tag:blogger.com,1999:blog-74041768012048141062024-03-13T20:16:21.065-07:00The wolf in your grandma's clothes...Occasional 'writer', part-time thinker, full-time daydreamer and socially inept imbecile who has somehow managed to disguise it well enough to get by. Over the years responsible for: Grim Humour, Adverse Effect, Fourth Dimension Records, Splintered, Lumberton Trading Company, Theme, etc. and organising shows in Poland by Andrew Liles, Colin Potter, Faust, Whitehouse, Steven Severin, Human Greed and others.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-7404176801204814106.post-6074325906472712252010-09-25T05:53:00.000-07:002010-09-26T06:43:51.103-07:00Interview with, uh, Myself...by Grzegorz Tyszkiewicz<span style="font-weight: bold; color: rgb(255, 255, 255);"><span style="color: rgb(255, 255, 204);">The following interview was conducted by Grzegorz Tyszkiewicz for the new edition of Poland's </span><span style="font-style: italic; color: rgb(255, 255, 204);">M/I</span><span style="color: rgb(255, 255, 204);"> magazine, which has just been published. Because the interview, however, is in Polish (naturally enough), however, I have decided to make it available here as well, since there doesn't appear to be any other platform for it. Self-indulgence is something I try to avoid usually but, firstly, I appreciate both Grzegorz and </span><span style="font-style: italic; color: rgb(255, 255, 204);">M/I </span><span style="color: rgb(255, 255, 204);">magazine's support of my endeavours and. secondly, I think this reads quite well and may help provide some light towards my own activities.</span><br /><br /><span style="color: rgb(255, 255, 204);">It was originally conducted in February 2010. Przemek Chojnacki must also be noted for his help with the translation for the magazine.</span><br /><br /></span><span style="font-weight: bold; color: rgb(255, 255, 255);font-family:'Times New Roman';" > GT<span style="font: 7pt "Times New Roman";">: </span>It's a long way and a lot of time since you set off on your musical journey. How did little Richo come to be interested in music?</span><span style="color: rgb(255, 255, 255);font-family:'Times New Roman';" ><span style="font-weight: bold;"><br /><br />RJ: Like so many people from my generation, I first became interested in music when punk blew apart the UK's landscape on a wider scale in 1977. Although I was very young, I'd had virtually no interest in music until punk came along. In fact, I used to deliberately goad my brothers with claims I preferred classical music to the pap I constantly heard spewed from the radio they liked (which was true, up to a point, anyway, although I was no expert on the matter). Before then, my biggest passions were old horror and science fiction films, HG Wells, comics, Monty Python, drawing and reading. However, I was a paperboy when I was 11 or 12 and I not only remember older kids at my school beginning to look a little strange and interesting (with spiked, coloured hair, safety-pins in their blazers, tight trousers and brothel creepers) but also the front pages of the newspapers I was delivering being full of pictures of punks or, of course, the Sex Pistols. These people all looked liked the very same aliens and creatures I loved already from films, or imagined from books, and already drew me in on </span><i style="font-weight: bold;">that </i></span><span style="font-weight: bold; color: rgb(255, 255, 255);font-family:'Times New Roman';" >level alone.but I then, of course, got to hear about the music through friends and soon started to listen to it myself. I began with Blondie records and then, during the next two or three years, bought others by the Pistols, Sham 69, The Boomtown Rats, Ian Dury, Elvis Costello, The Jam, The Skids, etc. but it was PIL's debut 7" that <i>really </i>hit me. I bought it not long after it came out and thought the sound was from another universe! Around the same time, I'd also go to these Friday night village discos near Canterbury, began to flirt with some punk-ish appearance myself (a pyjama top with badges and safety-pins on was my first choice) and loved just pogoing to all these great new records with other teenage punks. It was all very exciting. Far moreso than school or the restrictions of life in a family. </span> <p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: left; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"><span style=""> </span>Around 1979/1980, however, I found that most of the punks at school had moved onto the next things (Two-Tone and a mod revival). Much as I liked The Specials, I didn't know where to turn, although I remember another kid, younger than myself, giving me singles by Crass and Honey Bane.and, a short while later, my hearing The Damned on a radio show one evening when I'd finished at sea cadets (yeah, I was in them, due to my parents.). After that particular drive home, I found the show again and, of course, it turned out to be John Peel's! I then became seriously addicted to the Peel show and always had a cassette at the ready to record anything interesting (I discovered Killing Joke and The Cure here). My parents also moved to another town during this period, too, and there happened to be an older punk working in the record shop there, called Kerry (still a good friend). I'd tell him what I'd heard on Peel and he'd recommend all manner of other records stocked in the shop. Not only punk but stuff like The Residents, who really transported me to places I'd never thought existed before. What with my then, through Kerry, meeting lots of other people interested in the same music (such as Gary Levermore of Third Mind Records, who lived nearby), my being invited along to concerts by them in London, and a couple of other friends from my previous village introducing me to Bowie, Zappa and Beefheart, my enthusiasm for this whole world just turned a huge corner and, a little later, compelled me to do something about it.<span style="font: 7pt "Times New Roman";"></span></span></p><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: left; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"><span style="font: 7pt "Times New Roman";"><span style="font-weight: bold;"></span></span></span><span style="font-family:'Times New Roman';">GT: Were you involved in any musical project in the 1980s?</span></p><div style="color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> RJ: I commenced <i>Grim Humour </i></span><span style="font-family:'Times New Roman';">'zine in 1983 (following a year or two of my putting together a few dummy editions I still have somewhere), and took over Gary Levermore's Fourth Dimension label the following year, but it<span style=""> </span>wasn't until 1985 that myself and a few friends gathered at a church hall every week to begin rehearsing some ideas we had for a group. I then named this Playground and, during 1986, we were caught between playing long, drawn-out noise pieces with backing tapes, etc. very much inspired by T.G. and early Leather Nun, a kind of shambolic take on punk inspired by post-punk and US hardcore and noise music, and covers of ATV's 'Splitting In Two', Black Flag's 'Slip It In' and Flipper's 'Sex Bomb'. We also stupidly covered 'Wild Thing', but I should probably never mention this again, I feel. Whatever, Playground then continued until 1989. We got signed to an independent label, played many concerts in and around London, supported all from And Also The Trees, Mudhoney, Gore, Fugazi and Into A Circle to Nitzer Ebb, released a few records, made all of our live shows available via cassette, like Whitehouse, and later became Splintered when I'd had enough of our not progressing in the manner I personally envisaged.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">How did Splintered come about? Where do you personally think it achieved most?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: Splintered came about because, for me, my previous band had reached a standstill, or were even regressing. The problem was that Playground had finally come into their own during 1988 and 1989 and yet were held back by a desire within the rest of the group to play something akin to US hardcore punk. I was not so interested in this, plus did not want to try and fit in with <i>anything. </i></span><span style="font-family:'Times New Roman';">All the groups I liked the most at the time were never so easy to define or categorise, plus my own artistic interests were expanding and creating new ideas and challenges for me. My setback, however, was that I couldn't, and still cannot, actually <i>play </i></span><span style="font-family:'Times New Roman';">anything. I always just wrote words, had ideas concerning how they should be delivered, and wasn't pre-occupied with notions of tapping into any particular area of music. I recall vividly the day I announced to Playground that I was no longer involved and asked who would join me in a new group that was more focussed on realising these ideas I had. I was becoming increasing interested in other forms of music, such as minimalism, drone-music and the works of certain post-industrial groups, plus felt a great need to delve deeper into emotions and ideas previously only touched on. I wanted something deeper, slower, more labyrinthine and less <i>obvious. </i></span><span style="font-family:'Times New Roman';">It had to be like this because I felt I was otherwise held back. Another corner was being turned, and I'm glad the members of Playground who decided to join me (essentially, the rhythm section, Paul Wright and Paul Dudeney) did so, because to this day I'd still contend they were the fucking best. They had the chemistry so clearly missing in other groups.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">I'm personally pleased with many songs by Splintered, and have favourites from every album whereby I feel everything came together conceptually and artistically. Nonetheless, I think the collaborative album with RLW and the <i>Moraine </i></span><span style="font-family:'Times New Roman';">LP achieved this the most, but it's a subjective thing, of course, from a certain standpoint. I do know these albums were the closest to what I'd always wanted from Splintered, though. But, no matter how hard one tries to realise their own ideas, a group will always involve a certain amount of compromise. Which itself both adds to the pleasure, or the challenge behind it, and helps provide one with the necessary motivation to even continue.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">After a long hiatus it is to be resurrected, is that right?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> RJ: There's been talk about a resurrection, on and off, for the past few years. I keep trying to get something going again, but it's difficult. The thing is, Splintered never really split up. Rather, it simply ran ashore in 1997 and has remained there ever since. I always felt we had some "unfinished business" to contend with, so anticipate returning to exactly that as soon as the opportunity arises.</span><strong><span style="font-weight: normal;font-family:'Times New Roman';" ></span></strong></p><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font: 7pt "Times New Roman";"> </span></span></strong><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">GT:</span> <span style="font-weight: bold;">When did you move out of UK?</span></span></strong></p><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">RJ: I moved from Canterbury, UK to Krakow in late 2005. And, indirectly, all because of a girl.</span></span></strong></p><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">How has your musical language changed, comparing Splintered and your current project, Theme?</span></p><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> RJ: It has changed in the sense that it has evolved to include different approaches to realising ideas that may have once existed, in one form or another, in Splintered. Although, naturally, other ideas have arisen since, the very same way they always will. Change is integral to what we do, and firmly embraced. When Theme began, in 1999, one of the purposes was to take those ideas into new realms or, if you like, attack them from angles completely refreshing for us. I wanted a heavier emphasis on Splintered's electronic angle, and to abandon the 'rock' forever prevalent in Splintered. I felt Splintered, at the time, had perhaps pushed this as far as possible without losing it completely, although, ironically, I have felt different about this during more recent years and would even like to return to a particular idea we first contemplated in 1992. Theme is free-er, though. Splintered were always about exploring possibilities within a primarily 'rock' framework, whereas Theme can do whatever we want depending on<span style=""> </span>how we feel at any given time. Irrespective of this, however, both Stuart and myself remain interested in organic drone-based music and its inherent abilty to consume those usually latent parts of the listener entirely. We have always loved music or art of any nature that can completely <i>absorb </i></span><span style="font-family:'Times New Roman';">you. Splintered succeeded in doing this from time to time, but Theme is perhaps more dedicated to this. At least for ourselves, anyway.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> GT:</span><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font: 7pt "Times New Roman";"> </span></span></strong><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">How would you describe Theme's music?</span></span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">RJ: Difficult for me to say, since I'm involved. If anything, I feel we explore those very same waves first generated by psychedelia, musically, although there's something deeply personal at work here, too, that I at least hope translates enough to interest other people. Both Stuart and myself share interests in those many places that can transport people, plus get them thinking about this in itself. It's important for me that Theme at least attempt to do likewise. I'm interested in new corridors being explored, plus the understanding between </span><i style="font-weight: bold;">why </i></span></strong><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">they're explored and maybe not others. For example. Something we do is focus on those grey areas surrounding relationships of any nature. This is partly why Theme's imagery often concerns the more immediate association with relations</span>hi<span style="font-weight: bold;">ps. And it's purely allegorical. For the most part.</span></span></strong></p><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" > </span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">You've been involved as a musician in many projects with guys like Steve Pittis (who is relatively known in Poland from Band of Pain's 7" on Obuh Records) or Ralf Wehowsky (a former member of P16.D4 Splintered had a record with) or James Hodson, later of Faust. Now you are working with Hassni Malik and Stuart Carter as Theme. What do you enjoy most about working with other musicians and artists? What sort of difficulties have you encountered when working with someone else that surprised you or perhaps made you rethink your approach to the process of making music? Do you have any humorous stories about your work with those individuals?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: I wouldn't call myself a musician as I cannot play anything but, yes, I've worked with a number of people over the years. The thing is, these have mostly been friends who shared interests and whose own pursuits or objectives at least converged with mine. Of course, certain compromises can occur as a result of working with other people, but these are counteracted completely by the different perspectives at work. It's always interesting to work alongside others, but given my own limited abilities in this area I have no choice anyway. What I like to do, as a non-musician, is attempt to turn any nods towards complete and utter musicality upside down, or to add elements that I feel render it more interesting. It's this juxtaposition that I like, and which continues to feed my interest in working with others. The biggest problem is that others have to put up with my not being able to express myself musically, despite the fact I have very definite ideas I want to pursue. This has created problems in the past. As for rethinking the approach to making music, this corresponds with the new groups rather than the actual personnel. For example, I once had a project called Husk as well, and it's justification for operating separately to Splintered was that it was entirely improvised music based on some loose concepts I had, although other members of Splintered helped me realise them on the few records made under this name.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">Humorous stories? Nothing specifically springs to mind, but I'd say that just about every recording session with each band has been very enjoyable, regardless of the amount of hours and hard work involved. This is imperative. Although the music can be deemed very serious, we're usually having a great time when we make it. The only pressure I've ever experienced is when on tour. Splintered toured Europe a few times, and the enjoyment very quickly becomes negated by fatigue and having to share so much of your own space with friends whose own idiosyncrasies can grate your nerves after a day or two. I'm not saying I'm above this, either, but there were times when people nearly punched each other in both Splintered and Theme within this context. Another thing is that Hodson, for example, was a complete stoner and I recall him falling asleep behind his drums as Splintered played in Switzerland in 1997. I'm far from being anti-drugs or drink, but I was not happy with him about this, as you can imagine. When I go to see a group play live, I don't want to see people falling asleep, and that's the bottom line.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">Theme have been confirmed to play at the Wrocław Industrial Festival in November this year. How do you feel the group fits with the very term industrial music/culture?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> RJ: Yes, Theme will play at this festival, and I'm grateful for the invitation. However, I've never seen us as being a part of industrial culture in any significant way. I can understand why others might feel this, of course, since some of our music can at times be intense or work with blocks of sound sometimes found within this field, but I'm more concerned with creating a space simultaneously personal and able to transport others. To this end, our objective could just as easily compare with jazz or early rock 'n' roll music as industrial.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">GT:</span><span style="font: 7pt "Times New Roman";"><span style="font-weight: bold;"> </span> </span></span></strong><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">Both Steve Pittis and you decided at some time to start your own labels (Steve Dirter Promotions and yourself FD and LTCo). Earlier, Splintered had had a record on Shock, a label run by a friend guitarist of yours, Stefan Jaworzyn. When is it, I wonder, that a musician realises there aren't any other ways of having their work released except doing it themselves? Did you consider, at that time, an option taken a decade earlier by some English groups - to join forces under the Rock In Opposition banner? You couldn't find a common denominator or was it differing opinions on aesthetics?</span></span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" > <span style="font-weight: bold;">RJ: I had my Fourth Dimension label running before I got involved more directly with music via an actual group, so the idea of simply releasing a record on it seemed entirely natural. Given that I am a slight control freak too, this made even greater sense. Having said this, it's always good to work alongside others in this capacity if they share certain ideals or understand what we're trying to achieve. To that end, Splintered especially had records on many labels made available on labels from both Europe and the USA. As for the Rock In Opposition thing, I never gave it a thought. I always felt we were doing our own thing whilst other groups were doing theirs. Some of the music press was already trying to place Splintered alongside certain other groups already, so to have formed some kind of alliance would have simply compounded this and made their job even easier than it already is.</span></span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" > <span style="font-weight: bold;">GT: </span><span style="font: bold 7pt "Times New Roman";"> </span></span></strong><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">The labels which were started by your friends back then, how are they doing now? </span></span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">RJ: Steve Pittis of Band Of Pain/Dirter Promotions is still a good friend and continues to remain active with his work, which I'm pleased about as our attitude to all of this has always been remarkably similar. Stefan Jaworzyn, I understand, came into some money and has done nothing, outside a concert with his Ascension trio a couple of years back, for years. Another friend, Justin Mitchell of Cold Spring Records, is also doing well, and Stephen Meixner of Contrastate still has his Black Rose Recordings imprint going. It seems like this stuff generally stays in your blood, once poisoned!</span></span></strong><span style="font-family:'Times New Roman';">.<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';"><br /></span></p><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT: Being an outsider to the Polish scene, with considerable insight, though, as you have lived in Poland for several years now, what is your impression of it?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: I have discussed this very subject with many friends involved with music here and always find myself in a corner alone defending just how exciting things are here right now, if one digs deep enough. It seems as though there are some great things happening in all of the major cities, for example. There are people operating labels, organising shows, organising festivals, writing and playing music, etc. Although I won't claim to like all of it, I very strongly believe it all adds up to Poland being an exciting and interesting place at the moment. And, in my experience, I have seen very little of the snobbishness more prevalent in the UK. I've met a considerable amount of very open and passionate people here who are doing interesting things. In some respects, it reminds me of how things were during the early '80s in the UK, which was also a vibrant time on a more underground level. </span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> </span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">How does it compare to the UK scene?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: Now? I don't think there is so much of a 'scene' in the UK anymore. What's interesting for me is that those who are still active in the UK have mostly been around for years already, or even decades in the case of some. Together, they don't make a 'scene', as such, but I do feel that many of these people now respect each other a lot, despite the many differences. If there's much in the way of new blood in the equation, I'm not aware of it.<strong><span style="font-weight: normal;"></span></strong></span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">After your relocation to Kraków you started to cooperate with AudioTONG. Could you please tell us about your experience with this net label. Its position is quite strong now, not without your support .</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: When I first came to Krakow, almost three years before I moved here, I met Zenial through Janusz of Vivo Records. He then later introduced me to Marcin, who I clicked with immediately because of our shared interests and mutual qualities. As anybody will tell you, and Marcin included, I'm not a huge fan of net labels, but I always felt AudioTong was far more than just this and have, again, seen this huge passion, openness and dedication at work I've already noted. Of course, he's a close friend and I may appear biased on that count alone, but my objectivity remains intact irrespective of friendship. On another personal level, Krakow would certainly be far less interesting without AudioTong's work here, too. It counts for a lot, in my opinion.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">If you were to choose a few art figures whose work has had most influence on your worldview, your work as an artist or journalist, who would you pick?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> RJ: I will never deny that John Lydon's impact on 1977 Britain tainted my heart forever, in terms of making me fully understand I should simply try and do everything I personally <i>want </i></span><span style="font-family:'Times New Roman';">to do. Of course, other musicians have impacted on me greatly since as well, but I doubt I'd even have found the channels, never mind the motivation, to explore them if not for Lydon. Only Michael Gira has come close to fanning this flame subsequently. However, outside of music, my biggest passions have been films, literature and comedy, and I could reel off countless people amongst all of these mediums who've motivated or inspired me, from Python and contemporary UK satirist Chris Morris to H.G. Wells, Albert Camus, Kafka, Boris Karloff, <i>The Picture of Dorian Gray</i></span><span style="font-family:'Times New Roman';">, Dostoyevsky, Houllebecq and Jodorowsky. The important thing for me is to keep exploring, whether the past or present, and to appreciate and respect all of the pearls uncovered. And those pearls then stay with me.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">What is tradition in music for you? </span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: Tradition is something very difficult to escape from, and that can still magically work its grip on you despite the fact it offers nothing new. I can enjoy a more regular song as much as the next person, for example, and for exactly the same reasons. More subjectively, however, tradition is to be fucked about with as much as possible. I have always enjoyed the idea of lulling people and then hitting them with a surprise, hence an interest with masks, facades and imagery. Tradition in music is not something I'm especially keen on making but we live in times where it appears everything new automatically has reference points thrown at it. Which is also, conversely, interesting in itself for me, to a certain extent.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">GT:<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">Currently, two of your labels are active now, LTCo and FD, aren't they? Interestingly, they seem quite different from each other. On the one hand, FD brings a series of noise 10"s, including Hijokaidan's "Ferocity of Practical Life", arguably one of the best works in the genre ever, on the other hand, there is a collection of ascetic ballads from ex-Swans Michael Gira, and somewhere in between Finnish lunatics Circle. Have you ever adopted a profile for your labels? Something like a motto, a manifesto and the like to follow?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: LTCo began as a collaboration with my friend Hassni Malik, so this was the biggest difference. However, since he soon left the label, I've been facing this question with every subsequent release on it: <i>why two labels? </i></span><span style="font-family:'Times New Roman';">The biggest difference is that I'm now at a stage in my life where I am clearer about my interests and tastes. As such, LTCo has adopted a slightly more 'professional' approach to the releases and presentation of the artists concerned. It is giving me an opportunity to operate a label from the position of someone more experienced, whereas FD began when I was 18 and, certainly on the early cassette releases, reflected a certain immaturity on my part due to my being caught in <i>the moment </i></span><span style="font-family:'Times New Roman';">of it all. That's not to say I don't stand by everything, either. Each release clearly meant a lot to me at the time, but FD continues because it remains bound to the very same sense of liberation it began with. It's my 'punk' label, whereas LTCo affords me the opportunity to take a little more care and consideration over everything. Both, however, are driven by the same fundamental desires, though.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">GT:</span> <span style="font: 7pt "Times New Roman";"> </span></span></strong><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">Have you got any favourites in the FD and LTC catalogues?</span></span></strong></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">RJ: Of course! I'm especially pleased with the Michael Gira LP on LTCo, for a whole gamut of different reasons that far surpass its simply being a great record in its own right. I love the Faust 2CD on LTCo for personal reasons, too, since it documented a concert here in Krakow I helped organise, but ultimately I love everything on LTCo and am looking forward to working with certain artists who've already appeared on it again. As for FD, I have always been especially pleased with those releases that bring art and music together in one glorious package. The KK Null 2LP, </span><i style="font-weight: bold;">Ultimate Material III, </i></span></strong><strong style="font-weight: bold;"><span style="font-weight: normal;font-family:'Times New Roman';" ><span style="font-weight: bold;">being a case in point, as well as the Contrastate 7" and the more recent Circle vinyl releases. Musically, however, I have loved everything. Which must surely be one of the reasons for running a label in the first place?</span></span></strong></p><div style="text-align: justify; font-weight: bold; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><strong><span style="font-weight: normal;font-family:'Times New Roman';" > </span></strong><span style="font-family:'Times New Roman';">GT: One can't help noticing increasingly frequent voices forecasting the coming of a new era in music distribution, involving an irreversible shift from a release as a physical object to the form of a downloadable file. While it is already happening in the world of majors, do you think it will have any considerable impact on the niche of experimental music?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: To be honest, I think we're also witnessing a minor backlash amongst the majors, too. There have been many vinyl releases issued during the past few years, and I understand that the demand for them has increased significantly. Beyond this, I believe there are enough people around to sustain an interest in what I tend to call 'real' releases; especially amongst the realms of the more, shall we say, 'serious listener'. I'm far from alone in knowing that a nicely packaged record, especially vinyl, pisses all over a download. All the same, I'm not as anti-download as I sometimes appear and, to answer your question more specifically, this shift in music's availability has, much the same as every aspect of the internet, created many new and exciting possibilities. In the field of 'experimental' music, which already struggles against all manner of odds due to its very nature, it can only be a good thing that more outlets exist for it to be distributed and, more importantly, <i>heard</i></span><span style="font-family:'Times New Roman';">. But my objective opinion doesn't match my subjectivity. I like physical records as<span style=""> </span>they, for me, are then more like art objects, or at least can be. Not that the music isn't perhaps the most important thing concerned regarding them, but I like, again, the opportunities that open up here. And I personally don't want to live in a world where all of my interests can be contained in a collection of devices that can be trampled on or lost very easily.</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="margin-left: 0.5in; text-indent: -0.25in; font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"> GT: <span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family:'Times New Roman';">Do you think it has already affected your publishing activities?</span></p><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><div style="text-align: justify; color: rgb(255, 255, 255);"> </div><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';">RJ: I don't think so, simply because my releases are generally made available in such small editions that those people who are interested in them tend to remain so. Also, I don't make my releases so readily available to download, so people have no choice should they want to hear them.</span></p><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><br /><span style="font-family:'Times New Roman';"></span></p><p class="ecxNoteLevel1" style="font-weight: bold; text-align: justify; color: rgb(255, 255, 255);"><br /><span style="font-family:'Times New Roman';"></span></p><p class="ecxNoteLevel1" style="font-weight: bold; text-align: center; color: rgb(255, 255, 255);"><span style="font-family:'Times New Roman';"><span style="font-weight: bold;">Thanks again to Grzegorz Tyszkiewicz. <span style="font-style: italic;">M/I </span>magazine, published by Poland's Monotype Records, is now out and available from all good music/arts/culture magazine stockists.<br /></span></span></p><span style="font-weight: bold; color: rgb(255, 255, 255);"> </span>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com2tag:blogger.com,1999:blog-7404176801204814106.post-39974567498297363842010-07-04T02:52:00.000-07:002010-07-04T02:54:04.279-07:00State of Independence<!--StartFragment--> <p class="MsoBodyText">For a considerable time now, I have aired my grievances regularly about downloadable music and the inherent laziness and general disrespect attached to it. Whilst this may well partly stem from my own love of physical formats (especially vinyl), a number of other factors remain rooted behind my argument that go way beyond the subjective parameters of one’s tastes and interests.<o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Firstly, as somebody directly involved with music myself via both my labels and the duo I’m in, Theme, I have felt the pinches afforded by the virtual medium in at least two respects. Because I prefer to release music on vinyl and CD, certain other people take it upon themselves to make it freely available elsewhere on their own websites, blogs or whatever without having had the prior permission to do so. This then affects the sales of my releases in the first instance and, in turn, means that I barely recover the costs of each one, never mind try and make that little extra to be divided equally between the artist and, indeed, label itself to go towards the next release. Subsequently, each release is the result of a combination of funds raised elsewhere (in my case, having a job, begging, borrowing and simply seeing whatever coins I can find on the streets), determination, sweat, frustration, enthusiasm and almost thankless hard work. <o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">What’s especially frustrating about this is that I’ve, like so many others, now been pushed into a position whereby the struggle to squeeze a new release out is greater than ever. Which is a huge shame considering just how much music there is around that deserves to be documented on a format that’s neither disposable or plays directly into the hands of a culture sinking deeper and deeper into complacency. Perhaps the latter remark appears somewhat rash, but I firmly subscribe to the notion that our being glued to our computers justifies it perfectly. Downloads, for all of the merits that can be afforded them (such as their convenience and the fact they’ve helped make so much obscure or inaccessible material available), are ultimately symptomatic of this. They have just as much rendered people lazy and, beyond this, have fed the idea that we should expect everything not only without making a lot of effort but also without dipping into our bank accounts. We live in a world where everybody now <i>expects </i><span style="font-style:normal">music for free. And it is precisely this that is taking its toll on musicians, labels and, I would contend, those of us who operate at the truly independent end of the scenario and don’t have the capital or concomitant power to do anything about it. What was always already a real struggle has, during the past few years, become increasingly so simply because of the advent of the free download. <o:p></o:p></span></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">As with the fears of home taping from the radio once evinced by the music industry during the beginning of the ‘80s as a reaction to increased blank cassette sales over those of records, I do not believe everybody who downloads is somehow guilty of ‘killing’ the struggling artist or label. For every argument against those who download, there are plenty that support this opportunity to check things out before then buying records or whatever. But these people, the real ‘fans’ if you like, are in the minority and it is precisely because most people who surf the ‘net stuff their players with all manner of tunes obtained for nothing without caring that by doing so they are fanning the flames of a very real problem that we are now in this mess.<span style="mso-spacerun: yes"> </span>Labels such as mine, Lumberton Trading Comppany and Fourth Dimension, are being suffocated by this pandemic. Which is a huge shame, as I would very much like to continue supporting and promoting music by artists whose work, I feel, deserves more attention. And on formats that allow for all of them to express themselves through their choice of artwork and packaging as best as possible, too. Formats that, equally (and in keeping with a point already made), encourage <i>effort</i><span style="font-style:normal"> and, indeed, the sheer pleasure that can be gained from either hunting through racks of CDs or vinyl or even receiving a package in the post.<span style="mso-spacerun: yes"> </span>Furthermore, and more importantly, these formats support the artists and the labels behind them </span><i>directly.<o:p></o:p></i></p> <p class="MsoBodyText"><i> <o:p></o:p></i></p> <p class="MsoBodyText">Like so many similar labels, mine are driven by the same fundamental passion for music I’ve had since music first hit me during Punk’s aftermath. I do not overcharge for the releases and my main concern has always amounted to primarily recouping the costs for them. It is a simple premise that has worked until more recent times. <o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Because the dynamics are changing, however, I am forced into rethinking matters. Besides noticing that cassette labels have been springing up all over the place during the past two or three years once again (running adjacent to those dedicated to limited run CDRs that have long existed), I have observed that an increasing number of new artists are committed to self-releasing their music, too. Just one cursory glance at any so-called ‘noise’, ‘electronica’, ‘neu-folk’ artist on Discogs, for instance, can lead to all manner of new corridors presenting themselves. There are literally hundreds of relatively new small labels dedicated to CDRs, cassettes and low-run lathecut records; a reaction, if you will, to the burgeoning world of the free download and its close relationship to what I prefer to call the ‘quick fix’ culture. Not a huge reaction, of course, but one that is significant enough regardless.<o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Where all this leaves my own endeavours, I don’t yet know exactly. I was never massively into cassette releases or CDRs either, but I can now appreciate firmly what advantages these formats have over downloads (despite the laudable quality of cassettes and, indeed, not forgetting the fact that FD itself started with plenty of cassettes and even a couple of flexidisc releases). One solution is to collaborate all the way through with new artists, right down to the sharing of costs, or to devise schemes where new releases can be pre-paid and partly subsidised by those who are seriously interested in owning them (which, let’s face it, is exactly what certain artists with ‘cult’ appeal already do).<o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Another one is to simply hope that a few more people will acknowledge these sentiments and buy directly from the labels (mine and others) before they are forced to resign. Of course, I cannot speak for all small labels here, but I can honestly declare that even just 30 direct orders would make a difference enough to at least keep the wheels turning. Right now, I’m lucky if I reach double-figures. As a reflection of the music I’m championing, this is fucking dire.<o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Small labels need support. By doing this, they can continue to help spread the work of interesting new artists. <o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">Unauthorised free downloads are stifling such possiblities. <o:p></o:p></p> <p class="MsoBodyText"> <o:p></o:p></p> <p class="MsoBodyText">And this, quite literally, is the bottom line.<o:p></o:p></p><p class="MsoBodyText"><br /></p><p class="MsoBodyText"><a href="http://www.lumberton-trading.com">www.lumberton-trading.com</a></p><p class="MsoBodyText"><br /></p><p class="MsoBodyText"><a href="http://www.fourth-dimension.net">www.fourth-dimension.net</a></p><p class="MsoBodyText"><br /></p> <!--EndFragment-->Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-38570489772190013452010-03-21T12:53:00.000-07:002010-03-21T13:03:29.751-07:00New Shop at Fourth Dimension & Other Stuff<span class="Apple-style-span" style=" color: rgb(51, 0, 102); font-family:Verdana, arial, sans-serif, helvetica;font-size:11px;"><span class="Apple-style-span" style="color:#FFFFFF;">The Shop at my Fourth Dimension website is being expanded on almost daily, if interested. Besides finding several releases from the label itself you will also find those that are still available from Lumberton Trading Company and various others by artists operating in approximately the same sphere(s), affiliates and friends. Over the next few weeks, I hope the Shop will have more titles but, meantime, the first lucky few customers who use this Shop will receive a CD of my choice from one of my labels. Do please visit:</span><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><a href="http://www.fourth-dimension.net/"><span class="Apple-style-span" style="color:#FFFFFF;">www.fourth-dimension.net</span></a></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">Otherwise, a new Lumberton Trading Company website is also on the way and will likewise have a new Shop facility there soon. Although it is still being worked on and won't be finished for another few weeks, please check in on:</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><a href="http://www.lumberton-trading.com/"><span class="Apple-style-span" style="color:#FFFFFF;">www.lumberton-trading.com</span></a></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">At both websites, you will find news of imminent new releases by Tabata and Steven Severin, but other titles are also presently being discussed, including the long mooted limited edition version of the Faust 'Live in Krakow' 2LP, which may well now also be co-released with Dirter Promotions. Please visit the websites for more information during the next few weeks, anyway.</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">Onto other matters, you may or may not be aware of the fact I've been helping with Rafal Kochan's </span><i><span class="Apple-style-span" style="color:#FFFFFF;">Encyclopaedia of Industrial Music</span></i><span class="Apple-style-span" style="color:#FFFFFF;"> book, at the proofreading stage. Although two or three volumes have so far appeared in Polish, the first one in English, collecting entries 'A' to 'C', is now out in a limited edition and arrives heartily recommended to not only fans of industrial music but those who enjoy its own crossing over with, or having arrived from, different areas of music and culture. Or, indeed, those whose interest in underground music may touch on all of this. Well-researched and put together, the book is a both a testament to Rafal's own hard work during the past few years and a triumph for the genre. If interested in getting this, please contact me for the ordering information.</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">What else? Theme are slowly hammering away at the next album, plus will play live later this year, whilst Splintered's long mooted resurgence of activity may at least soon manifest via one or two other ideas presently being discussed. More news on both groups, however, can be found on the relevant pages at MySpace. Look for SplinteredUK or ThemeUKPoland if interested.</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">Am still adding material to the </span><i><span class="Apple-style-span" style="color:#FFFFFF;">Adverse Effect</span></i><span class="Apple-style-span" style="color:#FFFFFF;"> blog as and when I can, too. This can be found on the FD website. One day, perhaps I'll return to a properly published version again as well. It's certainly an idea I keep entertaining. Just unfortunate that the bank balance is never in a good enough condition to greet such ideas warmly...</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">Also still beavering away at a book dedicated to post-punk music, but due its reliance on contributions from others is taking even longer to roll into shape than first anticipated. But I'll get there. In the end.</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><span class="Apple-style-span" style="color:#FFFFFF;">Beyond all of this, enjoying the fact the snow has finally disappeared here in Krakow and that my mountains of music, films and books appear to be as endless as ever. Life could be worse.</span></div><div><span class="Apple-style-span" style="color:#FFFFFF;"><br /></span></div><div><br /></div></span>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-14394403292384076592010-02-21T05:25:00.000-08:002010-02-21T05:27:14.772-08:00New Blog Post at Adverse EffectNew post at: <a href="http://www.fourth-dimension.net/index.php/ae-blog">http://www.fourth-dimension.net/index.php/ae-blog</a><div><br /></div><div>More, otherwise, here in due course.</div>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-15565736308834078802010-02-01T05:03:00.000-08:002010-02-01T08:00:55.171-08:00Unimaginatively Titled Brief Update<span class="Apple-style-span" style=" color: rgb(51, 0, 102); font-family:Verdana, arial, sans-serif, helvetica;font-size:11px;">Thankfully, this year seems to be picking up slightly for me. Which is just as well, really, as if things were to continue akin to the last one, I have no idea where I'd be during the next few. Destitute and laying in a gutter face-down, no less, and certainly no looking up at even imaginary stars. Well, perhaps I am being slightly dramatic here, but...<div><br /></div><div>To begin with, the new Fourth Dimension website is ready: <a href="http://www.fourth-dimension.net/">www.fourth-dimension.net </a> This now houses my Adverse Effect blog, includes all back catalogue information, plus a Shop section (presently unfinished) dedicated to those releases that are still available and a number of other titles from labels and artists treading similar ground (whatever that may be). News of the next release, by Japan's Mitsuru Tabata, can also be found there. Entitled <i>Mankind Spree</i>, this CD album should be ready to go into production this month and pre-order details will be announced soon.</div><div><br /></div><div>With the FD website now almost back on track, it's simply a matter of now getting a new Lumberton Trading Company one going. Of which, the Steven Severin <i>SleeperCell</i> CDEP for LTCo will likewise go into production this month and details will be announced shortly (both via the new website and the LTCo profile at MySpace: <a href="http://www.myspace.com/lumbertontradingcompany">www.</a><span class="Apple-style-span" style="color: rgb(0, 0, 0); line-height: 16px; font-family:verdana, helvetica, arial, sans-serif;"><a href="http://www.myspace.com/lumbertontradingcompany">myspace.com/lumbertontradingcompany</a><span class="Apple-style-span" style=" line-height: normal; color: rgb(51, 0, 102); font-family:Verdana, arial, sans-serif, helvetica;">). Other releases planned for LTCo include an album by Blue Rats. This features one of the late Jhonn Balance's last ever vocal performances and Sion Orgon, amongst others.</span></span></div><div><br /></div><div>Theme, my group, have been confirmed to appear at this year's Industrial Festival in Wroclaw, at the beginning of November, by the way. Not entirely sure who else will play there yet, but Whitehouse are confirmed. We have also recorded about half the next album. New songs can be found on the Theme profile at MySpace, if interested; <a href="http://www.myspace.com/themeukpoland">www.myspace.com/themeukpoland</a>. Personally, I feel very proud of them and am pleased with where we are heading. Which is precisely how it should be.</div><div><br /></div><div>Outside all of this, I'm still (slowly and haphazardly) pressing on with a book dedicated to post-punk music and another one concerning my <i>Grim Humour</i> magazines, plus have been involved (at the proofreading stage) with the English version of another written by a Polish friend, called <i>The Encyclopaedia of Industrial Music</i>. The first volume (A to C) is presently being printed at this very moment. If interested in purchasing it, please contact me for further details.</div><div><br /></div><div>Otherwise, a recent thread about some of my activities has commenced here at a Polish website. If you can read Polish and are interested, please visit: </div><div><br /></div><span style=" color: rgb(51, 51, 51); font-family:'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="UIIntentionalStory_Message" style="font-size: 13px; color: rgb(51, 51, 51); margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-weight: normal; overflow-x: hidden; overflow-y: hidden; font-size:undefined;"><span class="UIStory_Message"><a href="http://http://www.harshnoise.art.pl/viewtopic.p..hp?id=1555">http://www.harshnoise.art.pl/viewtopic.p..</a><span class="word_break" style="display: block; float: left; margin-left: -10px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></span><a href="http://http://www.harshnoise.art.pl/viewtopic.p..hp?id=1555">hp?id=1555</a></span></span></span><div><br /></div><div>I am also just about to be interviewed for a national Polish music magazine, <i>M/I</i>, too. Looking forward to that, even though, conversely, I've never really been one for talking about everything I do too much.</div><div><br /></div><div>Hopefully, more news soon.</div><div><br /></div><div><br /></div><div><br /></div></span>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com2tag:blogger.com,1999:blog-7404176801204814106.post-70499277002119155352010-02-01T05:00:00.000-08:002010-02-21T05:27:51.069-08:00Steps Forward<span class="Apple-style-span" style=" color: rgb(51, 0, 102); font-family:Verdana, arial, sans-serif, helvetica;font-size:11px;">Thankfully, this year seems to be picking up slightly for me. Which is just as well, really, as if things were to continue akin to the last one, I have no idea where I'd be during the next few. Destitute and laying in a gutter face-down, no less, and certainly no looking up at even imaginary stars...<div><br /></div><div>To begin with, the new Fourth Dimension website is ready: <a href="http://www.msplinks.com/MDFodHRwOi8vd3d3LmZvdXJ0aC1kaW1lbnNpb24ubmV0" style="text-decoration: underline; font-family: Verdana; color: rgb(153, 0, 51); font-size: 11px; ">www.fourth-dimension.net</a> This now houses my Adverse Effect blog, includes all back catalogue information, plus a Shop section (presently unfinished) dedicated to those releases that are still available and a number of other titles from labels and artists treading similar ground (whatever that may be). News of the next release, by Japan's Mitsuru Tabata, can also be found there. Entitled 'Mankind Spree', this CD album should be ready to go into production this month and pre-order details will be announced soon.</div><div><br /></div><div>With the FD website now almost back on track, it's simply a matter of now getting a new Lumberton Trading Company one going. Of which, the Steven Severin 'SleeperCell' CDEP for LTCo will likewise go into production this month and details will be announced soon (both via the new website and the LTCo profile here at MySpace). Other releases planned for LTCo include an album by Blue Rats. This features one of the late Jhonn Balance's last ever vocal performances and Sion Orgon, amongst others.</div><div><br /></div><div>Theme, my group, have been confirmed to appear at this year's Industrial Festival in Wroclaw, at the beginning of November, by the way. Not entirely sure who else will play there yet, but Whitehouse are confirmed. We have also recorded about half the next album. New songs can be found on the MySpace profile, if interested. Personally, I feel very proud of them and am pleased with where we are heading. Which is precisely how it should be.</div><div><br /></div><div>Outside all of this, I'm still pressing on with a book dedicated to post-punk music and another one concerning my Grim Humour magazines, plus have been involved (at the proofreading stage) with the English version of another written by a Polish friend, called The Encyclopaedia of Industrial Music. The first volume (A to C) is presently being printed now. If interested in purchasing it, please contact me for further details.</div><div><br /></div><div>Otherwise, a recent thread about some of my activities has commenced here at a Polish website. If you can read Polish and are interested, please visit: </div><div><br /></div><span style=" color: rgb(51, 51, 51); font-family:'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="UIIntentionalStory_Message" style="font-size: 13px; color: rgb(51, 51, 51); margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-weight: normal; overflow-x: hidden; overflow-y: hidden; font-size:undefined;"><span class="UIStory_Message"><a rel="nofollow" target="_blank" href="http://www.msplinks.com/MDFodHRwOi8vd3d3LmhhcnNobm9pc2UuYXJ0LnBsL3ZpZXd0b3BpYy5waHA/aWQ9MTU1NQ==" style="text-decoration: none; font-family: Verdana; color: rgb(59, 89, 152); font-size: 11px; cursor: pointer; "><span>http://www.harshnoise.art.pl/viewtopic.p</span>..<span class="word_break" style="display: block; float: left; margin-left: -10px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></span>hp?id=1555</a></span></span></span><div><br /></div><div>I am also just about to be interviewed for a national Polish music magazine, Mi, too. Looking forward to that, even though, conversely, I've never really been one for talking about everything I do too much.</div><div><br /></div><div>Thanks for reading.</div><div><br /></div></span>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-81644312217726327682010-01-10T13:51:00.000-08:002010-01-10T13:59:43.116-08:00Almost New BeginningsAnother fairly quiet spell here during the past month or two, really, but this (as usual) is partly due to there permanently being things afoot. To begin with, a new Fourth Dimension Records website is beginning to roll into shape, and this itself includes <i>Adverse Effect</i>'s blog (thus replacing the <i>AE </i>profile at <a href="http://www.msplinks.com/MDFodHRwOi8vYmxvZ2dlci5jb20=">blogger.com</a>, which is linked to from my page here) and, indeed, all the previous posts otherwise found on the former one. Some new reviews have just been posted there of releases by Paul Baran, Blind Cave Salamander, Chapelle Nitrique, Cindytalk, Piotr Kurek, Remora, Steven Severin, Sum Of R and others. If interested, please visit: <a href="http://www.msplinks.com/MDFodHRwOi8vd3d3LmZvdXJ0aC1kaW1lbnNpb24ubmV0L2luZGV4LnBocC9hZS1ibG9n">http://www.fourth-dimension.net/index.php/ae-blog</a> and, of course, take note of the new FD website address, too. The FD website is still being developed, but should have a fully functioning Shop facility soon enough. Meanwhile, news can at least be found of currently available releases and the forthcoming new album from Japan's highly talented Tabata Mitsuru...<br /><br />Also, since last writing here, my own group Theme have likewise been working towards the fourth album, which should be ready later this year and will most likely appear vinyl-only on Stuart Carter's own Betaphonic label. Four, although unfinished, new songs can be found on our MySpace page for now, anyway: 'Dream Your Dreams', 'Turn to Light', 'Hope On These Words' and 'No Face To Speak Of'. Please visit <a href="www.myspace.com/themeukpoland"><span>www.myspace.com/themeukpoland</span></a> if interested. What with our <i>Valentine (Lost) Forever</i> CD album released by Israel's HCB Recordings in September 2009, I strongly feel Theme are beginning to reach the corner we've long anticipated turning. I feel especially proud of three of these new songs (despite their presently incomplete state).<br /><br />Outside all of this, Lumberton Trading Company will commence activities again soon, too. The website itself is shortly due to undergo some long, long overdue surgery (which will see the Shop finally working) and, indeed, a Steven Severin CDEP, <span style="font-style: italic;">Sleepercell,</span> will help get the release schedule back on track. It's hoped that developments on this front will commence before the end of the month.<br /><br />Not much else to report right now, though. Other endeavours are, naturally, being continually worked on, but I'll save any reporting on them until there's actually something worth doing so.<br /><br />Whatever, I hope you'll keep checking here from time to time to see what, if anything, is happening. And, of course, all the best to everybody for 2010. Let's hope it's better than the last twelve months...Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com4tag:blogger.com,1999:blog-7404176801204814106.post-30081478729114879492009-12-14T05:54:00.000-08:002009-12-14T06:09:51.858-08:00CurtainsBeen rather quiet here lately, due to all kinds of outside factors. Mostly, however, I am extremely busy with getting a new Fourth Dimension/<span style="font-style: italic;">Adverse Effect</span> website ready to launch in the New Year, plus the Lumberton Trading Company one is also about to be given a complete, and long overdue, overhaul as well. Both labels have been commanding such attention for a long, long time now, and both will finally have fully functioning Shop facilities and shall be maintained on a regular basis. To state the situation regarding these websites has been embarrassing this year would be an understatement...<br /><br />Otherwise, as the year draws to its inevitable close, I should also make use of this opportunity to point out what else is happening. Firstly, more Theme recordings are on the cards for the very end of this month (hopefully amounting to the first towards a double-album set) and, secondly, Splintered will finally break away from their hiatus to set about some new recordings, too. At this stage, it's difficult to say exactly how these latter recordings will take shape, but I personally anticipate our taking ideas from the last collaborative album with RLW somewhere further, possibly with the aid of several guests.<br /><br />Beyond this, plans for next year include releasing a CDEP by Steven Severin, on LTCo, and a new album by Tabata on FD. There are, of course, other things afoot, but it's probably best I don't jump the gun just yet.<br /><br />Just keep watching this space for further news.<br /><br />Thanks.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com1tag:blogger.com,1999:blog-7404176801204814106.post-72476187799972257282009-10-19T13:06:00.000-07:002009-10-19T13:26:46.073-07:00Exit WoundsAround 18 months ago, I began sketching ideas for a book devoted to Punk's transition into post-punk; an area itself extremely wide given its dovetailing with industrial music, art-rock, synth-pop and so on during the early '80s. However, since then the idea's simply been smouldering away at a standstill due to my not knowing exactly which direction to push it in after my own account/introduction. The <span style="font-style: italic;">only </span>thing I was clear about was <span style="font-style: italic;">not </span>dwelling on its becoming increasingly sanitised pop music (think: New Romantics) and, instead, focusing rather more on its sprawling into the '80s underground (exceptions aside, no less)...<br /><br />Whatever, mulling over this during more recent weeks has led me to return to the premise of interviewing a large and diverse number of people who were either involved (whether musicians, writers or label owners, etc.) or simply were old enough to both <span style="font-style: italic;">experience </span>it and be <span style="font-style: italic;">inspired </span>by it (akin to myself).<span style="font-style: italic;"> </span> Although it will be mostly based on what was happening in the UK, I hope to also include some impressions by others from elsewhere.<br /><br />I am in the throes of arranging interviews at the moment, but I'd also welcome, at this stage, <span style="font-style: italic;">anybody </span>simply contacting me with accounts of their own experiences surrounding Punk becoming, I feel, far more <span style="font-style: italic;">progressive </span>around the same time people such as Rotten and Devoto left their first groups.<br /><br />If you feel that you have something to share, please contact me. Thanks.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com2tag:blogger.com,1999:blog-7404176801204814106.post-42051873244940822462009-09-28T07:08:00.000-07:002009-09-29T01:23:17.376-07:00First ImpressionsNever fails to be busy around here, to be honest, but besides having just seen Circle's 2CD reissue of my <span style="font-style: italic;">Triumph </span>release into production for Fourth Dimension, and still overseeing matters surrounding the <span style="font-style: italic;">Autumn Blood (Constructions) </span>compilation CD release on Lumberton Trading Company last month, I have just begun a collaboration with a chap here in Poland, Rafal, who has dedicated a few years so far to putting together a book, <span style="font-style: italic;">The Encyclopaedia of Industrial Music.</span> My role is simply to proofread the translated text (from Polish to English, no less), but I must confess that it's quite an undertaking. The book amounts to an 'A to Z'-type reference book, similar in style to <span style="font-style: italic;">The Crack in the Cosmic Egg </span>one published by Ultima Thule several years ago that itself was devoted to 'krautrock'. My own interest in industrial music doesn't actually extend so far, though. I like several groups associated with it or who themselves were motivated by it but, beyond this, what generally passes for it or its cousins in 'noise' and 'power electronics' or so-called 'dark ambient' these days does extremely little for me. All the same, because of my deep interest in music's corpulent underbelly, and the fact Rafal's research has delved deep into other realms related to the genre, I'm happy to be involved. No idea <span style="font-style: italic;">when</span> it will be completed, unfortunately. I received the 'A' section two weeks ago (now proofread and returned to Rafal) and this alone was 40 pages on a regular Word document. If we're lucky, the book will be ready to publish late next year, but it's going to require a <span style="font-style: italic;">lot </span>dedication to the work. Watch this space for developments, anyway.<br /><br />Otherwise, Theme's <span style="font-style: italic;">Valentine (Lost) Forever </span>CD is now out (on HCB Recordings) and has so far garnered two reviews. These can be found at:<br /><br /><a href="http://www.crucialblastshop.net/">www.crucialblastshop.net</a> and <a href="http://%20www.vitalweekly.net/"> </a><a href="http://www.blogger.com/www.vitalweekly.net"> www.vitalweekly.net </a>(edition 697)<br /><br />As noted on a blog not long ago posted on Theme's MySpace page: <!--- blog subject --->"The idea with Theme, as with Splintered beforehand, is to keep trying out different approaches and push ourselves as much as possible within our limitations. Some of these approaches may well be bound to those we've explored previously, but from a different angle, and some might spiral completely elsewhere. I have personally never considered Theme an 'industrial' group, either. Very little such music has motivated me, and even less so Stuart (who is mostly a post-<span style="font-style: italic;">Revolver</span> Beatles/'60s psychedelic rock fan, believe it or not). Theme is simply a continuation of an interest in exploring sounds whilst simulaneously keeping things both personal and able to translate beyond. The idea of pushing Theme into more 'song'-based territory was touched upon on the first album and, of course, by Splintered. Within this framework, however, we set ourselves new challenges. We will never compromise this."<br /><br />Whilst I can fully understand the rudimentary 'need' for crutches (reference points) in reviews, I<br />would still contend those responsible for writing them (myself included, given that I also do this on the <span style="font-style: italic;">Adverse Effect </span>blogspot) should look <span style="font-style: italic;">beyond </span>the surface and exercise a little research. It's very easily done with the help of the internet these days, so there's little reason <span style="font-style: italic;">not to</span>.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-13218080628121870802009-09-05T15:28:00.000-07:002009-09-05T16:11:09.621-07:00Those Factors BehindSomething I got asked by a close friend a few nights ago was <span style="font-style: italic;">why </span>I am doing everything that I do. Neeedless to say, it's a question I have addressed myself plenty of the times over the years too, but it's one that rarely comes from either anybody around me or from somebody who may actually give a fuck about my response. The stock answer to the latter, although partly cemented in truth, is that I do everything to ultimately please myself. And by this I don't simply mean that all the music I either put my name to or help to realise exists solely for the purpose of pleasing me. Without wishing to bore you with all of the details behind a release, I do honestly personally enjoy the whole process of seeing something through from beginning to end, and playing a creative part in it. When I released all these singles back in the '90s, for example, I truly felt like I was a real <span style="font-style: italic;">part </span>of them through my physically assembling them to order. Not only did I print the covers and inserts myself but I'd also spend hours sweating it out putting everything together before attending to the orders and promos and suchlike. The satisfaction from this has never waned since, regardless of how inconvenient things may be when weighed next to all of those other huge demands life throws our way. Yes, spending time slaving over a few orders with old jiffy bags and parcel tape may not be 'fun', but I do derive a certain modicum of pleasure in getting these same said packages sent out to people who may well then, in turn, appreciate them. A simple pleasure, perhaps, but enhanced much further by my being active in the previous proceedings.<br /><br />Returning to the original question, however, and answering it without the need for those crutches afforded by being physically involved, I'd say that I'm very much interested in <span style="font-style: italic;">relationships. </span>With Theme, the group I'm presently involved in with Stuart Carter, this concern is draped in metaphor and allegory (at least for me, in my writing...Stuart may well derive something completely different from what we do). I'm interested in those bridges between the subjective and the objective, the 'artist' and the listener, the areas I'm exploring and their 'context' or 'meaning' and their perception, and so on. With my labels, I'm essentially interested in the same thing. Relationships, in this instance, between artists I feel are doing something interesting and people who may be interested in their work. Once more, there are a number of levels attached to this, though. And, of course, I'm pleasing <span style="font-style: italic;">myself </span>along the way.<br /><br />Next time somebody asks me <span style="font-style: italic;">why </span>I am doing everything I do, whether music, releasing records or (occasionally) writing, I have a new stock answer. It all boils down to <span style="font-style: italic;">relationships. </span>And I firmly believe this is what I have strived for since first publishing my <span style="font-style: italic;">Grim Humour </span>fanzine in 1983. I don't care so much about <span style="font-style: italic;">noumena </span>or <span style="font-style: italic;">phenomena</span>. I am far more interested in those areas that join them...Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-58601149341661764172009-09-05T15:10:00.000-07:002009-09-05T15:27:52.134-07:00Productive Pay-OffsOut this week, finally, after months and months of varying hurdles and struggles, arrived both the LTCo compilation CD, <span style="font-style: italic;">Autumn Blood (Constructions), </span>and the new Theme CD, <span style="font-style: italic;">Valentine (Lost) Forever, </span>on Israel's HCB Recordings. Although this news in itself brings with it the reality of much work for me via packing orders and endless trips to and from a Post Office some 15 minutes walk away (I could get a bus, but I am neither lazy or afraid of getting the locals to wonder who the hell this flame-haired guy is with all these mysterious packages as he struts past, mind doubtlessly submerged in abstract nonsense), I'm still ultimately pleased that all this toil during the past year or so has come into fruition. Beyond this, I'm satisfied with both releases completely. And, if the response, so far, is anything to go by, I feel I'm beginning to turn a corner with my endeavours. Not that I've ever once been concerned with turning corners in the first place, but it's certainly a welcome, and wholly refreshing, addition to the proceedings.<br /><br />If interested in either release, you should be able to find them easily enough by using the usual channels.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-2029161132002114592009-08-02T06:16:00.000-07:002009-08-02T08:27:08.915-07:00In My BloodSome news...<br /><br />The compilation CD on Lumberton Trading Company, <span style="font-style: italic;">Autumn Blood (Constructions),</span> will be ready for production this week. It, like all compilations, has taken an eternity to assemble and even hit a few last minute hitches before now finally being ready for the manufacturer. As with practically everything else in the present climate, the music industry has been hit quite hard by the recession, resulting in it being more difficult to secure the kind of deals I've been luckily afforded during the past two or three years. Whatever, a jolt or a hurdle of some kind right now will be reduced to the semblance of an already faded blemish over time. Very rare that I've pulled out of any commitments to <span style="font-style: italic;">anything</span>. I beg and borrow if necessary, and that's that. Anyway, the artists on the compilation are: Lawrence English, Peter Christopherson, Birds Build Nests Underground, Steven Severin, Volga, Theme, Andrew Liles, Zenial/Banabila, Formication, Sion Orgon, Human Greed (with LeeDVD) and Colin Potter. Most of the contributions are exclusive and, if I say so myself (and as somebody who doesn't actually like compilations much, generally, if I'm honest), add up to a rather nice whole that flows perfectly, with just enough contours and elements of surprise to keep it positively <span style="font-style: italic;">charged.</span> As an insight to some of the worlds LTCo is personally concerned with, I'm extremely pleased. The CD should appear in about two or three weeks time anyway and, meanwhile, the website itself should be given a long overdue overhaul and feature more information about this.<br /><br />Otherwise, the third Theme album, <span style="font-style: italic;">Valentine (Lost) Forever, </span>is also going to appear around the same time. Next to the collaborative album between my old group, Splintered, and RLW, released back in 1996, I would contend this as being the one I've felt the happiest about too. Not to slight anything else I've been involved with either, as it's only too easy to pull apart one's own work with the benefit of hindsight, but <span style="font-style: italic;">V(L)F</span> has taken a considerable amount of time to put together and much attention has been paid to the details and overall feel of the album. Following two Theme albums that have seen us exploring different ideas, collaborating with other people, etc., it would appear we've finally found our foothold. Despite presently feeling somewhat over-exposed to the material on the album (which leads to an overwhelming sense of jadedness virtually impossible to untangle oneself from, unfortunately), I feel incredibly proud and, indeed, comfortable with everything on <span style="font-style: italic;">V(L)F. </span>And my collaborator, Stuart Carter, has especially dedicated a lot of effort and man hours to the cause.<br /><br />Outside of releases, the LTCo website, as already noted, is due to be given an overhaul soon enough, plus the existing Adverse Effect website should shortly be replaced by one focussed on my Fourth Dimension label. A space there for AE matters will operate, and I may then pull down the present blog for this and move everything there. At present, I feel like I'm spread a little too thinly over the internet. Too many profiles, too many pages. Whilst that in itself may serve a purpose, I think objectives can get lost. One of the downsides to the current internet age is the dilution of information, although I still see more advantages than negative points...<br /><br />Listening round here lately has amounted to dusting off Sun Ra, Albert Ayler, Angels Of Light and Ralf Wehowsky albums mostly, but I've also been savouring Pauline Oliveros' <span style="font-style: italic;">The Wanderer, </span>The Plastic Ono Band's first LP, some Tindersticks, a little Eric Cordier, SSAB, Can and an album by a rather sprightly and energetic band called 2L8, whose work makes me think of Radiohead's before they went into Warp Records territory. Am not averse to a little decent pop, if infused with some fucking<span style="font-style: italic;"> intelligence</span>.<br /><br />More soon, I am sure...Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-3972115568551347612009-07-18T15:43:00.000-07:002009-07-18T15:47:50.765-07:00ChasmsI just posted the following blog on my personal MySpace profile, as I am beginning to feel anything I place here is swathed in a rather cumbersome and wholly overwhelming <span style="font-style: italic;">pointlessness.</span>..<br /><br />"Yes, yes, I said I'd never write anything here again but my promises are evidently going to be kept in the same way as my dear and rather battered old ticker: broken. Ultimately, should anybody be paying attention to such matters, just don't fucking listen to me when I'm having a whinge here. If I feel like jotting down a few thoughts here (as I do right now), I will do so. Just as I always have. Besides, it's nice to actually get the occasional drop of feedback, or <i>see </i>that, yes, people actually visit this place (even if I don't fully grasp <i>why</i>...). My posts at Blogspot seem to mostly go out to a void; a vast chasm of nothingness completely at odds with the sweat, blood and red wine I've put into the damn things. You know, I've an Adverse Effect blogspot, for example, with I think nice 'n' interesting interviews with, so far, William Bennett and Michael Begg of Human Greed (the latter conducted by the wonderful Kate MacDonald or, rather, Katred, no less), and it's hard to fathom whether anybody's even fucking <i>bothered </i>to check in on them. It's not, however, as though I do any of this to simply ride the waves of discourse, but I'd be lying if I declared I didn't enjoy knowing my own little stabs weren't just going out for any other reason than to keep myself <i>occupied. </i>It's not as though I don't have anything else to do or have a social whirlwind of dinner parties, cheap dates and private functions to maintain.<br /><br />Ever since I first entered the (very much underground) publishing world, I have always, always actively encouraged <i>response. </i>Even though my magazines helped forge my reputation as being an opinionated bastard unafraid to <i>speak his mind</i> or <i>accept idiots </i>(and the music world is teeming with the fuckers, believe me - never has such a place outside the world of filmmaking attracted so many egocentric, pumped-up little cunts who are so deluded they fail to grasp what they're doing is precisely the same thing as countless others), I never once ventured that anybody should bite their fucking tongues. For, believe me, doing exactly <i>that </i>is what most people do anyway. In <i>every </i>respect.<br /><br />So, to go back a little, yes yes yes, I <i>crave </i>discourse, ideas, opinions and suggestions. Like hearty meals, the good music itself that I mostly find myself pinning thoughts to, my desire for the woman who'll forever stay just out of reach, a roaring fireplace on a winter's snowy evening, and that one little nip of absinthe too many, it <i>keeps me going.</i><br /><br />Justifications over...<br /><br />On another note, if so inclined, do visit my Theme, LTCo (MySpace as well as the website), Splintered, etc. pages for updates on the various developments on my endeavours. Likewise, of course, the BlogSpot pages.<br /><br />Despite whatever some victims may say, my bark is definitely worse than my bite..."<br /><br />I think it says everything I feel like saying here at this moment in time...Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com1tag:blogger.com,1999:blog-7404176801204814106.post-21679338042939319882009-07-09T05:38:00.000-07:002009-07-09T05:41:23.926-07:00FrustrationsAll plans to have new releases out by this summer have been curtailed for all manner of reasons beyond my direct control. To declare this frustrating would be an understatement. On top of this, a lot of writing I had on an old iMac may well have just been lost too as it will no longer work...<br /><br />...and of course I didn't back it up!Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-61597456103966303522009-05-30T07:15:00.000-07:002009-05-30T07:18:35.189-07:00Movements: Part One<span id="PresenceContainer">True to form, all notions concerning my getting posts here regularly these days are proving themselves to be hurdles created by the presence of <span style="font-style: italic;">so much else </span>going on in my life. Partly due to the fact another friend has stepped in to help with such matters, the Lumberton Trading Company label is gaining a modicum of momentum, whilst elsewhere I’ve either recently been embroiled in William Bennett’s Cut Hands appearances in Poland (see review at my <span style="font-style: italic;">Adverse Effect</span> blogspot, if interested), caught up with affairs relating to the imminent release of the third Theme CD, <span style="font-style: italic;">Valentine (Lost) Forever</span>, on Israel’s Heart & Crossbone label, or snagged either on more Fourth Dimension releases or the <span style="font-style: italic;">Grim Humour</span> book I’m still (slowly) working at. Whilst I hope to continue with more posts here shortly, the best I can do in the meantime is furnish you with both the news the LTCo website will shortly be given an overhaul and that there are new links added here to its MySpace profile and Facebook group. Without any doubt whatsoever, and in spite of all appearances to the contrary, movements are constantly, and rather joyously, afoot.<br /> I have no intention of doing otherwise just yet, believe me…<br /><br /><br /></span>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-304685710274165482009-04-18T05:25:00.000-07:002009-04-18T05:41:42.896-07:00ThemeAs the group I'm involved with, Theme, are about to unleash a third CD album (via Israel's Heart and Crossbone label), <span class="Apple-style-span" style="font-style: italic;">Valentine (Lost) Forever, </span>upon the world, it seems only fitting that some footage of us live finally got posted on YouTube. There's not much there yet, actually, but an ex-flame of mine (and excellent fine-artist/photographer), Maria Husarska, has at least put together a rather exquisite short montage culled from our support slot to Colin Potter in Krakow in Spring 2007. If interested, please visit: <span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: 'lucida grande'; font-size: 13px; "><a href="http://www.youtube.com/watch?v=VsDukpegZn0" onmousedown="return wait_for_load(this, event, function() { UntrustedLink.bootstrap($(this), "bf39493beae54ea7c48737c0fd607619", event) });" target="_blank" rel="nofollow" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; "><span>http://www.youtube.com/watch?v=VsDukpegZ</span><wbr><span class="word_break" style="display: block; float: left; margin-left: -10px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></span>n0</a></span><div><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family:'lucida grande';font-size:13px;"><br /></span></div>Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com4tag:blogger.com,1999:blog-7404176801204814106.post-1561968830372089482009-02-28T09:15:00.000-08:002009-02-28T09:28:43.522-08:00CrutchesA subject that occasionally rears its head is the one concerning favourite albums, groups or music. An ultimately futile exercise, of course, but fun because it can lead to discourse, a clash of opinions, shared epiphanies, anecdotes and excitement, or a sense that one might not be alone in the belief that some obscurity is of far more ‘value’ than the very records, passions and interests which may have led to its being unearthed from anywhere ranging from a record shop’s dingy basement to a dead uncle’s attic in the first instance.<br /><br />Whatever, music that remains at the core of your very being does so for a whole gamut of different reasons. Nostalgia, the idea of looking back to certain records or more especially songs in order to return to moments long dissipated, and the feelings it can quickly dredge up like a sugar rush, may well make for a huge and significant underpinning, but objectivity can play an equally important role. Better still is when the thrill and excitement of a certain record not only stirs up the very same emotions as ever but has the added bonus of objective opinion kicked firmly into the black too.<br /><br />For me, it’s always hard to truly pinpoint favourite records without considering the original effect they had on me, the feelings they can still evoke, and whether or not, outside of this, they are actually ‘good’ in the first place. Perhaps the latter point negates the subjectivity of the former two, but I’ve now spent almost three decades attacking so much of the crap we’re surrounded by I’d contend my intuition is now finely honed. Yes, what constitutes a ‘good’ record for me likewise lays itself open for debate, but there have always been outside factors governing my decisions.<br /><br />When I first heard ‘Public Image’ at a local disco held every Friday night in a village outside of Canterbury, aged 13 or 14, it sent such a rush through me that it had a far more profound effect than all the ‘punk’ I’d heard prior to it. Those very same emotions are still stirred every time I hear Rotten’s opening cascade of hellos and Wobble’s mighty bass rumbles, and yet – outside of this – the song itself is everything the Pistols had promised: a glorious suckerpunch of molten rock drenched in negative-to-postive energy and barely contained cynicism; and all within the framework of a 'pop' song! Three years later and Public Image Limited’s <span style="font-style: italic;">Flowers of Romance </span>impacted on me in exactly the same way. Partly, I was at an age where I could generally only afford 7” records, so this was one of the first LPs I bought (taking its place alongside some Blondie, Stiff Little Fingers, The Cure, Crass and suchlike, I faintly recall). Secondly, the album’s title song, cut for a single, blasted my consciousness apart like so little else that I simply <span style="font-style: italic;">had</span> to have the album. An album that then proved itself to be unlike <span style="font-style: italic;">anything</span> I’d ever heard or even <span style="font-style: italic;">imagined</span> before. Only Rotten’s voice and some occasional stabs of noise were akin to the ‘punk’ I’d long become used to. The rest of the album just threw me so hard towards a place I’d never previously visited that, as with ‘Public Image’, I knew I’d never recover. Not even if I’d actually <span style="font-style: italic;">wanted</span> to, that is. And, again, the revisits I’ve paid since have never failed to reward me. On <span style="font-style: italic;">many</span> counts.<br /><br />So, when I am asked about my favourite records, I’m drawn towards those that not only mercilessly seeped through my very being, or indeed ripped it apart, but those that can hold their own when placed alongside anything else. The <span style="font-style: italic;">moments</span> they captured, and can still capture, plus their rightful places on a map I personally believe in, intertwined so well that it’s completely and utterly <span style="font-style: italic;">irreversible</span>.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-9444637437761108212009-02-27T13:52:00.000-08:002009-02-27T13:57:56.541-08:00The Fine Art of Giving a Damn (Expanded)Here’s a slightly expanded version of an entry I placed several weeks ago when only half-formed (and now deleted...). (Note to myself: learn to stop placing posts when they are not ready and, indeed, learn even from the sentiments in <span style="font-style: italic;">this</span> one!)<br /><br />Reflecting on how I have changed towards the music I'm personally involved with recently, I realised that the attention paid to everything now is not only greater but radically different. With my old band, Splintered, we'd invariably rehearse once or twice a week and then record at a local studio once we felt some songs were ready for it. There'd always be a certain amount of room left for improvisation and new ideas during the recording sessions, of course, but we'd at least get to the stage we felt we were ready to go there before parting with our money for the sessions themselves. And because we played live regularly, it was imperative we got together frequently to ensure we still had some chemistry between us as much as go over or expand on old songs or see if any new ideas would bubble up. At certain points, there wasn’t even a guarantee we’d get on together still, never mind commit our time, energy and money to much beyond.<br /><br />Theme, on the other hand, do not generally rehearse and, in turn, spend far longer labouring over ideas and sounds. We get together and record ideas immediately within the confines and comforts afforded by a home studio. Afterwards, we spend months, or even years, returning to these ideas and tweaking them into a shape we are finally content with.<br /><br />Ultimately, despite this shift in demographics, a<span style="font-style: italic;"> lot</span> of time has always been spent working away at the recorded work I’ve been involved with over the years and teasing it to the point it was felt ready to unleash on those who may be even vaguely interested.<br /><br />Although the approach to creating music, and tackling its inherent problems during this process, has changed as much as the music itself over the years, I strongly feel a vast number of groups and artists operating elsewhere within this field could learn a thing or two from all of this.<br /><br />I have always failed to see the point of putting one’s name to anything if the sense of pride or achievement ranks a second place to either a simple spurt of <span style="font-style: italic;">ability</span> or the many dubious motives spiralling from this…<br /><br />The lack of <span style="font-style: italic;">effort</span> I continue to hear in most music these days almost makes me wonder why the fuck I care so much about this most communicative of art-forms.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com0tag:blogger.com,1999:blog-7404176801204814106.post-80878496030110768462009-01-17T13:02:00.000-08:002009-01-19T04:32:09.188-08:00Making the Right NoiseAs somebody responsible for having released a lot of other people's music since the early 1980s, I have been on the receiving end of countless demos and bids for approval or even some kind of acknowledgment over the years. Whilst this in itself has furnished me with a tremendous ego-massage during those many times of need, I must confess that I have generally been put off at the very first hurdle by these little bursts of anticipation simply because they always amount to something fairly ordinary and, indeed, <span style="font-style: italic;">expected</span>. At best, there would have been a cassette (back in the 'early days') or a CDR (these days), an extremely dry and rather stultifying biography intent on magnifying the truth about the said artist or group so that they may seem sufficiently 'interesting' enough to work with, and possibly even a photo. Then there'd always be the letter. The <span style="font-style: italic;">begging </span>letter, intent on convincing me that the work of the artist/group concerned would 'fit in' with my label and that they, of course, 'love' and 'respect' everything else I have already done. Which is why, nine times out of ten, the music was either so bad or inappropriate that it, needless to say, did not come close to approaching my actual (admittedly broad, but refined nonetheless...) tastes.<br /><br />Barely a week has gone by since I began to release music where one or two, or far more, of these little stabs at catching a dream has not ended up in my grasp. Nice and, again, perhaps ego-massaging, on one hand, but likewise generally amounting to nothing more than a nuisance eating into time I don't really have spare for such matters. Of course, I fully understand the nature at work here but, to be extremely blunt, I'm ultimately residing in a highly privileged position (of my<span style="font-style: italic;"> own </span>making, I hasten to add). I've written about music since 1983 and, as a result, have always been in contact with an infinite tide of people involved themselves. Because of this, I have even actively <span style="font-style: italic;">discouraged </span>people sending me demos or whatever for as long as I can recall, but I suppose those dream chasers are every bit as ignorant about my background as their music only too often indicates.<br /><br />Nonetheless, it always got me that that one simple glimpse of one of these packages could tell me so much. A soulless, colourless biography attached to an equally benign letter exuding nothing more than the 'right noises' has almost always reflected the nature of the music within these packages...<br /><br />I had an email a week back from somebody claiming to have had "a dream" whereby he could "see" a 7" record with a silver cover emblazoned with a gold saxophone. He also said he could recall a "discussion" with "somebody from the label" in this same dream, although admitted he didn't know what this "signified". Then the punchline arrived in the form of him explaining he had some music to send me if I was "interested" and, well, it is on its way to me now. Whilst even the dream angle isn't entirely original, I just liked the fact that this approach was at least a little different to the usual.<br /><br />The music may well still not amount to much, but my interest has been piqued. And, right now, <span style="font-style: italic;">that </span>actually adds up to something which stands head and shoulders above what I normally receive.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com2tag:blogger.com,1999:blog-7404176801204814106.post-90414945658893789302009-01-13T07:36:00.000-08:002009-01-13T08:03:37.038-08:00A Premature Spring CleanAnybody who has bothered with my own musings here in the past will, I daresay, now notice that I have deleted <span style="font-style: italic;">all</span> thirty-eight previous entries. Principally, this is because I have never been entirely satisfied with them, either because they've been written and posted impulsively (something I'm otherwise extremely comfortable with when dealing with music) or have remained half-formed due to various reasons. Whatever, the fact remains. I have long considered the idea of simply starting anew here with a hopefully more rounded agenda underpinning everything. Whilst I am simultaneously contemplating the idea of beginning an <span style="font-style: italic;"><span style="font-weight: bold;">Adverse Effect </span></span> blogspot, I feel the space here would be better reserved for material which may dovetail with it more sufficiently, such as (for example) extracts from a book I started writing that's presently entitled <span style="font-style: italic;"><span style="font-weight: bold;">Exit Wounds</span></span><span> </span>or news on various matters relating to my endeavours. Of course, there will still be room enough here for catching various other stray thoughts along the way, but I want to exercise more care with them from now on.<br /><br />Whilst I'd be kidding myself if I didn't admit to generally feeling embarrassed or uncomfortable with most things I have written before, I remain at the mercy of the paradox afforded by my forever feeling inadvertently <span style="font-style: italic;">compelled </span>to continue exposing my lowly opinions and thoughts in this manner.<br /><br />I hope that there will be more postings here from now on and, in the meantime, would like to thank everybody who has commented on the previous posts. I hope you will continue to visit.Richohttp://www.blogger.com/profile/11071323448721089816noreply@blogger.com2