chickfactor anniversary parties are sometimes characterized as events where we bring bands back from retirement or as total nostagia-fests. While it is true that they are basically the best kind of friend reunion, this year’s London shows had little to do with nostalgia (though there was a wee Dolly Mixture vibe and a Heavenly song!). Our three-day festival featured five bands that were just interviewed in our latest issue, chickfactor 19 (Sacred Paws, Rachel Love and three Bay Area pop bands mentioned below), and two bands whose members (Paul Kelly and Debsey Wykes and the Catenary Wires) have been interviewed on our site in mostly recent times. The Lexington shows also featured three bands making their London debut: Seablite, Artsick and The Umbrellas flew across the world to play in London!
Tonight I was dead excited to see Sacred Paws for the first time, and they did not disappoint! (They toured the U.S. a while back but only the East Coast and I was West Coast then.) Rachel Aggs’ dance moves are a joy to watch and the whole band generates goodness. Their sound is rooted in the ESG-influenced past, but completely fresh and modern. We are so grateful they came down from Glasgow to play!
It was also amazing to see Rachel Love solo for the first time! She brought her kids and their friends to play many of the wonderful songs from her 2021 solo album that deserved more attention. We heard a few Dolly Mixture songs during Rachel’s set (“Down The Line,” “Miss Candy Twist,” “How Come You’re Such a Hit With the Boys, Jane?”), some with Debsey Wykes as a guest! Unbelievable joy. Plus, tonight was the first time Artsick has ever played in London and they were killing it with fizzy pop punk energy!
Thanks to the bands who played and traveled from afar, MC Gaylord Fields, the fans who came out, the Lexington, the soundpeople and especially the Betsey Trotwood and Paul Kelly for sorting out the backline for the whole weekend. Tonight was epic!
CHICKFACTOR 30 chickfactor fanzine was founded 30 years ago by Pam Berry & Gail O’Hara (in DC/NY) and we are incredibly excited to celebrate with you on October 28 & 29 at the Lexington and October 30 (afternoon) at the Betsey Trotwood. Cannot wait to see everyone and see these wonderful bands play! (Our 30th-anniversary issue is out now too and 5/6 of these bands are in it.) Presented in cahoots with the Hangover Lounge folks.
Fri. October 28: Sacred Paws Artsick Rachel Love Get tickets
Sat. October 29: The Umbrellas Birdie Seablite Get tickets
Sun. October 30: Daytime event (Noon to 4!) Hangover Lounge at the Betsey Trotwood The Catenary Wires & Special Guests Get tickets
Fri. Oct. 29: Doors 7pm, show 7:30
Sacred Paws(from Glasgow!) have a natural inclination not to take things too seriously. You can hear it all the way through a conversation with its two members, guitarist Rachel Aggs and drummer Eilidh Rodgers, punctuated by rolls of giggles and thoughtful pauses, and you can hear it in the light touch they bring to their music, a jangly blend of indie pop full of fizzing world rhythms and bright horns. Shimmering guitar riffs dance between snappy beats and swooning melodies that will have crowds committing to far more than a simple head-bob. “I think we’d get bored if it was too slow,” Eilidh says. “We’d never want to play something live that people couldn’t dance to. It would feel really strange to us. It’s kind of the whole point.” Joining them at this show will be Jack Mellin on guitar and Moema Meade on bass!
Artsick London debut! Artsick is an indiepop band from Oakland/Seaside, California, consisting of Christina Riley (Burnt Palms/Boyracer) on guitar and vocals, Mario Hernandez (Kids On A Crime Spree, Ciao Bella) on drums and Donna McKean (Lunchbox/Hard Left) on bass. They formed in 2018 and released a 7-inch single, followed by their debut album Fingers Crossed, on Slumberland Records.
Rachel Love Rachel was guitarist and singer in the seminal 70/80s band Dolly Mixture who were signed to Paul Weller’s Respond label and championed by The Undertones & John Peel. She was the singer in the band Spelt and has released her first solo album, Picture in Mind, in 2021. Also half of the Light Music Company.
Sat. Oct. 29: Doors 7 p.m., show 7:30
The Umbrellas London debut! “The Umbrellas are one of the most exciting bands to come from the indiepop underground in ages. Bursting out of the SF Bay Area’s fertile indie scene, The Umbrellas come correct with a sound that fits snugly into a long line of classic pop, from The Byrds to Orange Juice, The Pastels, Comet Gain, Veronica Falls and Belle & Sebastian, along with a noticeable garage-pop/Paisley Underground flavor that is a hallmark of San Francisco’s best bands. Their self-titled 2021 debut album dazzled with a dozen perfect pop tunes, charming the indiepop faithful but also winning fans outside the scene, leading to sold-out tours with bands as disparate as Ceremony and Destroy Boys.” (—Mike Schulman) New Releases – ‘Write it in the Sky’ 7″ released via Slumberland, Meritorio, Tear Jerk, and Fastcut records.
Birdie Debsey Wykes (Dolly Mixture, Saint Etienne) and Paul Kelly (East Village, Saint Etienne) decided to form a group together while they were members of SAINT ETIENNE’s backing band in 1994. For two years, Debsey (backing singer) and Paul (guitar) toured Europe, Japan, America and played most of the major European festivals until SAINT ETIENNE took a break and BIRDIE was born. For this show, it will be: Debsey (bass and vocal); Paul (guitar and vocal); Jon (drums); Patrick (guitar or piano) and possibly Sean (piano)!
Seablite London debut! Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. In June 2019, Seablite’s LP debut, Grass Stains and Novocaine was released by Emotional Response, garnering domestic and international praise. They’ve since released a 10″ EP, High-Rise Mannequins (2020) and most recently their new single, Breadcrumbs c/w Ink Bleeds (2022). Seablite are back in the studio recording their sophomore LP and looking forward to what the upcoming year will bring.
Sun. October 30: CF30/Hangover Lounge at the Betsey Trotwood
Formed by Amelia Fletcher and Rob Pursey (of Talulah Gosh, Heavenly, Marine Research and so many more!), Catenary Wires also feature Fay Hallam, Andy Lewis and Ian Button. Today will be Amelia and Rob as a duo. Their Birling Gap LP released June 2021 on Skep Wax and Shelflife (USA). Super early show! Noon to 4pm event. The show is technically sold out but we hope to be able to release more tickets.
chickfactor fanzine was founded 30 years ago by Pam Berry & Gail O’Hara (in DC/NY) and we are celebrating by having some parties in New York! We are so excited to have a friend-reunion and see all these rad bands play!
October 6 at the Frying Pan The Aluminum Group Jim Ruiz Set Dump Girl Scout Handbook + DJs Stephin Merritt & Gaylord Fields Vegan options in the restaurant, nautical photo ops and portraits and other fun stuff! Get tickets
The Aluminum Group are the brothers John and Frank Navin of Chicago and Detroit, who recently released a wonderful new album. John says of this event: “Our performance is very audience interactive. We start with a brief demonstration and teach attendees how to make paper laurel necklaces, then we sing 5 new songs. Show a new short film by Frankie. Then sing sing 5 more songs from the new record, then encore with a new unreleased song from our next record, called ‘Punch The Lights Out Of This Crazy World.’”
Jim Ruiz Set Led by the Legendary Jim Ruiz (guitar, vocals), the set also features Emily Ruiz (drums, vocals), Mike Crabtree (lead guitar) and Charlotte Crabtree (bass, vocals). The Twin Cities outfit has been playing CF events since the olden days and never ever disappoints.
Dump Brooklyn’s James McNew is the force of nature behind Dump, which was interviewed in Chickfactor 8 back in 1994. Some of you may have heard of his other band, Condo Fucks. We are pretty sure that he will be playing solo tonight and that this is the only Dump show happening anywhere in 2022.
Girl Scout Handbook Girl Scout Handbook was formed by Brooklyn high school student Beatrix Madell, an avid musician and music fan. The band is technically 5 people, Madell, another guitar player, a drummer, a trumpet player, and a keyboard player. They will be doing a set of covers for tonight’s show!
Sat. Oct. 8:
Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. In June 2019, Seablite’s LP debut, Grass Stains and Novocaine was released by Emotional Response, garnering domestic and international praise. They’ve since released a 10″ EP, High-Rise Mannequins (2020) and most recently their new single, Breadcrumbs c/w Ink Bleeds (2022). Seablite are back in the studio recording their sophomore LP and looking forward to what the upcoming year will bring. East Coast/NYC debut!
Artsickis an indiepop band from Oakland/Seaside, California, consisting of Christina Riley (Burnt Palms/Boyracer) on guitar and vocals, Mario Hernandez (Kids On A Crime Spree, Ciao Bella) on drums and Donna McKean (Lunchbox/Hard Left) on bass. They formed in 2018 and released a 7” inch single, followed by their debut album “Fingers Crossed,” on Slumberland Records. East Coast/NYC debut!
Jeanines specialize in ultra-short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — Messthethics, the Television Personalities, Marine Girls, early Pastels, Dolly Mixture — they’ve crafted a style that is as individual as it is just plain pleasurable. Alicia Jeanine’s pure, unaffected voice muses wistfully on the illusions of time, while My Teenage Stride/Mick Trouble mastermind Jed Smith’s frantic Motown-esque drumming and inventive bass playing provide a thrilling rhythmic foundation.
Gary Olson OG Brooklynite Gary Olson is best known as the leader and founding member of The Ladybug Transistor, but he made a wonderful solo record in 2020 as well, and has collaborated with many bands including the Aislers Set. He also runs a famous studio in Brooklyn called Marlborough Farms, and will be playing as a duo tonight.
This is another poll that didn’t fit into chickfactor 19!
What were you wearing in 1992? Like what was your style? What was your uniform of choice?
Claudia Gonson / The Magnetic Fields (pictured): Hoping that you will dig up some of the many great photos you took of me. In one of them, I am wearing a “New Jersey Is For Lovers” shirt that I still occasionally wear, although it is full of holes now and best suited for night wear. I found it at a Goodwill in Honolulu (!), summer of 1992.
Janice Headley (CF/KEXP): Thrift-store vintage dresses with mens’ blazers and oxford shoes. Black-and-white striped tights with fake Doc Martens and XL band tees as a dress. Big eyeglasses because my parents deemed me too young for contact lenses.
Daniel Handler: Whatever was on the floor of my room.
Ed Mazzucco / Shelflife Records: Worn out jeans, flannels and Doc Martins.
Kristin Thomson (Tsunami, Simple Machines Records): Golf jacket, cutoff cord shorts with tights, baggy t-shirts or Japanese baseball uniform tops
Clare Wadd (Sarah Records): Well, we didn’t have any money so clothes weren’t really a thing for us. Mostly skirts and t-shirts, black tights, flat shoes. I don’t think I could afford DMs then, though I always wanted some. Lots of jumpers in winter.
Stuart Moxham (Young Marble Giants): Same as now, jeans, shirt, brogues. I have a lot of jackets.
Alicia Vanden Heuvel (the Aislers Set, Poundsign, Speakeasy Studios): Baggie t-shirts, doc martins, flannels, hats, and black eyeliner. I was a goth/grunge teenager who just had her life changed by Nirvana and the Breeders.
John Lindaman: I think 1992 was square in the middle of a horrible Hawaiian shirt and long hair phase. Apologies to all.
Beth Arzy: Fred Perry tops, thrift shop brown cords, Mary Jane shoes or flowery 60s dresses. Band tee shirts. Cardigans and jeans.
Peter Momtchiloff: A western shirt, a suede jacket, and horrible black Levi jeans
Theresa Kereakes: 1992 found me wearing a uniform of pleated plaid skirts, black tights, black turtlenecks, string of pearls, and before you think, “preppy beatnik” I always wore Doc Martens. I worked at PBS and I treated it as if it were Catholic school.
Dickon Edwards: I think I was trying to wear stripey blue and white matelot t-shirts, alongside band t-shirts, plus jeans. The whole hooded top look associated with ‘Madchester’ had died away by then, and I think the whole grunge explosion had left everyone in simple band t-shirts and jeans.
Kevin Alvir: I was a child, so like gigantic t-shirts that doubled as a tunic with umbro shorts.
Tracy Wilson (Turntable Report): Vintage dresses, thrift store cardigans, saddle shoes, Bettie Page bangs, and a Sanrio bag—likely Little Twin Stars or Hello Kitty.
Gail CF: Vintage raincoat, black shorts with leggings underneath, fluevogs, flannel shirts, enormous indie Ts, Mr. Friendly backpacks.
Fred Thomas: It was a transitional time, and I’m pretty sure I mostly wore band shirts (Misfits, Jane’s Addiction, Smashing Pumpkins, Black Flag, etc.) and big, huge skater pants.
Pete Paphides: the search for a classic button-up cardigan like the ones worn by people’s parents in the 1950s and 1960s is a lifelong pursuit.
What were you wearing in 2002?
Claudia Gonson / The Magnetic Fields: Height of the 69 Love Songs era. I wore a selection of tight sports jackets in very bright colors, some of which make a word when you zip them up- “BER-LIN”. “BROOK-LYN”. Etc. Also, I was obsessed with British caps.
Daniel Handler: Suits, when I went out.
Ed Mazzucco / Shelflife Records: Corduroys, Gingham shirts and Jack Purcells
Kristin Thomson: Maternity wear, but not the stuff that makes you look like an infant.
Stuart Moxham: As above
Alicia Aislers Set: Those were Aislers Set days and my favorite things to wear were stay pressed Levi’s, button up shirt, a tie or sweater vest, parka. Of course stripes because, Jean Seberg…
John Lindaman: All brown.
Janice Headley: Low rise bootcut jeans, spaghetti-strap tops, platform shoes, and baby barrettes in pixie-cut hair, because I was young.
Beth Arzy: Less garish dresses, Fred Perry tops, unmemorable skirts. Band tee shirts. Cardigans and jeans.
Theresa Kereakes: In 2002, I was on the road with a 200-person crew. T-shirts and jeans.
Kevin Alvir: Some sort of striped t-shirt with a jean and some purposely fun sneakers. The face of fashion: the look of an overgrown child.
Gail CF: I was working at a teen magazine in NYC. Casual, comfortable. Vintage dresses, motorcycle boots, gingham, sneakers.
Tracy Wilson: It’s a mod mod world.
Fred Thomas: Almost entirely thrift store attire, and I had yet to realize that synthetic fabrics weren’t really the way to go for me. Lots of polyester pants, ill-fitting cowboy shirts, tight polo shirts in springy colors, corduroy jackets, and I definitely had one of those garage rock caps that people wore in 2002.
Jim Ruiz: In 1984 I was a real thrift shop Mod, by the mid-’90s, these clothes had worn out and I was reduced to wearing pajamas as stage clothes or trying to dress like a college professor. Now, almost 40 years later, thanks to narrow lapels and skinny jeans and the internet! I am able to dress the way I’ve always wanted to, and better! Plus, I still have a full head of hair, and my former bandmate Allison has been cutting it for me. I feel really lucky, it’s crazy. Thanks for asking!
Dickon Edwards: Suits and ties!
Pete Paphides: May I refer you to my previous answer?
What were you wearing in 2012?
Claudia Gonson / The Magnetic Fields: I had a daughter in the summer of 2010 and don’t particularly remember the next 3 years. I did go on tour for over 2 months of 2012, insanely. I must have worn clothes.
Ed Mazzucco / Shelflife Records: Dark jeans, more gingham shirts and Onitsuka Tigers
Kristin Thomson: Skinny jeans, vintage tops or band t-shirt, zip up hoodie
Stuart Moxham: As above
Alicia: Same thing as 2002. Ha ha ha
Beth Arzy: Band tee shirts. Cardigans and jeans. Same as the above… Same as it ever was.
Fred Thomas: No more synthetic materials! A combination of basics (many pilfered from my job at American Apparel) and a few nicer, more interesting pieces either found in thrift shops or from high end men’s fashion retailers.
Theresa Kereakes: I moved to Tennessee in 2008, and it’s fairly warm for the most part. I like a sun dress and a straw hat.
John Lindaman: All grey.
Clare Wadd: Jeans a lot
Kevin Alvir: Hair with intention. A striking sweater or cardigan and fitted jeans.
Gail CF: Living in Portland so durable rainwear; red clogs; A-line skirts; cardigans; I basically dress like Paddington Bear in general. Hair: long with bangs.
Dickon Edwards: Suits and ties!
Daniel Handler: Cardigans.
Tracy Wilson: Space Age flight attendant
What are you wearing in 2022?
Ed Mazzucco / Shelflife Records: Gray jeans, hoodies, Doc Martins or Onitsuka Tigers
Kristin Thomson: Today, I am wearing my “Ripley” outfit. Army green long sleeved jumpsuit/flightsuit, sneaks.
Stuart Moxham: As above but with trouser braces and hats.
Alicia: Well, now I like to throw in some comfortable jeans, a soft sweater, old man slippers, maybe even sandals sometimes! I’m getting old. It’s time to embrace the inner Mr Rogers.
Beth Arzy: Have fallen in love with loafers and have many pairs of Adidas. Bit more conservative on the clothes side with more acceptable things in the wardrobe for work. More Fred Perrys. Band tee shirts. Cardigans and jeans.
Claudia Gonson / The Magnetic Fields: I am currently recycling some very old shirts that I found in my folks’ house a year ago. In college, like many, I wore loose baggy T-shirts. I found some pretty great ones from the late 80’s and early 90’s, souvenirs from a cross country trip in the early 90’s (Stonehenge in Maryhill Washington, Calamity Jane museum in Deadwood, S Dakota), Also, multiple shirts with artwork by Jad Fair. So, under my winter sweaters, I am enjoying wearing my old weirdo Tshirt collection right now.
John Lindaman: As many colors as I can bring myself to wear (still mostly grey).
Clare Wadd: Jean even more. T-shirts, jumpers, currently vests. It’s still cold. Dresses when I go out, but still home a lot.
Peter Momtchiloff: A cardigan and pinstripe trousers
Fred Thomas: I now have way too many clothes, as some of the Jane’s Addiction shirts from 1992 and tight polo shirts from 2002 are still in rotation. I try to stick to more basic, streamlined presentation these days, but get inspiration from films, record covers, and other images that most people wouldn’t register just by quickly scanning my outfit.
Theresa Kereakes: Pajamas! “Work from home” means I ask myself, “Am I working in my PJs or sleeping in my clothes?” It’s all yoga pants and hoodies over band t-shirts purchased during the dark days of lockdowns as a way to put money into the non-touring economy.
Kevin Alvir: I wear what I wore in 1992…which is like a gigantic tunic with shorts.
Gail CF: comfy dresses, tunics, leggings, athleisure. Carhartt! I seem to be addicted to thermals and flannel.
Janice Headley: Big, thick sweaters and high-rise jeans ’cause it’s cold AF here in MI.
Alicia Vanden Heuvel (Aislers Set, Poundsign, Speakeasy Studios): 10 years ago I was mostly touring and going to live shows. frequenting my local record shops, especially Aquarius records here in the Mission, which sadly closed in 2016. I saw Elliott Smith perform there solo once. 20 years ago, it would be through college radio, zines, live shows, indie websites, touring…. 30 years ago, I could barely get a radio station out in the desert where I grew up (Desert Hot Springs, California). There was no internet, we would hitch rides to “civilization” where we would go to Tower records, and spend all our savings buying like one or two records.. I’d sit at the radio, trying to get KROQ, taping my favorite songs, then sit late into the night waiting for MTV’s 120 Minutes or Alternative Nation to come on, so I could “maybe” see the Cure or something good.
Daniel Handler: I remember going to record stores and humming songs I’d heard on the radio to confused clerks. Now I know what the song is called but not what it sounds like.
Clare Wadd (Sarah Records): With difficulty back then I think. People might play you things, but you couldn’t necessarily buy them. John Peel used to play some older records now and then. Now you hear a lot of older music on 6 Music alongside the new, and of course you can track down anything via reissues or online.
Janice Headley (CF, KEXP):Chickfactor, the “thank you” sections in CD liner notes, band t-shirts other bands would wear in their publicity photos, record label rosters back when labels had a defined aesthetic, TV and film soundtracks. Nowadays, I discover bands through my day job (at a radio station), social media, algorithms, labels that still have a defined aesthetic.
Ed Mazzucco / Shelflife Records: Seeking out specific label’s catalogs (Factory, Creation, Sarah, Subway…) and now I learn about it on Instagram or friends sharing info on bands I may like.
Kristin Thomson (Tsunami, Simple Machines Records): I now learn about it through (1) college radio, (2) friends, and (3) Spotify.
Stuart Moxham (Young Marble Giants): I grew up in a musical world; my father was a singer (he’s too old now, at 92,) and has an encyclopaedic knowledge of classical and stage music. We had radio, records, I also had an elder brother who had a stereo and headphones in the early ’70s because, as a sailor, he’d been to Japan. Girlfriends and their older sisters’ record collections majored too. In terms of making music, I sang as a child in church and later in musicals which my dad starred in. I’m pretty much self-taught at playing and composing, obviously influenced by friends though and the records I’ve loved.
Beth Arzy (Jetstream Pony): My cousins were like my sisters and used to give me their old records so I had The Monkees, Olivia Newton John, John Denver when I was 3-4. My mom worked at an easy listening radio station in Northern California when I was 5-6 and I used to get all the records that weren’t easy listening so my life started with vinyl. Now it’s bands we play with who I love, word of mouth, and (this won’t make me popular) algorithms suggesting things I may like. They’re often right!
Claudia Gonson / The Magnetic Fields: When I met Stephin and other friends in the ’80s and ’90s, we discovered music through Boston’s amazing web of college radio stations. Also, by going to record stores and reading indie zines and the larger music magazines. I also learned about music through a combo of friends (like you!) telling me what they were listening to and going to see shows. Today, I still sometimes learn about music through the radio, while driving in my car or through online radio stations. Stephin’s monthly online DJ session on Lot Radio is fun, as is “How does it Feel to be Loved?” Obviously, the internet- Online music magazines, online performances on Youtube, etc. I also learn about music by reading the NY Times, New Yorker and listening to NPR. Sigh. I am definitely a 50-something East Coast liberal.
Theresa Kereakes: Thirty years ago, we still had reliable radio without too much consolidation. But I mostly learned about music from indie record stores. Going back to when I was at UCLA in the ’70s (gasp, 46 years ago), I learned about music from the late Gary Stewart, who worked at the Rhino Records store on Westwood Blvd. I bought Elvis Costello and Jam records from him the moment they arrived at the store. I also learned about music that preceded my consciousness from the Capitol Records Swap Meet. Twenty years ago, I was producing a radio show for Sirius, and labels, both major and indie, sent me new music. Ten years ago til the present, I rely on friends, favorite record stores, and interviews with my favorite musicians if they’re asked what they’re listening to. I discovered Roxy Music because David Bowie mentioned to either Dinah Shore or Dick Cavett that he liked them (this was during the Eno era). I learned when I was working at the very mainstream VH1 that mainstream artists don’t always have mainstream tastes. Elton John loved Blur back then, and now, he loves Aaron Lee Tasjan.
John Lindaman (True Love Always): Obviously eternally from surrounding yourself with friends with better taste than you. 30ish years ago I worked at B Dalton Booksellers, and I would read every guitar/music magazine that came in. I also took care of my guitar teacher Tony Geballe’s record collection when he went to Turkey for six months, and it was loaded to the gills with Fripp/ECM/Frith/Eno type stuff, the closest thing to an encyclopedic music streaming service that existed then. An amazing opportunity for a young person—sorry I probably scratched up your records, Tony! 20 and 10 years ago it was from going to good record stores, and the glory days of Emusic. I got downloads of tons of great out of print Brazilian albums from a site run by a guy named Zecalouro, which has since gone dark. Now BANDCAMP.
Gail CF: 1992: Working at Washington City Paper and then Spin. Promos. Combing record stores. Pam & Co. Mike Schulman at Vinyl Ink Records recommending things; Chris, Josh and Jeff at Kim’s (later Other Music) suggesting things. Reading Option, NME and Melody Maker and zines. 2002: Putting out CF15 after 10 years of CF, I learned about music via the internet, Other Music and friends, bands giving me music. 2012: Doing an issue (CF17) forced me to dig deep into what had come out in our 20th anniversary year; PR folks helped. The internet, maybe Soundcloud. WFMU online. Friends, DJs, bands giving me stuff. 2022: Bandcamp for sure; labels, bands/PR folks sending me stuff; WFMU; blogs and friends doing music stuff!
Fred Thomas: 10 years ago: That was probably the tail end of the blog era for me, where I’d read about or blindly download obscure music from small blogs or bigger music criticism/culture sites. ¶ 20 years ago: Working full time at the record store and taking chances buying whatever came through that sounded interesting or a friend I trusted was excited about. Seeing shows in the same way. There was already an ocean of new music then, but not as much information, so I didn’t always know much about the music I liked. Some of it was blank CDRs or tapes with no track-listings. ¶ 30 years ago: that would have been when I was just getting out of relying on MTV and the radio as the primary sources of new music and started listening to stuff played by friends’ older siblings or the older punk kids who weren’t too annoyed by me at the record shops. Once in 1992 an older record store clerk asked me if I’d help them clean up the house they were moving out of and they paid me with about 70 dubbed tapes of music I’d never heard of before. That was a pretty formative moment. It’s interesting because presently I draw on parts of all the means I’ve used to learn about new music for the past 30 years, just more fragmentally and less from one main source.
Tracy Wilson (Turntable Report): Thirty years ago I learned about music through talking to customers at the record store I was working at, by reading every music fanzine I could get my hands on, from the sales people at all the different labels and distros I purchased music from, shopping at other record stores, and by going to shows at least three days a week. The only thing that has changed now I that I go to less shows during the pandemic and I have the internet.
Pete Paphides: 40 years ago: Smash Hits, Record Mirror, the information on record sleeves and labels, hanging out in record stores ¶ 30 years ago: Melody Maker, NME, the information on record sleeves and labels, hanging out in record stores ¶ 20 years ago: hanging out in record stores with Bob Stanley ¶ 10 years ago, hanging out in record stores both with and without Bob Stanley; going in looking for one record, coming out with something completely different because of what was playing, or because something caught my eye.
Kevin Alvir (Hairs): in 2012: Pitchfork (puke) and assorted music blogs. in 2002: reading Spin Magazine or whatever played on MTV. But I was real into Athens, GA… so whatever those associated labels put out. in 1992: I sat in the passenger seat of my brother’s car. He played Hüsker Dü, Replacements, Dramarama, etc. and those albums mean so much to me.
Dickon Edwards: My memory is very bad about this. But I think in 2012, I had drifted away from listening to new music, but was still going to gigs at the Boogaloo and other smallish London venues. 2002: Word of mouth, reading the NME, still listening to John Peel. 1992: All the music papers, Peel, BBC Radio 1, music TV like The Chart Show.
The new issues are here! Jen Sbragia and I have been working diligently to bring you a new issue to read during these very challenging times. Edited by me (Gail O’Hara) and designed by Jen Sbragia, the issue is 72 pages long and has two covers (red and yellow):