Our final chickfactor 30 party in London was an afternoon Hangover Lounge affair at the Betsey Trotwood and had kind of a chill vibe that was welcome after two nights at the packed Lexington! Marlody is a new signing on Rob and Amelia’s Skep Wax label and her moody, intimate songs were quiet and poignant at a time when finally coming together after so long was so needed. Her music was a reminder that we all need to share our stories. The Catenary Wires are of course pop legends: Amelia Fletcher, Rob Pursey, Ian Button and Andy Lewis. They played stellar songs from their latest, Birling Gap, which you should snap up if you haven’t got it, and even thrilled the audience with a Heavenly song, “Cool Guitar Boy,” in advance of their couple of Bush Hall shows next spring, which was so so fun.
Photo: Morgan Stanley
London is a place I was lucky to call home for half a decade and I miss it like crazy. chickfactor’s cofounder Pam Berry has lived there since the late ’90s and I love being able to go back and see people at these events in these places that miraculously are still open. I wish we could do it every year! Thanks again to the musicians, bands, venues, Paul Kelly for backline wrangling, the sound people, Hangover Lounge, Tae Won Yu, the folks who put me and others up, the documenters, readers, fans, friends, strangers, and pop lovers who make up this incredible community.
Marlody, an artist on Rob and Amelia’s Skep Wax label, played the show. Photo: Jen MatsonThe Catenary Wires. Photo: Jen MatsonThe Catenary Wires. Photo: Morgan StanleyPeople with great taste in music. Photo: Gail O’HaraPop stars meeting and smiling. Photo: Gail O’HaraBeer mats from CF20. Photo: Morgan StanleyLunchbox at the Betsey. Photo: Gail O’HaraLegends in our midst. Photo: Morgan StanleyAll the Umbrellas in London (sorry, I’ll stop saying that now). Photo: Morgan StanleyHangover Lounge gents Tim and John. Photo: Gail O’HaraRaz attempting to wrangle the unruly CF revelers. Photo: Gail O’HaraPoster by Tae Won YuArt by Tae Won Yu
Christina Riley / Artsick Chickfactor 30 NY and London Oakland Weekender 2022 Glasgow Breaks from social media Rock and Roll Vegan Donut bar in Monterey White Lotus season 2 on HBO Simon Guild guitar pedals Meditation Chickfactor 19 issue, and shirt designed by Jen Sbragia Buzzcocks tribute compilation cassette for Oakland Weekender 2022
BONUS: -Pop sockets for saving my phone from the swiper on a bike in London, haha!
Bridget St John at our CF30 party in Brooklyn; Photo: Dean Keim
Bridget St John my list: a collection of some of the meaningful/impactful/grateful and awe inspiring experiences of 2022
Nicola Walker – magnetic irresistible UK actor
Annika
River
The Split – I could make the whole list revolve around her and the other extraordinary actors she works with…
Colin Farrell & Jamie Lee Curtis Actors on Actors
Brady’s Irish Ground Coffee / Celtic Blend
Banshee’s of Inishereen
every Adirondack sunset
the caeser’s salad at Da Umberto in NYC
Finding the Mother Tree by Suzanne Simard
WNYC – especially The Brian Lehrer Show & Fresh Air
Hampstead – with Brendan Gleeson & Diane
the daily, weekly, monthly endless resilience strength tenacity and spirit of the Ukrainian people
JOC / Photograph by Janette Beckman
Jennifer O’Connor / musician, owner of Kiam Records and Main Street Beat Lizzo – Special (Atlantic) Flock – Flock (Strut) Mabe Fratti – Se Ve Desde Aqui (Tin Angel) Beach House – Once Twice Melody (Sub Pop) Megan Thee Stallion – Traumazine (300 Entertainment) They Hate Change – Finally, New (Jagjaguwar) Harry Styles – Harry’s House (Columbia) Cass McCombs – Heartland (Anti) Sudan Archives – Natural Brown Prom Queen (Stones Throw) Madonna – Finally Enough Love (Rhino/Warner)
Daniel Handler’s favorite books this year: Kathryn Davis, Aurelia Aurelia Fadhil al-Azzawi, Fadhil al-Azzawi’s Beautiful Creatures Jakuta Alikavazovic translated by Jeffrey Zuckerman, Night as it Falls Chen Chen, Your Emergency Contact Has Experienced An Emergency Fanny Howe, London-rose/beauty will save the world Hiromi Ito, translated by Jeffrey Angles, Wild Grass On the Riverbank Geoffrey Nutter, Giant Moth Perishes Carl Phillips, Then The War Keiler Roberts, The Joy of Quitting Peter Rock, Passersthrough Kathleen Scanlan, Kick The Latch
Photo: courtesy of the Jim Ruiz Set
Jim Ruiz and Emily Ruiz from Jim Ruiz Set
9 T.V. series from the ’60s that got us through the pandemic and beyond. 1. Danger Man (a.k.a. Secret Agent Man) 2. Gidget 3. The Saint 4. Batman 5. Hawaii 5-0 6. Mission Impossible 7. The Man from U.N.C.L.E. 8. The Girl from U.N.C.L.E 9. Mannix
Royal Arctic Institute / image nicked from their website
Lyle Hysen (Bank Robber Music and Royal Arctic Institute)
Mike Baggetta / Jim Keltner / Mike Watt (Big Ego) Everywhen We Go Dezron Douglas – Atalaya (International Anthem) Hermanos Gutiérrez – El Bueno Y El Malo (Easy Eye Sound) Hammered Hulls – Careening (Dischord) Horse Lords- Comradely Objects (Rvng Intl). Julian Lage – View With A Room (Blue Note) Beth Orton – Weather Alive (Partisan) Jeff Parker – Mondays at The Enfield Tennis Academy (Eremite Records) Romero –Turn It On – (Cool Death) Stella – Up and away (Sub-Pop)
Travis Elborough In no particular order – I ended up listening to quite a few things on cassette this year, one consequence of spending 10 days in bed with Covid in April with only my walkman to hand for audio entertainment, and probably als0 vinyl pressing plant backlogs but here’s some stuff that hit my ears this year. – baker’s top 10 at 11
Artist/Album Loop – Sonacy Kemper Norton – Rife (cassette) Opal X – Twister (cassette) Telefis – a Dó (cassette) Blue Spectre – Silver Screen Cosey Fanni Tutti – Delia Derbyshire soundtrack album Andrew Poppy – Jelly Robyn Hitchcock – Shuttlemania (cassette and LP) The Advisory Circle – Full Circle Xopher Davidson – Lux Perpetua Nkisi – NDOMBALA (A Journey to Avebury)
Ed Shelflife / Photo: Gail O’Hara
Ed Mazzucco (Shelflife Records / Tears Run Rings) 1. Billow Observatory – Stareside 2. RxGibbs – Eternal 3. Motifs – Remember A Stranger 4. Life On Venus – Homewards 5. Martin Courtney – Magic Sign 6. Marine Eyes – Chamomile 7. Humdrum – Superbloom 8. Foliage – Can’t Go Anywhere 9. Jeanines – Don’t Wait For A Sign 10. Korine – Mt. Airy
Julie Underwood (CF contributor!) 1. Beyoncé – Renaissance 2. Wet Leg – Wet Leg 3. Alvvays – Blue Rev 4. Alex G – God Save The Animals 5. Angel Olsen – Big Time 6. The Beths – Expert In A Dying Field 7. Plains – I Walked With You A Ways 8. Weyes Blood – And In The Darkness, Hearts Aglow 9. Sasami – Squeeze 10. Yard Act – The Overload
Kendall (right) with Jennifer O’Connor; courtesy of these two
Kendall Meade (Mascott, CF contributor)
Songs on repeat 2022 “San Francisco” Bonny Doon “Problem With It” and “Abeline” Plains “Mistakes” Sharon Van Etten “It’s Not Just Me, It’s Everybody” Weyes Blood “Anti Hero” Taylor Swift “Daylight” Harry Styles
art by Tae Won Yu
Beatrix Madell (Girl Scout Handbook) My top ten songs of all time from the members of Boygenius: 1) “Night Shift,” Lucy Dacus 2) “Chelsea,” Phoebe Bridgers 3) “I Know the End,” Phoebe Bridgers 4) “Hot and Heavy,” Lucy Dacus 5) “Waiting Room,” Phoebe Bridgers 6) “Timefighter,” Lucy Dacus 7) “Graceland Too,” Phoebe Bridgers 8) “Me and My Dog,” Boygenius 9) “Song in E,” Julien Baker 10) “Punisher,” Phoebe Bridgers
Gilmore Tamny
Some Stars of 2022 Both Welcome and Unwelcome
anxiety
air fryer
Excellent books that are also mysteries: The Book of the Most Precious Substance by Sara Gran The Violin Conspiracy: a novel by Brendan Slocumb Vera Kelly: Lost and Found by Rosalie Knecht The Second Cut by Louise Welch The Verifiers by Jane Pek The Maid by Nita Prose Homicide and Halo-Halo by Mia. P. Manansala The Woman in the Library by Sulari Gentill Confidence by Denise Mina
despair over Ukraine (et al)
Podsies: my ability to tolerate current news became I guess you’d say…refracted (?) i.e. bearable only by hearing it through other countries’ news like The Rest is Politics, or through the lens of a specific frame like the art world, The Week in Art or The Art Angle (scammers too). Gave esotericism a twirl with The Secret History of Western Esotericism, yikes, I do not have any idea what Earl Fountainelle was talking about much of the time, but interesting all the same. Also enjoyed for different moods and needs: Shedunnit, Art Law Podcast, The Witch Wave, The Read, Bad Gays, Don’t Ask Tig, The Bald and the Beautiful, My Favorite Murder.
Scottish Rite Masonic Museum, Salem Witch Board Museum (Ouija boards)
what is the word where you don’t want to mention anything for fear of forgetting something, i.e. some standout 2022 shows: id m theft able outdoor show in Elfland, Paulownia at Waterworks.
tried to figure out what to do about mortality
reading play aloud – The Mousetrap on a writing retreat – very fun, recommend
Desus and Mero breakup. All right, sad, but I console myself: a) performers-writers-artists need to grow and sometimes that means change b) think of all they gave us
finally watched Lord of the Rings for details of that experience read here
Brittney Griner WTF and thank god
if nothing else may I please recommend @archaeologyart on the instagrammo
Fairfield Church / Photo: Rob Pursey
Rob Pursey (The Catenary Wires, Skep Wax Records, Swansea Sound, Heavenly, etc.) After a long pandemic period of not going out I made a list of ten places I liked to visit and was very very happy to re-visit.
1. Rye Church Tower. You have to pay, but not very much, to climb up to the top of this beautiful old building. Narrow stone corridors, creaking wooden staircases, and then you climb a rickety ladder right next to the huge church bells – try to not to do this at midday – and then you’re out onto the tower roof through a trapezium-shaped wooden door. You get to admire the aerial view of this perfect hill-town and of the marshes and Dungeness in the distance. 2. The Betsey Trotwood, London. One of those venues that had to fight for survival during the pandemic. A warm, sanctuary of music. Always has friends in it. 3. Larkins Ale House, Cranbrook. A tiny purveyor of local ale. Very hospitable. On the first Sunday we went in, they asked if we wanted a free snack and handed over a plateful of them, like a free meal really. The beer is perfect. 4. Fairfield Church. A peculiar, isolated survivor on the Kent Marsh and now a place where we are able to put on Skep Arts events. No water, no electricity, no light. Beautifully basic. 5. The Oast, Rainham. Another lovely little venue where our friends at Careful Now Promotions somehow manage to book the best indie bands, every month. 6. The De La Warr Pavilion, Bexhill-on-Sea. An art gallery, a cafe, a great record shop (Music’s Not Dead), all housed in one of the most beautiful Twentieth Century public buildings, right by the sea. 7. Nutmeg Cafe, Tenterden. Best local coffee, friendly staff, dangerous pastries. 8. The Ellen Terry Theatre, Smallhythe. Another place that became a Skep Arts venue this year. A thatched barn, converted into a theatre by a Suffragette group in the early Twentieth Century. I don’t think there is anywhere else like this in the world. 9. London Bridge Station. I am still awestruck by the roof and the pillars of this huge building. It’s worth going to London just to see it. 10. The Chinese Supermarket in Hastings. Everything you need is here – all kinds of noodles, of rice, of spices. And home-made bao buns in the steamer by the check-out.
Joe Brooker (Pines / Foxgloves / CF contributor) 2022 Top 10
1 / Close-Up I’d long known of Shoreditch’s Close-Up Film Centre, but only in 2022 did I actually pay for membership and start watching films here: Bergman’s Persona for the first time, Godard’s Le Mépris for at least the sixth, Spanish films of the 1970s, in the little cinema where film abruptly starts as a light in the darkness. I love the array of thousands of DVDs to browse any time. The place reminds me a little of the Poetry Café, which I once knew as another oasis of culture.
2 / Chloe Under-the-radar BBC drama about identity and imposture, memory and teen friendship, social climbing and social media, all refreshingly based in the West Country.
3 / Ride As a student in Norwich I missed seeing Ride though they played only a few hundred yards away from me. Now by contrast I travel a hundred miles back to Norwich to see them play their debut LP Nowhere. Some of the audience are younger than I was then. The music is marvellous and fresh, but above all I just love the idea of seeing Ride in Norwich.
4 / Bordando el manto terrestre In the vast last room of Tate Modern’s Surrealism Beyond Borders exhibition I’m stunned to encounter Remedios Varo’s triptych of paintings Bordando el manto terrestre / Embroidering the Earth’s Crust (1961). I’ve read about this painting, looked at reproductions, so many times that I feel a rare awe before the original painting, with its size, texture and detail. In the same year, I might say something similar of Manet’s Un bar aux Folies Bergère (1882), which I’m taken aback to find in the Courtauld.
5 / Isokon Building Hampstead is a storied place but not well known to this South Londoner. A friend shows me around it: mile after mile of avenues green with trees, well-preserved housing, modernist outliers. Down a side street, flowering suburbia like Tolkien’s Hobbiton, I see for the first time the art deco Lawn Road Flats, known as the Isokon Building. Cherished by the many lovers of modern architecture, it’s spectacular: pure white, curved, its stairwell magnificent; an ocean liner.
6 / Sandymount Strand James Joyce’s Ulysses was published in 1922, and set in Dublin on 16th June. On 16th June 2022, a Joycean friend leads me out to Sandymount Strand, to retrace the steps of Stephen Dedalus in the novel’s third episode, as evening falls instead of the book’s morning. Almost alone amid the vast space we step across wet mud, puddles, treacherous ground, as a calm dusk slowly dims all around us. Finally we must take off our shoes and socks to paddle across streams, maybe similar ones to those that Dedalus feared would sweep him away with the tide.
7 / The Magnetic Fields Touching down in West London they play Quickies and representatives from most of their other records; songs I think I’ve never heard live, like ‘Love Goes Home To Paris In The Spring’ and ‘It’s Only Time’. The encore yields ‘100,000 Fireflies’. I don’t recall them sounding better, and the set list offers what now feels like one standard after another, a great American songbook of its own.
8 / Ross Macdonald Ross Macdonald is like Raymond Chandler twenty years on: still droll and tough, but private eye Lew Archer tours a changing California with meditative sympathy as well as pugilistic ability. I find that I can read one of his novels in a day, if I do nothing else. I could tell you the titles, but to a degree the novels are happily interchangeable, intricate permutations of recurring features: Archer’s police contacts and helpers, wealthy clients, runaway girls and boys, seedy trailer-park characters or desk clerks. I feel that I could read them forever; there are eighteen, but perhaps a sophisticated artificial intelligence could generate many more. Archer’s narrative voice is laconic, often very humorous, but also every couple of pages flashes into descriptive fire, a margin of writerly excess.
9 / Helen Saunders at the Courtauld She was a modernist painter (1885-1963), associated with the Vorticist movement of the 1910s. Typically enough, the work of the era’s women artists often became obscured, and curators have lately sought to reclaim them from history: in Saunders’ case, culminating in this one-room gathering of her work at the Courtauld Gallery. The retrieval is worthwhile. Saunders’ lines and strokes are clear and bold. She seems to draw and paint with conviction and native talent. Some of her pictures are figurative, showing a mother and child, a house, a canal. Some are much more abstract, imagined patterns and designs, but often with some resemblance to a real-world object or experience. She would merit a larger exhibition, of whatever work has survived the decades of neglect.
10 / The Cure I have loved The Cure for decades, from a distance; never seen them, and often had the impression that my last chance to see them had already passed. But when their lengthy European tour reaches Wembley Arena, at last I’m in the crowd: unusually early, standing as near the front as I can, waiting through a tedious support band. Before a bright picture of the turning Earth, Robert Smith tiptoes on to the stage like a child, peering shyly at the audience. They play numerous ‘new songs that will soon be old songs’, as Smith repeatedly says. They play relatively deep album cuts; few hits in the first two hours. The music is unblemished, the voice strong. Along the way, ‘Pictures of You’, ‘A Night Like This’, the extraordinary ‘Push’ which amazed me when I discovered it on vinyl aged 17. The final encore of rapid-fire bright hits Smith calls his ‘Sunday night disco’. I haven’t felt quite this way about a concert in a long time. Outside, snow is falling.
In honor of the forthcoming Heavenly reissues (Skep Wax will rerelease all the Heavenly LPs on vinyl soon: Heavenly vs Satan is available on pre-order now; Le Jardin de Heavenly will follow next April and the other two will come along at six month intervals)—in addition to the John Peel Sessions on Precious Recordings and the announcement of the band’s forthcoming gigs at Bush Hall in London in May 2023—we asked the band to think back to 30 years ago and tell us about their impressions of the U.S. in the olden days! The very first issue of chickfactor was handed out at a Heavenly / Lois gig in Sept. 1992; I reviewed their second album in SPIN around the same time, and we interviewed them in chickfactor zine (Amelia is on the cover of issue 2).
Heavenly: Peter, Amelia, Rob, Mathew, and Cathy. Photo by Alison Wonderland
ROB PURSEY Going to America was overwhelming, partly because we were going to meet loads of people for the first time—people whose records we’d heard, but from a distance of 3500 miles. Two of the encounters I remember most vividly from that first Heavenly trip are Phoebe Summersquash (Small Factory) and Jeffrey Underhill (Honeybunch). Phoebe is one of the select band of people known as ‘girl drummers’. She was the most diminutive person in the band, she wore glasses and she smiled all the time, even while she beating the hell out of a drumkit. I loved that combination of effortless glee and thunderous noise. She was the living antidote to those theatrical drummers (and guitarists) who pretend to be working out in the gym, or summoning Satan, as if that was crucial to making a great sound.
Heavenly. Photo by Alison Wonderland
Jeffrey Underhill, we met, I think, in Rhode Island. I don’t really remember the gig very well, but I was a big fan of Honeybunch. Their song ‘Mine Your Own Business’ was in my head all the time, and it still provides the soundtrack for my memories of our first trip to the US. Anyway, what I remember about Jeffrey was the fact that he showed up in a back alley in a really great old blue/green semi-beater of a car. I am a bit of a nut about old cars, and liked this one a lot. Me and Jeffrey didn’t talk much, I imagine we were both somewhat shy, but I do remember sitting on the bonnet thinking ‘this is the best car, and it belongs to the person who played the best song’.
Image courtesy of Heavenly
The encounters with all these new people came to a head at the Chickfactor Party, where there was a whole community was assembling. I didn’t really know anyone there, of course, but I somehow felt like I could get to know and like all of them. We were a long way from the UK, but we felt at home. Part of the reason for this was that women were running the Chickfactor show, and these were wry, witty women. There was a lot of intellect behind Chickfactor, and a definite attitude, but there was a lot of humour too. The humour was a sign of confidence—there was nothing apologetic about it. That’s what being in Heavenly felt like. The women in our band were obviously in charge, but they wore it lightly. So New York, or at least this little indie corner of New York, felt more amenable to our band than a lot of places back in the UK. It was a good feeling.
Amelia: Image courtesy of Heavenly
CATHY ROGERS I’m not sure any of my memories are really separable. The synapses which connect Heavenly to America all sit in a viscous bath of coffee and the new kind of cool of the straight edge punks and the smell of wet trees driving through Oregon and Massachusetts and the swooning delight of being in the same venn diagram overlap as the really rioting riot grrrls and gigs not being gigs any more but shows and the sheer heat of new experiences and new loves. America just felt so great. It was like finding a version of us that was just so sure of itself. So certain. Walk around the town like you own it…everyone, all the time.
Cathy: Image courtesy of Heavenly
Compared with that overpowering sense of it all, specific memories feel a bit humble. The drive down from Olympia to play a show with a band who turned out to be Tiger Trap, Calvin saying, classic understatement, ‘I guess you might kinda like this band.’ Meeting them to play a show together in this kind of basement garage, them all wearing roller skates, us being powerless to resist charms on that level. For some reason, having a conversation with a bunch of people about our favourite foods and everyone out-doing each other for eccentricity, then Molly from Bratmobile saying ‘I just want to eat rice’ and that becoming one of those weird things that I think of literally every time I cook rice. The novelty, playing at Maxwell’s in Hoboken, of being fed really well before a show. Laughing over-hearing an old guy in the audience, saying – after a whole raft of indie bands – about Lois, ‘Finally someone who can actually sing’. Meeting Ted and Jodi for the first time and being so jealous that Pete was somehow already friends with them, then seeing Jodi’s band (with another girl with a rad American name like Brooklyn or Maddison, I’m pretty sure the band was called The Runways) and thinking these were the most sensational people I’d ever met. Being interviewed for this magazine called Chickfactor and hearing of another wait what cool girls are somehow allowed to be mainstream now magazine called Sassy and realising that culture was an actual thing and the world changes and feeling that we lived in some small backwater but we were so lucky because we were here, for now.
Amelia. Image courtesy of Heavenly
AMELIA FLETCHER – On our first US tour, Pete and I being dropped off by Small Factory in Hartford, Connecticut, in the middle of the night. We were near the place we were all staying with my parents, and figured we’d call a taxi to get us home. But it turned out that the place we stopped at had been robbed the week before, and we suddenly found ourselves surrounded by police cars. We were freaked out. It felt like an episode of Starsky and Hutch. Then, when asked where we were heading, we realised we couldn’t remember the address. Not at all suspicious! In the end, though, the police believed the daft English people and gave us a lift home in the police car.
– Meeting Claudia Gonson from Magnetic Fields at Chet’s Last Call in Boston. She asked if I had time to come and record a song for her and Stephin Merritt’s side project, the 6ths, the next day. I said why not. I had heard ‘100,000 Fireflies’ on the ‘One Last Kiss’ compilation and liked it a lot. I remember I sang ‘Hall of Mirrors’ in an especially breathy way, and Stephin commented that I came complete with my own reverb!
Image courtesy of Heavenly
– Playing at the Fantagraphics Comics Warehouse in Seattle with Beat Happening and another band who I just remember as being very smelly! It was a great space, and I was excited because I was a big fan of ‘Love and Rockets’. Krist Novoselic and Dave Grohl both came, which seemed pretty thrilling too. We were easily thrilled!
The Heavenly option. Photo by Alison Wonderland
– Arriving in Olympia at the start of a West Coast tour, meeting Bratmobile and Bikini Kill and discovering Riot Grrrl. There was a visceral buzz around the whole place, and we quickly got very excited about it too. We had always been a feminist band, but in a quiet sort of way. We didn’t really feel part of the UK feminist movement at the time. It was fighting for stuff that was no doubt important but didn’t seem relevant to our concerns. So it was thrilling and empowering to find people discussing the issues that really had affected us. And to discover a whole set of new bands who had found a way of being outspoken and angry but also huge fun. It had a big impact on us, musically and personally.
Heavenly. Image courtesy of the band
PETER MOMTCHILOFF I have opened the drawer in which I left my old memories of Heavenly in the USA. There is a lot there, but I can’t fit it together into any kind of story. My colleagues’ reminiscences do what I seem not to be able to. As a kind of coda, I do remember that we were brought down to earth by our first gig back in England after a West Coast tour, feeling rather pleased with ourselves. It was in a pub in Gillingham, to about five men and a dog. I don’t think they even turned the pub TV off while we played.
The late Mathew Fletcher. Image courtesy of Heavenly
