll hear a go-go break or two on at least one track on every chessie record.
cf: we hear you just got married — congrats! can you tell us a little about the bachelor party?
stephen: Ok, this is pretty nerdie. A group of friends and I rented an old railway caboose that is in use as a portable campsite on a railroad in West Virginia. They attach the caboose to the end of a train and drop the caboose deep in the woods next to a river on a side track where you can camp for a few days and then come pick you up. It was heaven.
cf: do you dream of trains?
stephen: Sometimes, yes. Mostly, I dream of everyday situations that are slightly altered. Since my day job is working with railways, they are often featured.
cf: what makes you sad about the way music has changed (formats, sounds, etc)? or is nostalgia for the baby boomers?
stephen: This list could be a long one but beyond the normal rant about the horrors of mp3s, the loss of vinyl, the end of hand-made flyers, I’m mostly just sad that music feels pretty irrelevant now amidst all of the other competing media. I know that the days when going over to a friend’s to listen to records was an entertaining and exciting way to spend a few hours are over for most of America.
listen to chessie here.

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cf interview: travis elborough, vinyl fetishist and author

travis elborough is famous for a few things: dressing snappily, writing very funny and entertaining text and being able to talk about pretty much anything. his 2005 book, the bus we loved, about london’s routemaster buses (the kind you could jump out the back of), did phenomenally well. people still hate the bendy buses that replaced them, or the airless double deckers that you cannot exit in terrible traffic unless you have a sympathetic driver. his brand-new book, the long-player goodbye, pays tribute to our most treasured musical format. the book will be available for purchase in the united kingdom on july 10, while soft skull will publish it in the U.S. in 2009. bob stanley recently mentioned it in the london times in an article about vinyl fetishists. we caught up with our man travis via email. of course, if I were still living in london, I would be able to ask him these things in person…
chickfactor: what ebay find are you most proud of?
travis elborough: Too many to list but a phrenology head, an olive green olivetti typewriter and a signed photograph of Jo, one of the Doctor Who assistants from the 1970s, posing in the nude with a dalek would have to be up there somewhere.
what shopping experience do you miss the most?
As I am sure you remember, there used to be a fantastic, if admittedly rather overpriced, vintage clothing shop in Covent Garden in London called Cenci. It closed down probably five years ago now. It was chock full of old Italian deadstock suits from the 1950s and 1960s, and similarly period ski jumpers and golfing caps, none of which were ever in my size. Even the hats seemed to have been crafted for a special race of human beings, very possibly rendered extinct since by substantial changes in diet, whose heads were either vast or tiny. But while I bought very little from there (one of those striped yachting jumpers and a single suit, at the most, I think) I loved visiting it simply to witness its manager, Massimo, in action. He didn’t so much practise the hardsell, as look heartbroken if you chose not to purchase whatever garment he was convinced you should buy. ‘It’s a tad on the snug size’, you might say, while struggling to do up the buttons on a pea coat whose arms were a foot shorter than your own. ‘Nonsense, it fits you like a glove, feel the weave. You don’t get that kind of quality today’, he’d reply, shaking his head in a motion intended to convey a certain dispair with the modern world, and you in particular. ‘Well, I was really looking for a slightly narrow cut of trouser’, you could venture, having found yourself in a pair of strides that could easily have provided the sails for the Mayflower. ‘Honestly’, Massimo would respond, clutching, demonstratively, the leg of his own — and infinitely narrower — trousers, ‘once you get used to them, you’ll never wear anything else.’

describe a typical day of you researching this book.
I suppose, the most typical day consisted of hitting the British Library, and then idling away about seven hours flicking through ancient issues of Gramophone, Billboard, High Fidelity, Downbeat, Disc and the NME, and raiding their excellent sound archives. I spent some days, some weeks, actually, just listening to albums. And I did buy a small battery-operated turntable specifically to perch on the corner of the desk in my office so that I could spin discs while tapping away.
any tragic loss of an LP that’s still breaking your heart?
For purely sentimental reasons, I mourn the loss of, what was most likely a terrible, sound-not-alike Beach Boys LP, I had as a child. It was one of those session musician jobs that were sold in wire racks in Woolworths and local newsagents, something like The Surf Men Pay Tribute to the Beach Boys By Playing Their Hits Quite Badly. I think I bought it with a voucher I’d received for my sixth birthday. It had “California Girls,” “Good Vibrations,” etc. on it and, from what I can only dimly recall, an image of a suitably sun-drenched beach on the cover. The LP vanished years ago, and the original versions of the songs, which I didn’t know then, have long since supplanted any real memory of it but I seem to miss it all the same. And, as I have no idea what it was really called, ebay, Gemm and so on are no use. Which might be just as well.
will there be a turntable at the launch?
Oh yes. Two I think. And prizes for the most amazing, interesting and awful album anyone brings along.
your last book, the bus we loved, turned you into the “bus man” at parties. you got really sick of talking about those damn phased-out routemasters. any chance you’ll ever tire of LP chatter? are you already?
I am still talking about the Routemaster, it’s the Bela Lugosi of buses — blood red and undead! The LP book, came in a way, out of responses to The Bus We Loved. I did genuinely love the Routemaster. For anyone who doesn’t know, they were the last London buses to be built with open platform at the back and were staffed by a conductor as well as a driver and were taken off the streets after nearly fifty years in December 2005. I used to catch them every day, and when I first moved to London and was living in bus-bound Dalston, their routes really shaped my impressions of the city as a resident. I liked them enormously, aesthetically, and when I learned they were being phased out, I just started taking photographs of them with my Lomo camera and I gradually began to dig into their history. The book grew out of that. I wasn’t a bus fan as such, I was a writer who happened to be fond of this particular bus. While I was researching the book, I did, however, meet people who were absolutely fanatical about the Routemaster and buses in general. These people tend to get a raw deal, they are mocked as anoraks and the like. But I have to say, though some were a touch odd, I thought there was something rather admirable about their enthusiasm. Meeting them made me wonder, why it was that certain hobbies, bus-spotting for example, are deemed less socially acceptable than others, record collecting, say. Which in turn, led me to think about all the hours I’d personally wasted in record shops… and you can see where this is heading… Will I tire of talking about LPs? I hope not. But ask me again in six months…
are there any movie scenes featuring vinyl fetishists like the likes of our gang?
Well, I am excited about a new documentary by Emma Pettit about independent record shops. I think it’s still in production at the moment, but Emma’s also edited an accompanying book just out called Old Rare New, that has some great pieces by Byron Coley and Bob Stanley and interviews with Billy Childish, Rob Da Bank, Simon Reynolds and Joe Boyd, that’s magnificent so… buy that and look out for the film in due course.
is there any real evidence that it will come back?
There is some. Wandering about shops in central London, I do find myself thinking, God I can remember when all of this was CDs. Certainly shops like Mister CD have gone. And last October even Amazon.com began selling LPs and a range of players. So sales of vinyl are up, but they still represent a small percentage — and it tends to be a niche interest. Singles have taken off again among the hip and young, apparently. Hayes, the plant in Middlesex immortalised on the Beatles sleeves and mothballed by EMI in 2000, and now in private hands, currently turns out something like 20,000 records a week. A far cry from the 250,000 a day it produced in the early 1970s, but not bad for a format supposedly consigned to the dustbin by its digital successors over a quarter of a century ago.
click here to buy the book

photographs: travis elborough, london, 2005; and some vinyl in a paris shop window, 2004; both by gail o’hara.