Jornal de Música LP - Capas

 

Neste post ficam 16 das capas de um jornal musical português que marcou uma época. Cerca de metade.

Estes tenho-os completos. Para quem queira tê-los manifestem o desejo através de um simples email.

Nº 0, 

Nº 14

 Nºs 21 @ 35

Multipistas

 

Brevemente mais episódios | programas no youtube.

Entretanto vão ouvindo este:

https://www.youtube.com/watch?v=Pt5MusNcU9A&t=1463s

Lista LJ|RP|MP - part 1 - os novos clássicos do século XXI

 

Lista LJ|RP|MP - part 1

Multipistas - Rádio SBSR, 5ªs 19h00 - 20h00, repete aos sábados à mesma hora Tenho gravações em minidisc de várias sessões | programas [os novos clássicos do século XXI]

(o que quer dizer que pelo menos uma parte 2 existirá, quiçá outras mais...)
Se querem ouvir algo de novo e estimulante deixo aqui uma lista. Explorem e encontrarão muita coisa boa.
Deixem de ouvir o Samuel Úria, Benjamim, Franklyn, Fachadas, Faustos, etc. e as cenas dos anos 80 deixem para os momentos de nostalgia.
Aqui a base a
e o Post-Post-Punk ou NeoPost-Punk ou o que quiserem chamar. Na cena electrónica experimental wyrd e folklore 'otherly' pastoral hauntological... também há coisas boas mas isso fica para depois.
Nota: o nome a seguir aos grupos é de faixas, o que interessa depois é ouvir as bandas para o que devem usar o bandcamp, o youtube e isso.
É capaz de haver um nome ou outro repetido, mas não são muitos (1?, 2?... hummm).
A repetição de Post-Post-Punk # é porque eu sou um bocado minimal repetitivo, além de anarco populista ;-)Ainda comecei a apontar as bandas que já comprei mas assinalei poucas, entretanto já comprei mais uma data delas, sobretudo em CD.

Been Stellar - All In One - Post-Post-Punk #18
Shelf Lives - Uncle Fred - Post-Post-Punk #17
Knives - Headcase - Post-Post-Punk #16
Habibi - Do You Want Me Now - Post-Post-Punk #15
Foxlane - Coffee - Post-Post-Punk #14
Goat Girl - Ride Around - Post-Post-Punk #13
800 Gondomar - Sexta-À-Noite Com O Monstro - Post-Post-Punk #12 (pt)
Girl And Girl - Dance Now - Post-Post-Punk #11
The Klittens - Traffic Light - Post-Post-Punk #10
Stupid Son - Comedy - Post-Post-Punk #9
Lambrini Girls - God's Country - Post-Post-Punk #8
Library Card - Kierkegaard - Post-Post-Punk #7
Plastic Noir - Imaginary Walls - Post-Post-Punk #6
Blue Bendy - The Day I Said You'd Died (He Lives) - Post-Post-Punk #5
Ugly - The Wheel - Post-Post-Punk #4
Dry Cleaning - Unsmart Lady - Post-Post-Punk #3
Drab Majesty - Dot in the Sky - Post-Post-Punk #2
Whispering Sons - Walking, Flying - Post-Post-Punk #1
Uranium Club - Viewers Like You - Post-Post-Punk #25
Vaguess - Octa - Post-Post-Punk #26
Projector - Chemical - Post-Post-Punk #27 (2ª compra 10.09.2024 +/-)
Fraulein - Feels Like Flying (Day) - Post-Post-Punk #24
Play Dead - All In My Head - Post-Post-Punk #23
Otala - Commedia - Post-Post-Punk #22
Bad Bad Hats - TPA - Post-Post-Punk #21
Plantoid - Demons - Post-Post-Punk #19 (1ª compra - inícios de setembro de 20224 bandcamp)
esqueci-me do #20
English Teacher - Nearly Daffodils - Post-Post-Punk #28
M(h)aol - Pursuit - Post-Post-Punk #29
Church Chords - Recent Mineral - Post-Post-Punk #30
Intermission Party Program - Enjoy Your Life - Post-Post-Punk #31
Necry Talkie - Bloom - Post-Post-Punk #32 (não está no bandcamp | japonesa)
Pom Poko - Like A Lady - Post-Post-Punk #33
Sprints - Heavy - Post-Post-Punk #34
Voyeur - Clue - Post-Post-Punk #35
Lurve - L.I.F.E. - Post-Post-Punk #36 (a comprar)
Gut Health - Juvenile Retention - Post-Post-Punk #37
Body Politics - The Menstrual Cramps - Post-Post-Punk #38
Man/Woman/Chainsaw - Back/Burden - Post-Post-Punk #39
Bowl - Fresh New Life - Post-Post-Punk #40
Dutch Interior - Ecig - Post-Post-Punk #41
Breaking Fuel // Internet feat. Alain Damasio - Post-Post-Punk #42
Legss - Fester - Post-Post-Punk #43
Moby Dickless - 52 Blue - Post-Post-Punk #44
Unsafe Space Garden - Tremendous Comprehension (from Where's The Ground) - Post-Post-Punk #45 (português - guimarães)
Cassels - Pete's Vile Colleague - Post-Post-Punk #46
Pozi - Failing - Post-Post-Punk #47
Jockstarp - Acid - Post-Post-Punk #48
Delivering - Operating At A Loss - Post-Post-Punk #49
Lice - The Dance - Post-Post-Punk #50
Real Farmer - Consequence - Post-Post-Punk #51
Porridge Radio - Every Bad - Post-Post-Punk #52
Snapped Ankles - Some Come - Post-Post-Punk #53
Wet Leg - Chaise Longue - Post-Post-Punk #54
Pardoner - Are You Free Tonight? - Post-Post-Punk #55
Deadletter - Binge - Post-Post-Punk #56
Yard Act - Dark Days - Post-Post-Punk #57
Blood Cultures - Graveyard Vibes - Post-Post-Punk #58
Sweeping Promises - Hunger For A Way Out - Post-Post-Punk #59
Todd Briefly - Not All My Friends Play Fender Jaguars - Post-Post-Punk #60
Squid - O Monolith - Post-Post-Punk #61
Black Country, New Road - 'Track X' - Post-Post-Punk #62
Floatie - Water Recipe - Post-Post-Punk #63
Sprints - Manifesto EP (2021) - Post-Post-Punk #64
Subsonic Eye - Fruitcake - Post-Post-Punk #65
Special Friend - Bête - Post-Post-Punk #66
American Culture - Drug Dealer's House - Post-Post-Punk #67
Man On Man - 1983 - Post-Post-Punk #68
She Drew The Gun - Class War - Post-Post-Punk #69
Legsss - Local God - Post-Post-Punk #70
Gaadge - Twenty-Two - Post-Post-Punk #71
Arthhur - Ripped And Dumb - Post-Post-Punk #72
Toothpicks - She's Loaded - Post-Post-Punk #73
Ovlov - Land Of Steve-O - Post-Post-Punk #74
Dad Bod - Wasting Another Heart - Post-Post-Punk #75
Wombo - Fairy Rust - Post-Post-Punk #76
Cola - So Exceited - Post-Post-Punk #77
Modern Woman - Ford - Post-Post-Punk #78
Grocer - Calling Out - Post-Post-Punk #79
Say Sue Me - B Lover - Post-Post-Punk #80
The Beths - Silence Is Golden - Post-Post-Punk #81
THICK - Happiness - Post-Post-Punk #82
Leenalchi - Please Don't Go - Post-Post-Punk #83
The Coool Greenhouse - I Lost My Head - Post-Post-Punk #84
Laundromat - Gloss - Post-Post-Punk #85
Holiday Ghosts - Can't Bear To Be Boring - Post-Post-Punk #86
Cowboyy - Gmaps - Post-Post-Punk #87
Courting - Tennis - Post-Post-Punk #88
Moin - Yep Yep - Post-Post-Punk #89
Special Interest - Foul - Post-Post-Punk #90
Self Improvement - Firestarter - Post-Post-Punk #91
Gilla Band - Backwash - Post-Post-Punk #92
Fujiya & Miyagi - Slight Variations - Post-Post-Punk #93
Low Hummer - Panic Calls - Post-Post-Punk #94
Life - Big Moon Lake - Post-Post-Punk #95
Horsegirl - Beautiful Song - Post-Post-Punk #96
Gilla Band - I Was Away - Post-Post-Punk #97
Dr. Sure's Unusual Practice - Escalator Man - Post-Post-Punk #98
Worst Taste - 悪​夢​に​笑​え​！ - Post-Post-Punk #99
Petrol Girls - Preachers - Post-Post-Punk #100
Oog Bogo - New State - Post-Post-Punk #101
7ebra - If I Ask Her - Post-Post-Punk #102
Thee Oh Sees - Fucking Kill Me - Post-Post-Punk #103
Ditz - Three - Post-Post-Punk #104
Oddly - Alligator - Post-Post-Punk #105
Confidence Man - Angry Girl - Post-Post-Punk #106
Hal e os Arqueiros - Palm Oil - Post-Post-Punk #107
Sorry - Let The Lights On - Post-Post-Punk #108
Automatic - Teen Beat - Post-Post-Punk #109
Fräulein - By The Water - Post-Post-Punk #110
Otoboke Beaver - I'm Not Maternal - Post-Post-Punk #111
Panic Shack - 'Jiu Jits You' - Post-Post-Punk #112
black midi - Welcome To Hell - Post-Post-Punk #113
Fake Turins - Down! - Post-Post-Punk #114
Home Counties - Back To The Seventies - Post-Post-Punk #115
Life - Big Moon Lake - Post-Post-Punk #116
The Early Mornings - First Words - Post-Post-Punk #117
The Bug Club - Six O'Clock News - Post-Post-Punk #118
Cheekface - Featured Singer - Post-Post-Punk #119
Silverbacks - Archive Material - Post-Post-Punk #120
Treeboy & Arc - The Condor - Post-Post-Punk #121
Grandmas House - How Does It Feel? - Post-Post-Punk #122
KEG - Elephant - Post-Post-Punk #123
Grocer - Open Wide - Post-Post-Punk #124
Kram - Manga liv, men bara ett liv - Post-Post-Punk #125
Grandmas House - Body - Post-Post-Punk #126
Chemtrails - Eternal Shame - Post-Post-Punk #127
Thank - Dread - Post-Post-Punk #128
Blacklisters - Why Deny It? - Post-Post-Punk #129
Black Mekon - Lo-Rent Sex - Post-Post-Punk #130
Jobber - No Holds Barred - Post-Post-Punk #131

Mais uma "Lista do FM" - desta vez... "Pós-Punk e..."

#118 - "Pós-punk Lista (FM)"

Fernando Magalhães

24.06.2002 160406

Pós-Punk e... 

Os discos que a seguir se apresentam são, essencialmente, derivações ou reacções à atitude e/ou estética punk. Entre o rock industrial e a coldwave, o art-rock e a electropop. Alguma desta música nasce historicamente do punk. Outra já vem de trás mas relaciona-se historicamente com ele. Em comum têm a recusa do primarismo e a vontade de propor novos caminhos, sejam eles tão niilistas como a “industrial music” ou apostados no resurgimento da complexidade e onirismo do Progressivo. Até mesmo na ressurreição da pop clássica dos anos 60 (caso dos Monochrome Set) ou do rock (Anthony Moore) Depois, entre 1978 e 1980, a electrónica e as máquinas ganharam espaço de manobra, a temperatura baixou. Mais cérebro e menos coração...Coisas terríveis surgiram, outras simplesmente coincidentes com o espírito da época. Outras ainda namorando descaradamente o desconhecido que ainda hoje não tem nome. 

ANTHONY MOORE: Flying doesn’t Help (1979) 

ART BEARS: Hopes and Fears (1978) 

Winter Songs (1979) 

ART ZOYD: Musique pour l’Odyssée (1979) 

BRIAN ENO: Before and After Science (1977) 

CABARET VOLTAIRE: Mix-up (1979) 

Voice of America (1980) 

CHROME – Half Machine Lip Moves (1978) 

Red Exposure (1980) 

CLUSTER & ENO: Cluster & Eno (1977) 

CONRAD SCHNITZLER: Blue Glow (1979) 

CONVENTUM: A L’Affut d’un Complot (1977) 

Le Bureau Central des Utopies (1979) 

DAEVID ALLEN: Opium for the People (1978) 

DAVID BOWIE: Low (1977) 

Heroes (1978) 

Lodger (1979) 

DEVO: Q: Are we not Men? We are Devo! (1978) 

Duty now for the Future (1979) 

ENO, MOEBIUS, ROEDELIUS: After the Heat (1978) 

ESKATON: 4 Visions (1979) 

ETRON FOU LELOUBLAN: Batelages (1977) 

FAD GADGET: Incontinent 

Under the Flag 

THE FLYING LIZARDS: The Flying Lizards (1980) 

GLENN BRANCA - The Ascension (1981) 

HELDON: Un Rêve sans Conséquence Spécial (1976) 

Interface (1977) 

Stand by (19799 

HENRY COW: Western Culture (1979) 

HUMAN LEAGUE (THE) – Reproduction (1979) 

Travelogue (1980) 

IGGY POP: The Idiot (1977) 

KRAFTWERK: Trans Europe Express (1977) 

The Man Machine (1978) 

LEGENDARY PINK DOTS: Island of Jewels 

L. VOAG: The Way out (1979) 

MARTIN REV - Martin Rev (1980) 

MOEBIUS & PLANK - Rastakraut Pasta (1980) 

- Material (1981) 

MONOCHROME SET (THE) - Strange Boutique (1980) 

- Love Zombies (1980) 

- Eligible Bachelors (1982) 

NEGATIVLAND - Negativland (1980) 

Points (1981) 

NEW YORK GONG : About Time (1979) 

PERE UBU – The Modern Dance (1978) 

Dub Housing (1978) 

New Picnic Time (1979) 

The Art of Walking (1980) 

PETER HAMMILL – The Future now (1978) 

PH7 (1979) 

A Black Box (1980) 

THE RESIDENTS: Not Available (1978) 

Fingerprince (1979) 

Eskimo (1979) 

RICHARD PINHAS – Rhizosphère (1977) 

Chronolyse (1978) 

Iceland (1979) 

ROBERT FRIPP: Exposure (1979) 

SNAKEFINGER - Greener Postures (1980) 

SUICIDE: Suicide (1977) 

Alan Vega – Martin Rev – Suicide (1980) 

TALKING HEADS – More Songs about Buildings and Food (1978) 

Fear of Music (1979) 

TELEX: Neurovision 

THIS HEAT – This Heat (1979) 

Deceit (1981) 

THOMAS LEER & ROBERT RENTAL: The Bridge (1979) 

TUXEDOMOON - Half-Mute (1980) 

- Desire (1981) 

UNIVERS ZERO: Hérésie (1979) 

Ceux du Dehors (1980) 

URBAN SAX: Urban Sax (1977) 

VAN DER GRAAF: The Quiet Zone/The Pleasure Dome (1977) 

WALL OF VOODOO: Dark Continent 

Call of the West 

ZNR: Barricade 3 (1977) 

Traite de Mécanique Populaire (1979) 

FM

Death In June - "Live May '82"

 O 3º concerto, de sempre, da banda:

1981
November 25 - Live at Central London Poly, London (with Birthday Party and Malaria - first concert)
1982
???? - Live at The Fridge, Brixton, London
May 28 - Live at Kings College, London (with This Heat) (Oh How We Laughed)
December 16 - Live at Farnham, Surrey (Farnham Surrey cassette)
1983
January 29 - Live at The Royal, Guildford (with White Colours)
...

+ informação aqui 

LIVNK82DIJ

Livros sobre música que vale a pena ler - Cromo #91: Will Sergeant - "Bunnyman, A Memoir"

 

autor: Will Sergeant

título: Will Sergeant - "Bunnyman, A Memoir"
editora: Constable
nº de páginas: 238
isbn: 978-1-47213-503-2 (hardback), que é o meu

978-1-47213-502-5 (trade paperback)

data: 2021

Primeira Edição.

Music it's the touch of the ephemeral sea in which we all swim. Whether we notice it or not, music seeps into us, creating emotions and desires that are powerful. How can it be that a couple of notes played in the right way, in the right order and making the right sound can make you laugh or cry?

Growing in Liverpool in the 1960s and '70s, when skinheads, football violence and fear of just about everything was the natural order of things, a young Will Sergeant found that the emerging punk scene provided a shimmer of hope amongst a crumbling city still reeling from the destruction of the Second World War .

Through school-day horrors, teenage insecurities and unnerving occult encounters, Sergenat was always fuelled by and thrived on music. Pennies were scraped together for the latest record or a night at Liverpool's punk club, Eric's. It was this devotion that led to the birth of the Bunnymen, to the days when he and Ian McCulloch would muck around with reel-to-reel recordings of song ideas in the back parlour of his parents' council estate house. Chance meetings led to finding a community - friends, enemies and many in between - amongst those who would become post-punk royalty, Dead or Alive, Frankie Goes to Hollywood and The Teardrop Explodes.

It was an uphill struggle to carve their name in the history of Liverpool music, with early gigs disrupted by technical difficulties and an eternally temperamental drum machine. But what started with a nervous first gig, an out of tune guitar and lyrics sung from a pocket notebook, became something truly iconic, as Echo and the Bunnymen created cult classics like "The Killing Moon", "The Cutter" and "Lips Like Sugar". By turns wry, explicit and profound, Bunnyman is the long-awaited story of how Will Sergeant foun himself in the right place at the right time and became a pioneer of the post-punk area.

UK£20.00

O livro é simpático. Não é uma pérola de literatura, mas se fosse nem eu a conseguiria ler, tão mau é o meu inglês. Portanto, tudo bem. Também não é a história dos Echo & The Bunnymen (certamente haverá outros livros sobre esse tema), e muito menos a história do SUCESSO dos Echo & The Bunnymen.

É um singelo livro de memórias, escrito por uma pessoa simples e humilde, sem percurso académico, tímido e solitário, complexado e complexo, na sua infância e juventude, cujos traços manteve ao longo da sua vida.

A história de um trabalhador pobre dos arredores de Liverpool, oriundo de uma família complicada e pobre também. A vida para ele não foi fácil.

E a história que conta é essa mesmo, da sua vida simples e comum de miúdo e adolescente dos subúrbios que, por acaso, perdão, por acaso e por paixão, ambição e grande força de vontade, se tornou  músico.

Mas as luzes da ribalta sempre o incomodaram e continuam a incomodar.

Mais de metade do livro fala da vida familiar, escolar e de brincadeiras (às vezes não muito leves) do grupo lá da rua.

E isso foi uma das coisas que mais me sensibilizou. Quase que me revi ao espelho, não só na personalidade do autor mas também nas brincadeiras e ocorrências que refere terem-se passado na sua escola e rua, não tanto na sua casa.

A bicada constante ao politicamente correcto sobre muitas das coisas que nós, adolescentes e crianças fazíamos na altura e que agora são mesmo crime. OMFG!!!! Hoje, qualquer otário "defensor" de uma "causa" consegue, mais do que irritar, ter poder e influência (que não se sabe de onde lhe vem) para pôr qualquer pessoa normal em sérios sarilhos. Exemplos não faltam. É só folhear os jornais do dia ou ver os programas televisivos, ainda mais invasivos.

Não é que o mundo esteja perdido, já os gregos diziam o mesmo a propósito da juventude e das diferentes gerações. Só que agora já não é um problema de juventude... qualquer idade serve para continuar a ser idiota (ou a protegê-los e apoiá-los) e incomodar os outros com os seus traumas, manias, parvoíces, causas, mas vivendo, quase sempre, à custa dos que criticam, os pais.

Como diria o outro: "o mundo está perigoso".

Mas voltando à vaca fria. A partir do meio do livro, além da vida pessoal, extramusical, começam os episódios da formação atabalhoada dos Echo, cujo sucesso, que a basearmo-nos na descrição do autor, foi um autêntico milagre. Mas acho que não. O Will é que é humilde e um pouco "misantropo", não suportando as "pavonadeadelas" da maioria dos envolvidos no meio. Pelo livro, além de muitos músicos e outras personagens da cena punk post-punk de Liverpool, sobretudo dos membros da banda e de Julian Cope (ominipresente), ressalta também o feitio peculiar de Ian McCulloch.

Do percurso de sucesso da banda, muito pouco.

Ainda bem!

This Heat / Albert Marcœur ‎– Untitled <-> This Heat / Marcoeur - Tago Mago (label original) booklet

 

temporariamente no WeTransfer - depois, solicitar por email

Livros sobre música que vale a pena ler - Cromo #87: Bendle - "Permanent Transience"

autor: Bendle

título: Permanent Transience
editora: Not On Label - Sel Released - Edição de Autor
nº de páginas: 164
isbn: 9781976779855
data: 2020 (ou 2021)

A história da banda punk / post-punk The Door And The Window, contada em jeito de memórias, por um dos seus dois principais membros: Bendle.

Permanent Transience

London, 1979.

At the end of the Winter of Discontent, just prior to Thatcher coming to power, two Young men form a band and a record label. They are musically inept and have no idea how to run a business. But they have an urge to make a noise, so they record what becomes their first single. And then they contemplate their first rehearsal…

An insider’s story of post-punk band The Door And The Window and of a brief moment in musical history when anything was possible.

 

ISBN: 9781976779855

Made in the USA

Middletown, DE

30 January 2021

164 páginas

Not on label

Self released

Edição de autor

 

Preface

In writing my version of the story of The Door And The Window I have focused mainly upon the first phase of the band’s existence, because it reflects a unique point in the history of (un)popular music. For a brief couple of years after the commercialisation (and subsequent redundancy) of punk music it was possible to produce and market all sorts of weird music and noise. Nag and I had a keen interest in playing music and in running our own record company. Despite having no business sense and no musical competence we managed to make and sell records – to an underground audience that was small, but which was widely (internationally) scattered. I felt myself to be one of a tangible community of musicians supporting each other with equipment and information, and of a wider community of people putting out their own music on small labels. Rather than a sense of competition, or envy at other bands having bigger audiences or sales there was a spirit of one of the gang doing well. We were constantly bemused at our own success and that people kept offering us work and exposure.

I have written more briefly of later incarnations of the band, because our gigs got less frequent, and to put them fully into context would have meant a book several times longer. The importance of the later versions of TDATW for me is that we continued to demonstrate the Permanent Transience that we had initially claimed as our modus operandi.

I have tried to be as true as I can to my experience of the story of The Door and The Window, although this has been written many years after the events. I have used old diaries as sources of information, but realize that I didn’t bother to record many things that were familiar enough to be taken granted at the time. I have chosen to leave out details that I cannot date or corroborate and have aimed to avoid retrospective analysis in an attempt at recapturing some of the spirit of that time.

Thanks everyone mentioned in the story, and apologies to those missed out.

Please get in touch if you think I’ve got any parts of the story wrong! 

Death In June - Entrevista no fanzine Grim Humour #2, de Setembro de 1983

 Conforme prometido no post anterior, aqui fica a entrevista dom os Death In June:

Death In June Interview

Grim Humour # 2 Sept.’83 30p

Background information: Although they only performed live occasionally, a healthy fixture on the London live circuit at the time was this group comprising former members of Crisis; a band most of those involved with the ‘zine also held aloft’s as one of the better ones to have arisen from punk. Formed in 1980 and still going now, Death in June were seen by us on many occasions around this period and made an equally large impression at a time when all those bands being deemed ‘Positive Punk’ left mostly (wry pun alert) nada by comparison. Kerry White, boyfriend of Karen Willoughby and in charge of Herne Bay’s Gower’s & Jones record shop and keeping it stocked whit a large array of independent releases (at a time when the term actually meant far more than a type of ‘alternative rock’ aimed at bedwetters going through pangs of acne-induced angst), had forged a friendship with Douglas Pearce due to the letter also working at the Rough Trade distribution warehouse in London and, well, the interview seemed inevitable. Just a shame it was conducted via the post, really. This method of interviewing bands was often employed by fanzines due to time and budget restraints, unfortunately. Whilst convenient and, indeed, vaguely comparable to those now conducted via email, they always lacked the spontaneity of a life interview. Nonetheless, they could be interesting still despite this, plus at least afforded both parties to actually articulate whatever they wanted to say in a more coherent manner. The interview was done around the time of their debut mini-album being released.

--------------------------

Original interview:

Death In June rose from the ashes of Crisis in late ’81. Their first venture onto vinyl was the 12” ‘Heaven Street’, which got some good reviews. However, they seem to have stayed very much an underground band, gigging rarely and generally keeping quite a low profile.

 

GH – Death In June have been together for quite a while yet it was only recently that you caught the attention of the music press and received critical acclaim for the mini-album, etc. Why do you think this is?

DOUG   The third release for any group is always important. We knew this and made an effort to make encroachments into the national music press. These were easily achieved and successful. It was a case of knowing that we were good, trying to make things happen and make other people know that we were good. The problem with us is that we are all quite shy, private people and don’t frequent the ‘rock and roll’ world like a lot of other bands, so we don’t get to meet and butter up a lot of journalists, etc. However, that’s the world we choose to live or, rather, operate in so we don’t have to make any adjustments. We haven’t done too badly up until now.

GH   What do you think of the music press?

DOUG   It’s there to be used. But, like anything, the vast majority of its contents are there by courtesy of major companies, professional hypers, etc. So, what’s new?

GH   Are you pleased with the album?

DOUG   Yes, it’s the most complete thing I’ve been associated with. Even though there is a lot of room for improvement and some half-realised ideas, it’s the most satisfying record I’ve ever been on. It stands head and shoulders above a lot of contemporary music.

GH   How well is the album selling?

DOUG   Far better than the previous two releases. A little bit more of an effort and we could be on (the same) level as Crisis were; which would be very satisfying as the past still haunts us in a lot of ways. I’d like this group to do a lot better than what it’s doing.

GH   Does running your own label help you to present your music better than being signed to a larger label? (Have you roused other label’s interests?) Will you use New European Recordings to promote other bands?

DOUG   As far as I know, no other labels have been interested in us. Then again, we are hardly interested in them. The idea of hawking a tape around a lot of businesses seems degrading and repulsive to us. If they are interested and they want to give us some money, then let them come to us. The drag about running your own label is the financial restriction. We could be doing so much more if we had the resources… As for promoting other bands, we have already. NER put out the first LP by The Legendary Pink Dots, Brighter Now, and provided gigs for a group called Iron In Flesh, who will hopefully soon have a 12” out. We are always looking for something to put out but there seems to be little of value.

GH   Do you like playing live? Would you say Death In June are a live band or a (studio) band?

DOUG    We dislike performing live because it places restrictions on us as people and ‘artists’. We are happier in the studio where we have more control. But, having said that, there are plans to do some more public appearances but, really, that’s all going against the grain a bit so I don’t like really know what the outcome of those will be.

GH   Did you enjoy the support to Sex Gang Children at The Marquee? Surely this could have held drawbacks, such as being tagged with the ridiculous ‘Positive Punk’ banner and (merely) gaining 0’cult status’, etc.?

DOUG   No. It was everything we expected: badly organized, no decent soundcheck, no room – the usual, in fact. As for the ‘drawbacks’ – only a fool would lump us in the ‘Positive Punk’ bracket and cult status is something we already have. That in itself is no problem. It’s only if you can’t build on it that it becomes one.

GH   Would you say that their music scene is healthier than your own, i.e. gig-wise?

DOUG   I don’t necessarily believe it’s healthier overall. It’s that the people you deal with in many of the places are more interested in what they are actually doing than just another way of making a quick buck, although I’m sure they have their fair share of those as well. The continentals appear to approach us from a different angle than the British. All our best interviews have been with foreigners.

GH   Where does the name Death In June originate from? And what does the symbol stand for?

DOUG   Death In June came about purely by chance and then we realized the ‘significance’. It means different things to different people, including us as individuals and humanity as a whole. It does refer to a specific event when ‘man’ decided to go one way instead of another. However, the symbol is this: the skull of death and the ‘6’ equals June, the sixth month.

GH    Is there a certain fascination with history in war with Death In June, as some of the songs suggest?

DOUG   There is a certain fascination, yes. However, that is really encompassed in our interest in European history and culture. Why plagiarise other cultures when there is so much of worth in our own and it’s only misplaced feelings of guilt that stop us from using our heritage. War history does form the basis for some of our songs, but not overridingly so. ‘Heaven Street’ is probably the only one that was written with those things in mind. References crop up in other things, though.

GH   Had Crisis helped in developing your current musical style?

DOUG   Since Tony and me were the major forces behind Crisis I should think that’s inevitable, but then we were going nowhere until Pat came along. We all have equal say in the routes that we take. All three of us write material. I should think it’s been a coming together of two groups successfully. Pat was in Runners From ’84, which Tony joined for a while after Crisis split. In fact, we had a guest participant with us recently who made his debut at The Marquee, who was also in Runners. He may become a full-time member.

GH   Do you feel the ‘independent’ ethic is important to the band’s career, i.e. fanzines and tapes, etc.?

DOUG   To an extent, yes. People doing things themselves can only be admired but, then again, most of the indie market was/is absolute shit.

GH   The next 12” is going to feature acoustic guitars and kettle drums. Are you aiming at a more diverse or commercial sound?

DOUG – That piece was taken out of context (Sounds article). Acoustic guitars and kettle drums are already featured on the LP, i.e. ‘Heaven Street Mk II’. In fact the next 12” will probably not feature those instruments. However, getting back to the question, I think we are going in both directions. What will appear first to the public is another question. There is some pretty odd stuff recorded already (the film soundtrack), but how (it) will see the light of day I am not sure. There are numerous possibilities.

GH   When shall we be hearing of Death In June next?

DOUG   I can’t see any new records out until the winter sometime. There will be a track on a double tape compilation, called Pleasantly Surprised, out in about a month. The track is ‘Black Radio’. As for gigs, we will probably be playing a few in early Autumn and some more in London. Then there’s Europe…

 

DEATH IN JUNE: Selected Discography

‘Heaven Street’ 12” (New European Recordings, 1981)

‘State Laughter’ 7” (NER, 1982)

The Guilty Have No Pride MLP (NER, 1983)

Burial LP (NER, 1984)

Nada! LP (NER, 1985)

The World That Summer 2LP (NER, 1986)

Oh, How We Laughed LP (Eyas Media, 1987)

Brown Book LP (NER, 1987)

Livros sobre música que vale a pena ler - Cromo #85: Richard Johnson - "Grim Humour - Volume 1 - 1983-1987: Highlights And Lowlights From The First 10 Issues Of This Popular UK Fanzine, Back By No Demand Whatsoever"

autor: Richard Johnson

título: Grim Humour - Volume 1 - 1983-1987: Highlights And Lowlights From The First 10 Issues Of This Popular UK Fanzine, Back By No Demand Whatsoever
editora: Fourth Dimension
nº de páginas: 350
isbn: 978-83-948138-1-9
data: 2020

AS ENTREVISTAS DE DEATH IN JUNE, THE FALL E COIL SERÃO TRANSPOSTAS PARA ESTE BLOG EM POSTERIORES POSTS

GRIM HUMOUR

VOLUME 1

1983-1987

Highlights and lowlights from the first 10 issues of this popular UK fanzine, back by no demand whatsoever

 

Published by Fourth Dimension 2020

© Richard Johnson / Grim Humour / Fourth Dimension

Everything published is © the respective contributors and cannot be reproduced without permission.

Artwork and Design by puppy38 and Richard Johnson

ISBN: 978-83-948138-1-9

Fourth Dimension Records & Publishing

 

CONTENTS

Chapter 1

Introduction – 7

Contributors / Credits – 10

Grim Humour #1

Abbo interview – 13

UK Decay New Hope for the Dead CD review (2013) – 17

Gary Glitter / Tenpole Tudor / The Defects review – 18

Chapter 2 - Grim Humour #2

Death in June interview – 29

Virgin Prune interview – 32

Killing Joke interview – 42

Rising from the Red Sands cassette review – 50

Chapter 3 - Grim Humour #3

Crass interview – 57

Public Image Limited review – 69

Flesh For Lulu interview – 74

Chapter 4 - Grim Humour #4

In The Nursery interview – 85

Record and Tape reviews – 89

The Fall interview – 91

The Cramps review – 102

Sisters of Mercy review – 102

Xmal Deutschland review – 108

Chapter 5 - Grim Humour #5

The Damned interview – 121

And Also The Trees review – 131

Mick Mercer interview – 135

Communicate and Participate – 150

Chapter 6 - Grim Humour #6

Portion Control interview – 159

And Also The Trees interview – 167

Fool’s Dance interview – 177

Cured book review – 185

400 Blows interview – 193

Chapter 7 – Grim Humour #7

Nick Cave interview – 205

The vinyl Frontier – 209

Soundtracks – 212

Sonic Youth interview – 213

More reviews – 220

Chapter 8 – Grim Humour #8

Ausgang + Rose of Avalanche review – 229

The Cure review – 231

Record Reviews - 232

The Leather Nun interview - 236

The Ramones interview - 243

Motivation – 246

Chapter 9 – Grim Humour #9

Life Would Be Grim Without Humour – 253

Cassette and Safety In Numbers fanzine

Chapter 10 – Grim Humour #10

Head of David interview – 257

Record Reviews – 265

Venus Fly Trap – 273

New Order review – 282

Big Black interview – 287

Coil interview – 304

Alternative TV interview – 314

 

Tearing Down the Barricades – 331

(pieces on Grim Humour by Andy Pearson, Harvey Francis, Steve Snelling, Mark Stevens, Karren Ablazel, Mick Mercer, James Machin and Matthew Worley)

A Final Word, by Richo – 345

Thank You’s – 347

 

The magazine, of course, also shuffled into view at a time when the musical landscape was much different from how it is now. Cassette culture reigned in the underground, John Peel’s radio show was the thing to listen to as a teenager unable to keep up with everything (blank cassette at the ready to record anything of interest, no less), flexidiscs were sometimes produced to document, very cheaply, new artists via giveaways with publications (two even appeared with Grim Humour irself in the early editions), vinyl was truly king (long before, of course, becoming a vogue trend of limited editions mostly dominated by the majors or boutique labels), record shops were places to hang out at, live music was generally affordable, a variety of different youth factions existed and occasionally looked horns, independent music hadn’t been completely turned into yet another wholly makestable commodity nullifying its original meaning )’indie’ as such, thankfully, wasn’t around when GH started and certainly was not synonymous with lame guitar music), weekly papers existed that were devoted to music, the Thatcher/Reagan political presence fuelled an even greater sense of hopelessness which itself, it could be argued, inspired many to kick against it, low-budget horror films created a huge public furore, and certain groups entries into the charts embraced and occasionally clever, wry or even more colourful descent into a possible sense of abandonment not really seen since. Basically, it was a different world, without the instant accessibility of the download. YouTube or ‘social networking’ sites reducing everything to a level where little effort is involved in discovering exciting new worlds and which, in turn, operates at a pace now so fast that disposability looms an even larger presence than ever…

But don’t get me wrong. There’s no misty-eyed sentimentality at work here. There’s much to be said in favour of many things presently unfolding around us, plus it´s likewise interesting to note that certain artists who helped to soundtrack Grim Humour are still not only very much active but also continue to create astounding and inspiring new work. Rather, I merely want to emphasise the ways in which the parameters have shifted in more recent times. The world wasn´t completely different when GH existed… but it was different enough and this in itself created an environment perfect for certain people thus inclined to, well, do something as they foundered to get a foothold.

Grim Humour was but just one speck on a landscape where fanzines formed a significant part of a network that could be readily tapped into in order to discover more about certain areas of music and some of the ideas propelling then. Titles such as Tone Death, Vague, Panache, Kill Your Pet Puppy, Chainsaw, Artificial Life, Murder By Guitar, NMX, Ablaze!, Abstract and Rox! Constituted a mere handful of titles to be found in the early 1980s. Sometimes they ere found at gigs, sold at the Better Badges stall in London, or punted directly from a carrier bag stuffed full of them. They could also be found in decent record shops, although few could match the stock forever on sale at the Rough Trade Shop in Talbot Road (who’d also willingly take on Grim Humour’zines following some kind of deal in the shop’s backroom). Whilst there’s little use in pretending each and every fanzine scribe got on with each other or even, in many cases, the groups they covered, it cannot be denied that what

 

INTRODUCTION

Grim Humour was as underground magazine, or ‘fanzine’ – call it what you will – that existed between 1983 and 1993. It run for a total of eighteen editions during its ten-year existence and was responsible for documenting a significant number of bands largely aligned with or inspired by punk or post-punk music as well as their cousins in industrial culture, the other reaches of electronic music and so on. It also published features on writers, filmmakers and film directors, columns, editorials that often spiraled into crevices foaming with vitriol, cartoon strips, occasional artwork and a vast black tide of reviews largely scribed whilst pepped up on adrenalin, frustration and gallons of cheap beer. Throughout its lifetime it was widely recognized as one of the largest and most popular UK publications of its kind, garnered a mountain of praise, equally attracted much in the way of criticism or even downright envy, and helped pave the way for several other concerns by a few of those responsible for putting it together. Above all, it was always far more than just a mere ‘fanzine’.

Something that probably warrants mentioning is that Grim Humour followed a tradition of underground magazines assembled as much from old cut ‘n’ paste techniques as teenage passion and a yearning to find a foothold in the world unfurling around us. It began before DTP technology was available in every home and at a time when buying glue came wedded to nefarious connotations (that’s the subtle doffing of the cap out the way to a certain early punk fanzine). With no computer programmes to assist us, we had to suffice with sheets of A3 paper, a couple of battered Smith-Corona typewriters, scissors, Pritt-stick, Letraset and a pile of comics, magazines and photocopies to cut up and crumbled as soon as we applied it, sometimes the pasted cut-outs peeled at their corners and sometimes we had to make do with a leaky black pen to help fill in the gaps. It was always enjoyable, though, and never once lost this slant even as it began to dabble with DTP technology in those final editions before it folded, took a six year break and transmogrified into the equally hap-hazard Adverse Effect (which still, after four published editions between 2000 and 2005, loosely exists today as a mainly online mag).

 

They together did made for a great source of information for those craving more than whatever was offered by the weeklies. Despite often being badly written or appearing like they’d been put together over a drunken weekend, there were countless titles clearly produced by those articulate and impassioned enough to perfectly reflect the energy of the times. Where Grim Humour fitted in with all this is up to others to decide, but there was certainly a period of several years where, helped along by national distribution courtesy of Southern Records, it at least seemed as though it resided amongst the cream.

 

++++++++++++++++++++++++++++++++

 

What follows in this compendium is brief background information to each edition of Grim Humour, reprints of several of the original pages, a significant number of re-edited highlights (interviews, features, reviews, etc.) given over to additional information and new editorial comments (in italics, as opposed to those original editorial comments that, simply, are not) where it is either necessary or simply feels right, and a perhaps slightly carefree smattering of pieces previously unpublished or even written more recently. Whilst the original pages have been reprinted exactly as first published (unless stated otherwise due to, for instance, ink colour changes), the reworked highlights (and, indeed, lowlights) have been tweaked to banish previous typos or mistakes without compromising their original form too heavily. When the ‘zine started nobody involved could, in any sense, especially ‘write’ and had no illusions otherwise. The proliferation of grammar and spelling mistakes pay testament to this in the original publications, but it is apparent that, thankfully and naturally, such matters got better with each passing edition. All the same, outside the reprinted original pages, it is impossible to attack this material without deploying the, uh, deft hand of experience. I hope readers will find this acceptable and that the (cough) ‘magic’ of the original writing will not have been compromised too heavily. Likewise, I hope you, being but one of the said readers, will notice the improvements marking every step of the way from the first edition to the tenth one, where this particular collection ends? The confidence gained throughout this course should be more than evident as the later editions here begin to galvanise a style, or even attitude, pushed even further from #11 on, but there’ll be more of that in the next volume, should I ever get to it (and I certainly hope to).

As I write, my work on a project long thought about, discussed and then inevitably buried and procrastinated over has only just commenced. I can only hope you’ll find it as enjoyable as I presently am.

Richo

 

Editor: Richard Johnson (a.k.a. ‘Richo’)

Sub-Editors: Andy Pearson, Rob Hale, Andy Jones, Jim Crosland

Original contributors: Karen Willoughby-White, Kerry White, Harvey Francis (a.k.a. ‘Havoc’), Gary Levermore, Gerald Houghton (R.I.P.), Hassni Malik, Mark Stevens (a.k.a. Anton Black), Andrea Johnson, Mick Mercer, Jan R. Bruun, Tom Vague,

Molly, Ian.

Acknowledgments for the book: Mark Stevens (invaluable proofreading/editing help and contributor), Michael Everett (a.k.a. ‘puppy38’, design), Andy Pearson (editing and contributor), Marcin Barski (initial artwork assistance), Mick Mercer, Steve Snelling, Karren Ablazel, Matthew Worley, Harvey Francis, Mark Perry, Klive Humberstone, Steven Burrows, Alex Novak, Gary Warner, Stuart Curran, Peter Gardner, Steve Spoon.

All photos credited (where known) accordingly.

Apologies if anybody has been overlooked. Please let me know if you feel you have been.

Special thank you to Iwona Palka (support and perseverance beyond the call of duty).

Thanks also to those who’ve offered help or even indirectly encouraging and motivating everything, including Darren Crawford, Mark Stevens and Wojtek Kozielski.

Please note that all of the opinions expressed within this book revert to the individuals responsible for them and not Grim Humour/Fourth Dimension or those amongst the board of editors.

All writing not otherwise credited is by Richard Johnson.

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