Terminal Cheesecake

I got to do an email interview with Gordon out of Terminal Cheescake while he was on tour with The Cosmic Dead as Russell’s glamorous stunt double (“Well, that’s how I’ve climbed to the dizzy heights of the music industry: by replacing Russells”).

Some of it ran in NARC.Magazine but there was lots more, so here’s the Director’s Cut

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For people of a certain age, Terminal Cheesecake are legends, flying the flag for truly fucked up psychedelic noise in the late eighties / early nineties with mindwarping albums like Angels In Pigtails and King Of All Spaceheads. For some of us, they felt like this country’s answer to the Butthole Surfers and they were magnificent. They ground to a halt more than 20 years ago, so when the first rumblings emerged of a TC reunion, our collective synapses twitched.

The band have the kind of family tree that would have foxed Pete Frame, and members who’ve also been in such notable outfits as Skullflower, Ice, Head Of David and M/A/R/R/S, “Russ (Smith, guitar) is one of the originals (even though I’m on one track from the first album) and we were both in TC together (him guitar, me bass) around Angels In Pigtails times. Happy days! Then I switched to guitar for Pearlesque, Gateau and Spaceheads until I finally dropped out, some time in ’95…  John Jobbagy (drums) was there right from the start, being in both The Vibes and The Purple Things with Gary Boniface pre-TC. He played on Bladdersack, Johnny Town Mouse and VCL, but was off doing other stuff (like Ice with Dave Cochrane, Justin Broadrick and Kev Martin) by the time I ‎joined.”


So the short version of the reunion was that guitarist Russ Smith was the prime mover and talked John and Gordon into giving it another shot. “The how and why are both Russ. He was very keen on getting a new TC version together and he’s been the prime mover behind all of it. He got in touch with everyone and talked most of the more reluctant of us into it. The Cheesecake line-up has always been so fluid that he had plenty of ex-members to choose from! A few notable mainstays that Russ invited just didn’t want to be a part of it or couldn’t commit the time were Mick Parkin (original bassist), Fez (long-tem bassist) and Gary Boniface (original singer). Their view was similar to Bacon and Bungay‘s brazen head: “Time was”. Gary was always a major force in Cheesecake and I didn’t want to take part in the new version without him at all at first but, once persuaded, I’m so happy that I said yes. I love playing in Cheesecake!”
How did Dave Cochrane get involved? “See above, really. The connection was cemented in Ice but he was a mate anyway and well-respected from his stints in Head Of David and Sweet Tooth. When Russ couldn’t persuade any original bassist to re-join, we asked Dave.” And Neil (Francis, vocals)? “OK, well… original singer Gary didn’t want to join in the re-started TC and around that time I saw Gnod for the first time in a tiny, dark, sweaty basement in East London (Power Lunches). I was blown away by them and particularly impressed with the total abandon of their singer. Afterwards, I started to realise that Neil’s style – with loads of echo/delay – was really similar to Gary’s so I just found his email address and asked him to give it a go… He agreed and it worked out beautifully!”


It feels like the underground scene has rarely been healthier, and Terminal Cheesecake seem to have reappeared at just the right time in a scene that bears at least some of their DNA. “Yeah, the scene’s great, isn’t it? And it feels as though it includes more forms than the rock form. There are artists from many traditions, side-by-side, in a scene that’s not very genre-bound. People tour, meet up, get on, start to be friends, suggest collaborations, help each other out with shows. That’s how it works. What I’m seeing is a scene that’s not a clique. Every time we get on with folk and they’re a bangin’ band or artist then we include them and coalesce into a single unit.”

Watson is uncomfortable with the term ‘veterans’ however. “We wouldn’t be presumptuous enough‎ to say that we’ve been influential or that others have caught up. We’ve always created without compromise, though, and continue to do so but I think plenty of others have always done that too. We haven’t been bothered by being ignored except by a tiny number of well-informed people – that’s always been the case. We’ve never sought approval in the past and don’t now. We definitely feel part of a community. Years ago it felt more competitive. Now, that’s not the case – and there’s nothing to compete for, anyway! “

For a long-term fan like myself, seeing TC play amazing shows to large, receptive audiences is positively life-affirming, almost vindicating. “Thanks for saying that and of course we are blown away. I know Russ, Neil, John and Dave love to see people enjoying themselves. Personally, I have quite a bit of imposter syndrome, so I try to keep my head down and not look at the audience during a set. I find them quite intimidating. Any positive reinforcement really helps us to keep going. I’ll take that as a compliment :)”

But this is no cash-cow reunion trip, as their first ‘comeback’ album Dandelion Sauce Of The Ancients made very clear. “Absolutely! One of our guiding principles is that our new music shouldn’t be an exercise in nostalgia. I’m glad you liked Dandelion Sauce. We’ve finished another album that’s darker than the last one. We went to record in rural Wales with Wayne (Adams, Bear Bites Horse). Being away from London gave us the chance to experiment, improvise and go deep. I’m really, really happy with it. It’s a hare-themed album that’s coming out on Box Records, probably in March 2019, and we’ve got a split coming up as well.  We also have some archive material that people might find interesting but we’ll be making that available by download and not really promoting it. Several labels have suggested reissuing the older albums. We might do that if everything aligns properly with ex-members. You can still get them on discogs, folks!”

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With you and Russ in Melting Hand and TC (and Neil, sometimes), is it ever a problem to decide whether something you’ve written belongs to one or the other, or don’t you work like that?

“Mostly, writing is done in the context of one band or another. So, we know it’s going to be for that band. Each different line-up has its distinct characteristics and the spontaneous composition method that TC uses is at the opposite end the scale to the highly composed tunes of Luminous Bodies. However, you’re right that sometimes a tune will make the rounds! A good example of that is something I wrote a few years ago that’s been recorded (and rejected) by both TC and MH. Then, after combining it with a riff Tom Fug has been trying to use for many years, it’s become one of the best tracks on the new Luminous Bodies album. That’ll also be on Box and out around June 2019.”





Stick In The Wheel

Words: Lee Fisher / Prince Reelfoot

With their debut Newcastle show this month, Lee Fisher spoke to Nicola Kearey and Ian Carter of Stick In The Wheel about those typically folk topics of autotune, mixtapes and pirate radio.

(this is an extended version of an  interview that first appeared in NARC.Magazine)

Stick In The Wheel are important. What they’re bringing to folk music is important. Their second album proper, Follow Them True, is important. And, obviously, brilliant.


Picture credit: Toby Amies

Their debut From Here had a sparse, stark beauty but the follow-up has added more textures, not least a subtle use of electronics. It seems this was always the intention, as Ian Carter explains.

“For me it was always part of the plan, strip it right back then gradually build it back up. Now that doesn’t mean that there’s no more room for stripped back stuff and all it’s gonna be from now on is long synth workouts. It means we’ve been able to expand our palette to the point where it hopefully actually reflects the breadth of creativity that exists in the musical communities that surround English folk music.”



One thing it does have in common with the debut is the deeply felt politics, seldomly explicit but ever-present. As Carter points out, “Our very existence is a protest, sometimes you don’t need to state it explicitly.” “We wrote and recorded the album in the immediate aftermath of the Brexit vote.” adds Nicola Kearey. “So it reflects that feeling of being fucked, helpless, feeling that nothing you do is making any difference. And making a record, a soundtrack to these times, it’s all we know how to do. Being English, as a country everyone hates us, as a country we hate ourselves.”

One of the notable things about the album is the use of autotune on the title track, which in an act of pure wish fulfilment on my part I decided was some kind of trolling of the folk establishment. But that was never their intent. “Nah, I have a rule to never make music that’s a negative reaction to something, it’s like damning yourself by making you as bad as those people.”, Carter explains. Kearey picks up the theme. “Some people’s only reference to autotune is that Cher record from years ago. So it’s a big deal for them. Other people are familiar with it as just another texture, so although we were aware it might be like a flaming beacon to some people, we’re still just doing our thing. ‘Does it sound good?’ is the only criterion by which we live.”

Another notable track is The Weaving Song, which they actually heard first in Bagpuss. As Kearey sees it, “Everything is valid, it’s all up for grabs if you do it right, for the right reasons.”. “Folk music for us is more than just searching for unheard tunes in some old library,” continues Carter, “Although – like crate digging for samples – it’s an important and vital part of the culture, it’s just part of that learned melody and style that you absorb as a child. People of a certain generation have folk music burnt into their heads (whether they like it or not) because of Sandra Kerr & John Faulkner’s work on Bagpuss.”  In fact, they got to perform an impromptu version down at Sidmouth Folk Festival.



“I was against it at first, just because of not wanting to fuck it up or it be cheesy. But I’m over the moon we got to do that.” says Kearey. “I love Sandra Kerr,” Carter adds. “She’s right on and maybe sorely overlooked in favour of some other people –  the work she and John did on Bagpuss is responsible for certainly my playing style. We never did it on stage, but it was a really important moment for me. She’s one of the people I respect the most.”

Stick In The Wheel’s next release will be that most un-folk of things, a mixtape (released this month, there’s even a limited cassette run alongside the CD and download which you can preorder here). As Kearey explains, “It’s just nice to get a bunch of ideas down, without too much fuss or procrastination. We’ve been taking the opportunity to hook up with other musicians to do the odd track, rather than commit to a whole project together, it’s quite a low key thing I guess and we take inspiration from the scenes that inspire us – for Ian, it’s the beats scene where people are generally very supportive of each other, making good work always comes first. And you know, why the hell not?” And is the first folk mixtape? “We did one for the BBC Freakzone radio show a while back which no-one heard,” laughs Kearey. “So not really, I mean maybe folk people don’t necessarily put stuff together as a continuous piece but it’s something we’ve always done. We might be known for folk stuff but that’s only one part of the story.” Titled This And The Memory Of This, after the David Bray painting that provides the artwork, the mixtape flows wonderfully despite its diversity. “We’ve done some collaborations, remixes and tunes with people like Anna Roberts-Gevalt (from Anna & Elizabeth), Lisa Knapp, Om Unit, Jack Sharp, Laura Smyth & Ted Kemp, and a couple of new tunes. It’s a mixture of trad and original stuff.”

In fact, the track with Roberts-Gevalt – in The Morning – is one of the most intriguing things on the album, an immersive blend of her speaking and singing (in that high lonesome mountain style) with drones, beats and violin. It’s something of a gem and draws attention perhaps to the similarities between Anna & Elizabeth and Stick In The Wheel. Their recent Smithsonian Folkways album The Invisible Comes To Us feels like such a companion piece to Follow Them True. “They’re from Virginia and Vermont, and do the most beautiful understated old-timey music, which is delicate but not fragile, and Anna is heavily involved in the New York experimental music scene.” says Kearey. “We didn’t know them but met up when they were first over here, I think we recognised each other as people keen to do good work, so we got together when she was last over here, we literally had a day hanging out at our studio and she brought this trad song in. What I love about her is she is ready to try anything and is unafraid to get stuck in and do stuff. Then Ian is also really good at being in the moment and trying stuff. Letting the music come together, and being free about it is what we aim for always.”



Perhaps given Kearey and Carter’s background in urban / electronic music, a mixtape isn’t that surprising after all, and that culture still informs Stick In The Wheel and their approach to the folk scene. “We’re all about the culture, I can’t stress that enough.” explains Kearey. “Some people in the folk scene find our work challenging, like they are really actively against it, and that’s fine, you don’t have to like it. Sure, there are some incredibly frustrating things about it, but there is much to be celebrated. People are often very generous with their time and hospitality because they can see we are really into what we are doing, and that it’s for the good of the scene – we are still anti-commercial BUT we are doing what we can to bring this music of the people to wider audiences. That can be difficult when the scene is generally risk-averse. It can mean that nothing feels very exciting. I hope we have been able to start putting a spark in places where it is needed and the places that can’t take change for whatever reason will wither and die.”

Carter expands: “Anything that limits the creativity of a scene is bad. People need to support each other. Remember I come from the London urban beats scene (jungle, D&B, garage, grime, dubstep) and people take this shit seriously. In the 90s, these people climbed up the side of tower blocks to erect aerials so people could listen to music on pirate stations. WE take our shit seriously. This is everyone’s culture, it’s important. It’s not something you can use for your own bullshit vanity projects. It’s our fucking culture. I won’t be happy until we can all take our traditional culture as seriously as those dudes climbing up the side of a tower block just so they could hear a bit of good music. Take it seriously.”



Stick In The Wheel are clearly at home with the contrasts. “We’re touring through the Autumn and already it’s been banging rock venues with sticky floors one minute and ‘This is Mary’s chair you can’t sit there’ folk clubs the next.” says Kearey with some relish. “There’s never a dull moment when your audience is so varied. Last night someone got up and sang ‘My brother Billy had a ten foot willy’ and the other night someone booed because we’d cut a 17th century ballad down from 64 verses into 12.”

Stick In The Wheel’s autumn tour brings them to Newcastle Star & Shadow on November 30th. This And The Memory Of This can be pre-ordered here.






Just Say Gnod


Gnod Zammo

A couple of weeks ago I got the chance to interview Paddy Shine from Gnod for Narc Magazine, about their recent Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine album (probably my favourite album of the year so far) and the current tour, amongst other things. Paddy was open, honest, funny as fuck and generous with his time, which meant there wasn’t room to include the whole interview in Narc. So here is the largely unedited full transcript…

Salford-based collective Gnod have been making music in all manner of styles and configurations for over a decade now, embracing everything from psych and doom to techno and at the same time becoming key figures in the development of the community of artists and musicians working within the now essential Islington Mill complex. At the end of March, the band released perhaps their most astonishing and uncompromising album yet, the bluntly titled Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine, a five-track howl of anger delivered in a particularly ferocious style. But as Paddy Shine, one of the central members points out, it’s not necessarily what people imagine it to be.

“Let me start from the beginning, actually. The album tracks and the title were all written pre-Brexit, pre-Trump,  yeh? Everything was already decided, you know? And the album is as much introverted as it is screaming out about things. It is definitely calling out what’s going on around us , that’s pretty evident from the title and the songs – the anger in it – but the title was as much a poke at our collective apathy. It’s like that old ‘Just Say No’ Zammo campaign and all that… we thought, this is a good little poke at ourselves, how the fuck are we supposed to change the situation here. It’s funny, it is a political statement but it’s also taking the piss a bit too, and I think a lot of people have missed out on that side of it, because the album got released after Trump got inaugurated. All of a sudden we started getting all these email from people going “Yeh! A fucking anti-Trump album”, and we’re like “yeh, alright, it is that but it’s not just about Trump, you’ve got to take a look in the fucking mirror.” Change starts at home, doesn’t it? That’s the point we were getting at and the last three albums that we’ve done have been this progression – Machines was a very introverted look at our living situation, and how we felt we were contributing to our community. And Mirrors was sheer rage, basically. And this one was supposed to be a kind of raging bit of fun. When we play these tracks live, we’re playing them like there’s no tomorrow, really. It’s nice to finally tell someone what the album is, because a lot of people think we’re jumping on some sort of political bandwagon, whereas to us it was a continuation of what we already do, really.”

And what came first, the content or the sound?

“We started writing those songs well over a year ago, 18 months even, that’s just how they were when they were written. And how we always seem to work is that we start writing and a developing a new set before we go on a new tour, hone it down on the tour, and as soon as we get back we go straight into the studio and record it. So there was no great agenda, it was just a constant natural process, no “okay, let’s get angry and some political stuff”, that’s just how we roll. “

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How’s this tour going to work live, in terms of line-up and instrumentation?

“There’s new tracks, old tracks and stuff from Just Say No. Personnel-wise, it’s the core four of us, with a new drummer and Fish (aka Neil Francis) joining us back on the vocals again. We’re pretty stripped down instrumentation- wise, for the full band stuff it’s just two basses, two guitars, vocals and drums. Pretty stripped down for a Gnod thing. But we’ve been getting more interested in electronic sets, so we’ll be doing some of those on this tour, which is nice because hopefully people are starting to get into the weirder electronic things we do. “

Have you found that the way you constantly shift styles has alienated people?

“It’s cool, people are starting to get down with that, At first, we had so many weird reactions, throwing things at us and shouting [adopts French accent]: “where’s your fucking geetars, what iz this shit?” But we love that, it’s great to do people’s heads in. I love going to a gig and getting my head in by a band, I might have some expectations and I want them blown out of the water!”

(There follows a long chat about the first time each of us saw Circle, followed by a discussion of possible musical influences in which I suggest the blend of anger, dub and fucked up guitar sounded like World Domination Enterprises. Surprisingly, Paddy hadn’t heard of them so I sent some links. Response? “That guitar sound man whoaaaa, fucking sick!”)

I wanted to ask you about Crass – to me there seems to be a parallel in the way Crass operated and the way Gnod do now – involvement in the underground, Islington Mill, things like that. Were they an influence?

“Definitely! It’s simple really: when I was about 12, 13, I discovered Crass through a friend’s uncle’s record collection that he gave us, and after about a year of us deciphering what the FUCK they were on about – we were just young lads growing up in Ireland, we could barely understand a word they were saying, know what I mean? Ever since then Crass, and Penny Rimbaud and Dial House, have definitely always been hugely influential, the way Crass went about doing what they did and pretty much changed the record industry and showing young punks that there was an alternative to big business. I don’t think they get enough credit for doing all that… People slag them off because they think they were some sort of rich kid punks or whatever, but they were true punks.. they set up spaces, and a lot of the bands I love from the late eighties and the early nineties, the weirder stuff, that all comes from Crass somehow “

And does that feed into Islington Mill?

“I don’t know how many people in the Mill are aware of Crass and what they did, or Dial House. We’ve got so many different people from different backgrounds…  we’re just doing what we do. I mean, obviously I’m influenced by Crass because I grew up listening to that stuff and being really interested in how they approached things. But I can’t speak on behalf of the rest of Islington Mill. The only way I could answer that would be in about ten years time when I’ve got a bit more perspective into how it all happened and how it all worked. Because when you’re in the middle of it, you’re just doing it, aren’t you? This place is organised chaos and that’s the glue that holds it together really, the chaos.”


Can I ask about the track Real Man? Is it a particular person or a composite of a particular type of bloke?

“It’s a whole bunch of people, that’s kind of been whittled down to one head, but it’s a head with a million split personalities.. . (laughing) You’re going to ask me about the Mark E Smith lyric aren’t you?  (Real Man has some lyrical nods to Hip Priest). It’s not about MES but I just had the opportunity to rip off some Fall lyrics cos they fitted. I have to work for a living, I’ve got a job, and a lot of my lyrics are informed  by what winds me up. And work FUCKING winds me up. Being surrounded by fucking dickheads particularly informed Real Man. I don’t like to explain my lyrics too much, it might ruin someone’s own interpretation.

Since I lined up this interview, I found our you’re releasing a live tape through Joe Maclaren’s Concrète label and now I’ve heard about yet another Gnod project, the Temple Ov BBV – can  you tell me something about that?

“We got invited to go to Eindhoven Psych lab last year, to do a residency which was to go in and jam with Radar Men From The Moon and then do a gig with them at the festival. But we said ‘fuck jamming, let’s write a really sick album!’. We had to jam a bit to get to that point obviously, but the idea with these things is usually the bands go in and wig out and play over each other and hope that something good happens. But we wanted to write four or five really good tracks and team up as Temple Of BBV. BBV is brain – blood – volume, which is directly linked to trepanation…

(There follows another long digression about trepanation, which seems to be cropping up all over these days, before moving onto microdosing)


“I’m a massive advocate of that, I’ve been microdosing myself for two years on various things from psilocybin to LSD and it’s had a massive impact on my personal life. I’d be well up for giving trepanation a go if I could find somebody to do it. I  just want the right medical procedure, you can do it in South America for a couple of grand. It’s only in western Europe where it’s taboo. It’s the oldest surgical procedure In the world, and it still gets practiced.

Anyway, going back to the album! This album was themed around BBV and… I don’t want to use the word enlightenment…  but something LIKE enlightenment through trepanation, or the idea of it, freeing yourself and regaining some kind of paradise lost, you know? I’m fucking pleased with it, there’s 11 or 12 musicians playing on it, a lot of it’s live, and everybody worked really hard. We only had 3 ½ days but it was one of those things you walk away from and go, “yeh, this is why I do music…“

When you play Newcastle in May you’re sharing the bill with White Hills, and  I know you go way back with them?

“We nearly always do a show with them on every tour, and we see them at festivals. We’re good friends… We did the Liverpool Psych Fest and Dave joined us on guitar for the gig, which was good craic but I don’t think he’ll ever do it again! We were out of minds and he was like, [American accent]: “how my god, how do  you guys fucking do this?!”


I’d really like to thank Paddy for taking the time to do this….





Astronaut Music From Bedlam

Finally got round to putting together a new Panic & Carousels column for Narc – you can read it here.

Astronaut Music From Bedlam.jpg

This one has Woven Skull, Girl Sweat, Sly & The Family Drone, drcarlsonalbion, Hey Colossus, Melvins, Girl Sweat, Boris, Concrete Tapes, St James Infirmary, Khünnt, Peter J Smyth and Cluster.

As usual, it comes with a mix – stuff that’s mentioned in the column, stuff I should have mentioned, and a few things just because they fit.

Here’s the tracklisting:

  1. Portland Vows – Free Milk
  2. Melvins – War Pussy
  3. Boris – Heavy Rock Industry
  4. Hey Colossus – Wired, Brainless (version)
  5. drcarlsonalbion – She Moved Thru’ The Fair
  6. Blown Out – Gravitic Imploder
  7. Girl Sweat – The Floor Swallowed Me Whole
  8. Nisennenmondai – #3
  9. Ex-Easter Island Head – Ten Bells
  10. Acidliner – Home
  11. Four Tet – Pockets (Minimal Version)
  12. Hoofus & IX Tab – The Ploughs & The Machines
  13. Preston Field Audio – Café Daydream
  14. The Comet Is Coming – Space Carnival
  15. Kamasi Washington – Final Thought
  16. Swans – Finally, Peace
  17. Steve Gunn – Park Bench Smile
  18. St James Infirmary – All That Is Solid Melts Into Air
  19. Peter J Smyth – It’s Gone
  20. Brian Eno – Fickle Sun (III): I’m Set Free
  21. Preston Field Audio – Brass
  22. Cluster & Eno – Base Apex
  23. Sly & The Family Drone – Your Mum’s A Provincial Rock Club
  24. Woven Skull – The Forest Of Everything II

The Measure Of Fidget

Another month, another Panic & Carousels column for Narc…

Panic & Carousels - The Measure Of Fidget.jpg

This one has Ulver, eMMplekz, Hag, Rangda, Cavalier Song, Cavern of Anti-Matter, Matmos, Bonnie Prince Billy & Bitchin’ Bajas and Fret!

It also – as is now traditional – has an accompanying mix. Tracks from artists mentioned in the column and then a few tracks that just warrant inclusion somehow.

Here’s the mix


and here’s the tracklist:

  1. eMMplekz– Britain’s Got Talon
  2. Man Coach Life Forever – Miles
  3. Rangda – The Sin Eaters
  4. Mogwai – Bitterness Centrifuge
  5. Hag – Low
  6. Cavalier Song– Stones For Throwing
  7. The Body & Full Of Hell – Fleshworks
  8. That Fucking Tank – Chumbawanger
  9. Gate – Asset
  10. Guerilla Toss – Multibeast TV
  11. Melt Yourself Down – The God Of You
  12. The Clash Vs The Bug & Spaceape – The Guns Of Brixton
  13. Tim Hecker – Black Phase
  14. Matmos – Ultimate Care II (Excerpt)
  15. Bonnie Prince Billy & Bitchin’ Bajas – Your Whole Family Are Well
  16. Blown Out – Transcending Deep Infinity (live at Supernormal 2015)
  17. Ulver – Cromagnosis
  18. Haiku No Ku – Sea Of Blood
  19. Mugstar – Flemish Weave
  20. The Body – Adamah
  21. 75 Dollar Bill – WZN2
  22. Carthage – Falls
  23. Cavern Of Anti-Matter – Melody In High Feedback Tones
  24. eMMplekz – Gloomy Leper Techno
  25. A Wake A Week – Twelve Days (Pt 3)


Panic & Carousels

The Panic & Carousels column for Narc Magazine was supposed to be regular – monthly, even – but by the end of 2015 it was dead in the water. Life, eh?

Panic & Carousels Narc Mix - Feb 2016

Anyway, all being well it should get back to at least  being fairly regular this year, and kicks off 2016 with a look back at 2015. You can take a look here. There’s reviews – or mentions, at least – for Workin Man Noise Unit, Early Mammal, Laura Cannell, Karen Gwyer, Kemper Norton, Supernormal and Tor Ist Das?, Woven Skull and The Cesarians, Shape Worship, Coil, This Heat, Harmonia. Mogwai, The Bug, Terminal Cheesecake, Denver Broncos UK, Oneida, Mamuthones, Capra Informis and Was Ist Das?‘ Noise In  The Woods compilation.

There’s also my Hickey-friendly end of year chart:


  1. = Hey Colossus – In Black & Gold (Rocket Recordings)
    = Hey Colossus – Radio Static High (Rocket Recordings)
  2. DBUK (Denver Broncos UK) – Songs One Through Eight (SCAC Unincorporated)
  3. Godspeed You! Black Emperor – Asunder, Sweet & Other Distress (Constellation)
  4. Woven Skull – Lair Of The Glowing Bantling (Penske Recordings)
  5. Sleaford Mods – Key Markets (Harbinger Sound)
  6. Low – Ones & Sixes (Sub Pop)
  7. King Midas Sound & Fennesz – Episode 1 (Ninja Tune)
  8. Grey Hairs – Colossal Downer (Gringo)
  9. Blown Out – Jet Black Hallucinations (Golden Mantra)
  10. Teeth Of The Sea – Highly Deadly Black Tarantula (Rocket Recordings)
  11. Henry Blacker – Summer Tombs (Riot Season)
  12. Jenny Hval – Apocalypse Girl (Sacred Bones)
  13. Shape Worship – A City Remembrancer (Front & Follow)
  14. Wire – Wire (Pink Flag)
  15. EEK & Islam Chipsy – Kahraba (Nashazphone)
  16. Luminous Bodies – Luminous Bodies (Box)
  17. Workin Man Noise Unit – Play Loud (Riot Season)
  18. Steve Gunn & Black Twig Pickers– Seasonal Hire (Thrill Jockey)
  19. Bad Guys – Bad Guynaecology (Riot Season)
  20. Shit & Shine – 54 Synth Brass, 38 Metal Guitar, 65 Cathedral (Rocket Recordings)

And if that wasn’t enough, there’s an all-too-rare mix, of releases from the column or from the chart and some other bits and pieces.

Here’s what’s on it:

  1. Luminous Bodies – Stay Dead
  2. Workin’ Man Noise Unit – Yeah, I Was Hypnotised
  3. Teeth Of The Sea – Animal Manservant
  4. Mamuthones – Symphony For The Devil
  5. Shape Worship – Heygate Palimpsest
  6. Laura Cannell – For Sorrow Salt Tears (Karen Gwyer Edit)
  7. Raime – This Foundry (Regis Version)
  8. The Bug – Krak Teng
  9. E.E.K. ft Islam Chipsy – El Bawaba
  10. This Heat – 24 Track Loop
  11. Hey Colossus – Heaven Blows
  12. Oneida – All Data Lost
  13. Mogwai – The Sun Smells Too Loud
  14. Harmonia – Walky-Talky
  15. Bird People – Calder Valley Rockaway (Live At Tor Ist Das?)
  16. Woven Skull – Ananda


Reelfoot Checking In


So my shadowy simian colleague has been holding the fort here while I’ve been working, dicking about, writing elsewhere and drinking like a bastard. I’ll probably add some thoughts to his Supersonic write-up (all the bands I saw while he was still in his cave), and I’ll hopefully add some thoughts about Bradford Threadfest, Supernormal and last weekend’s marvellous Tor Ist Das? too.

As I mentioned back in November, Narc Magazine are letting me write a very occasional column about Hickeysonic-style releases for their website. There’s been four more since then, some of which were accompanied with a mix that covered the releases included.

December 2014 – including Evil Blizzard, Kemper Norton, Nazoranai, Hey Colossus and Richard Dawson and this mix.

It also had my top 25 Hickey-friendly releases of 2014, which were

1       The Bug – Angels & Devils
2       Richard Dawson – Nothing Important
3       King Champion Sounds – Songs From The Golden Hour
4       Swans – To Be Kind
5       Mogwai – Rave Tapes
6       Sleaford Mods – Divide And Exit
7       Kogumaza – Kолокол
8       Shellac  – Dude Incredible
9       IX Tab – R.O.C.
10     Aphex Twin – Syro
11     Carla Bozulich – Boy
12     Grouper – Ruins
13     Resource Centre – Low Fantasy EP
14     Scott Walker & Sunn O)))  – Soused
15     Grumbling Fur – Preternaturals
16     Kemper Norton – Loor
17     OOIOO – Gamel
18     Ambarchi/O’Malley/Dunn – Shade Themes From Kairos
19     Earthling Society – England Have My Bones
20     Soft Pink Truth – Why Do The Heathen Rage
21     Year Of Birds – Slack Handfuls Of Nothing
22     Ben Frost – A U R O R A
23     Sly & The Family Drone – Uneccesary Woe
24     Blown Out – Drifting Way Out Between Suns
25     Earth – Primitive & Deadly

March 2015 – this one had IX Tab, Foot Hair, Blown Out, 11 Paranoias, Nissenenmondai, Pelican, Shit & Shine and Portia Winters. No mix though.


April 2015 – this was a beast. Some massive overexcitement about Godspeed You! Black Emperor, plus Henry Blacker, Grey Hairs, Gnod, Enablers and some other bits and pieces. And a proper mix here.


And then this month‘s – some big love for the XPylon charity album plus Tor Ist Das?, Band Of Holy Joy, Boredoms, God Unknown Singles Club, Goat, Envy and Hills. And a big ole mix.