Coilguns interview for This Is Not A Scene

After experiencing their intense live show last year and being blown away by their first full length album “Commuters” earlier this year, ThisIsNotAScene‘s John Toolan had a few questions to put to Coilguns. Jona and Louis took time out of their busy touring schedule to answer them as fully as they could. They talked about the album, recording ‘live’, tour funding and much, much more…

What is the premise behind the tracks (and album in general) “Commuters”?

LOUIS: This record addresses ourselves as commuters; active people constantly travelling from a point A to another one called B. Somehow we, touring musicians, do the same. Point A being here the club we leave in the morning and B the one we discover at the end of the day. It may be a different club, city, country, it’s still a club. Just like these commuters, we’re part of a tribe of nomads, an informal population of rootless monkeys. And yes, we’re proud of our job.

What we usually forget is how static we actually are. We all end up spending most of our time in traffic jams, highways, petrol stations, motels, backstages. This is our C point, the one that’s not our destination but the whole way leading to it. C is the no man’s land.

Ever had the impression that your train is not really moving, but that it is the landscape itself that is moving instead? Well, touring is static. Our house is our bus and you are our visitors, not the contrary. Distances don’t get smaller, they just don’t exist for us. We make friends, they come to our show (they even bring a bottle or two) we entertain them, and they get back to their normal life. Nothing changes for us, we’re still on the road.

I made a few references to late 60′s architecture utopias. First of all because it is trendy and fun, but also because they crystallised the condition of the commuters. Plug-in Cities, No-stop Cities, Continuous Monument. This is how it feels touring the world nowadays, rock ‘n’ roll clubs are a continuum of standard equipment. Wherever we go, we’ll be sure to find what we need to survive and communicate. We’re the new nomads, and our life isn’t that far from what these architects predicted. Our tour van is our private life cell, e-mail English is our Esperanto, the world wide web is our monument.

The artwork makes it obvious : circular shapes, standard subway map colours, ocean tides, didn’t we realize the earth was round staring at the sea horizon ?

I wrote a first text named Minkowski Manhattan Distance and took it as a basis for these songs. I picked a sentence or two per track and paraphrased it into a new proper song. They all share the same theme: distance versus time, urban spaces, human relationships and so on. The usual blah blah. At the same time, these are just songs, you know, raw punk poetry to scream along heavy riffs and frantic drumbeats, there’s not so much space for clever thoughts. Don’t freak out too much if it seems absurd; it is probably meant this way.

What music has helped to inform the sound of Coilguns over the years?

JONA: At The drive-in, Botch, Breach, Deftones, Converge, Dillinger Escape Plan, Don Caballero… For some of these bands we are talking about the riffing, for some others about the production, the way they record their album (or recorded) and the way they play their instrument. Listen to any Breach record and you’ll understand what I’m talking about.

The Coilguns sound is incredibly complex yet abrasive and, particularly when experienced live, almost feral in nature. How does a typical Coilguns piece come about?

JONA: I usually come up with a couple of riffs, a draft of a structure.  I record them, send them to Luc and after a week we meet in the room and start working on it. Then we go with the flow. Luc’s really involved in the song writing at this point. He’s a good guitar player and he gives me his opinion from a drummer point of view and since I don’t know how to count he often straightened my fucked up riffs and makes them more efficient. The very first riff of the very first song ever recorded for this band (Mastoid) was Luc’s riff. We spend a lot of time both seated in the living room with 2 guitars gathering ideas on how to improve the songs.

A good example would be “Commuters Part 2”. At first I had written this song that had this kind of “At The Drive-In” vibe to the main riff (that you can actually hear on Commuters Part 1) and the rest of the song was quiet melodic. It was pretty short with a proper A, B, A, B, C, B kind of structure…But eventually, Luc decided that it was too gay and that we should focus on these 3 chords that were a simple transition. We started jamming them out, looping different guitar lines and these 3 chords ended up being 11 minutes of an unbearable build up.

So we discuss everything and we also record pre-productions. Then we listen to them and meet the next day and share our feelings about them. When we’re happy we just send it over to Louis (who never ever rehearse with us) and he lays down his vocals. Sometimes he asks us to make one part longer or shorter but usually he’s fine with whatever we do.

With the release of the full length “Commuters” do you feel the sound of the band has developed in any way?

JONA: It surely did. All the obvious influences have been well digested I think. They’re still there, but much more diluted, it’s more subtle. Then we naturally went through this unconscious process of pointing at what made us sound like any other band and what sounded like us. We then focused on the latest option and after 3 ep’s, we can say that we wrote the album that will serve as a solid base for what this band will be in the next couple of years. This apply to the song writing as well as the production. We’re just at the beginning of where we wanna lead this band to but I really think that there is a strong identity in “COMMUTERS” and the way we’ve defined COILGUNS with this album leaves us a lot of room to experiment BUT still sound like COILGUNS you know what I mean?

Read the full interview here....

Matt Berry and the Maypoles – Brudenell Social Club, Leeds 16th May 2013

The Brudenell Social Club in the heart of Headingley is gradually filling with a variety of customers of varying age groups. The merchandise stall is causing interest due to an array of rustic looking tour t-shirts, as is the bar, with drink prices far and away reduced from city centre prices. Pugwash released their debut album “Almond Tea” in 1999 and since then have been releasing cleverly crafted pop tunes with a twist, but not an unpleasant twist. There were obviously members of the audience this evening who were familiar with their work and who were able to give impetus for those of us who were new to the band. Displaying a fine array of Rickenbacker guitars, the tunes were coming thick and fast and the momentum was maintained through a tightly performed set. Song titles such as “It’s Nice to Be Nice” and “Be My Friend Awhile” give the listener some idea how uplifting these tunes could be, and indeed they were, but not to the extent that they were saccharine sweet. Think Electric Light Orchestra meet the High Llamas. There was a palpable air that the musicians on stage were having a magnificent time playing these songs, and the between song banter belied characters that were familiar with stage work and knew how to engage with their audience. Apparently Brian Wilson of the Beach Boys showed a fleeting interest in their material, and it is not hard to understand why.

Three members of Pugwash feature on the new release by Matt Berry, “Kill the Wolf”. Matt Berry the comedy writer/actor and Matt Berry the singer/songwriter/multi-instrumentalist are two diverse characters with a personality that spans the two. Comparisons between his two persona are inevitably to be made and, it could be argued, one informs the other.  Renowned for his contributions to such cult television series as “The IT Crowd”, “The Mighty Boosh”, “Snuffbox” and “Garth Marenghi’s Dark Place” as well as composing music for “Saxondale”, Matt Berry has obviously gained the respect and affection of the audience tonight, as the club was full, and busy with anticipation.  Opening with “Medicine” tracks from his new release were showcased as well as precious moments from his back catalogue, including "A Song for Rosie" from his last album "Witchazel" . Possibly one of his most well known pieces "Theme from Snuff Box”, which curiously appears in the film “Dredd”, was given a slightly more relaxed rendition in stark contrast to the material from the new album. These latest arrangements have an edge which appears to give them more credibility in the psychedelic folk and progressive rock arena. There is still a soulful funky framework to these tunes, but the edges have been roughened, and the chord progressions perverted. Some of the lengthier workouts, such as the nine minute “Solstice”, displayed muscle and bite, whilst some of the more delicate tunes show what a gifted and talented multi-instrumentalist he is. Berry himself describes the new album as, “another pastoral folk journey, but this time with a slightly more sinister edge”, a description which suitably evokes their character.  

For audience members of a certain age, and proclivity, the highlight of the evening must have been the bands rendition of the theme tunes to the television series “Are You Being Served?” and “Sorry”. Whilst just as the smiles of recognition were drifting from the faces of the audience, the encore featured members of Pugwash joining the band for a heart warming and joyous version of Wings Bond theme “Live and Let Die”. Berry appeared comfortable on stage and directed the bad with a professional confidence that makes the audience feel at ease. Half way through the set one audience member shouted “Faaaaaaatheeeeeeer”, a quote from a classic “IT Crowd” scene featuring Berry, which, although doubtless shouted at concerts on numerous occasions,  reinforced the reverential position he occupies amongst his admirers. 

Steve Lawson & Daniel Berkman - Finger Painting review

Steve Lawson has a habit of recording ever note he plays, which has been shown in the past to archive some fascinating improvisations, both alone and with other like minded performers. Ever one for challenging projects, solo bass player Lawson has collaborated on “Finger Painting” with Daniel Berkmanwho is here featured playing electronic percussion, ukulele, Gravikord (a 24 string, electric, double bridged harp) and synthesisers, from sessions orchestrated by San Franciscan singer Artemis, who can herself be heard on these recordings.

To provide some background, Lawson has played 10 improvised shows withBerkman which have been recorded and are to be released as a 10 album, 11 hour download, USB stick or “best of” 2 CD set. One show has already been released as “Accidentally (On Purpose)” in January 2013. This particular set features pieces differing greatly in mood and texture. “Antidote to Everything” has a wraithlike feel which gathers momentum from gently dripping bass lines to roasting shards of looped and treated distortion. The percussion, always lying enigmatically under the surface, is the vehicle over which the whole improvisation rides. “Towards the Sun” opens with dolorous tones shifting steadily over otherworldly soundscapes. Gently picked phrases break the layers of sound, creating music that would not be out of place in a cathedral setting....

Read the full article here

Juffage "Sound Cauldron" Left Bank, Leeds April 26th 2013

Left Bank, Leeds

Left Bank website

TEN

 Bandcamp Page

Steve Lawson and Andy Williamson

 Steve Lawson Bandcamp Page

Juffage Bandcamp Page

Ashley Reaks - Power Failure album review

Context is everything. According to his biography Ashley Reaks abandoned academia at an all boys public school after hearing the Ramones “Rocket to Russia” album and seeing Gee Vaucher’s artwork for Crass. After failing his art exam by tracing the cover of the first Ruts album, he embarked on a number of disparate projects including making music, collages and Dadaist poetry. Claims to fame include playing bass on “Take That’s” Mark Owen’s solo album and forming electro-pop outfit Younger Younger 28, who, within 6 months of forming, were playing the main stage at Glastonbury. Spending 2000 to 2009 on a variety of exhibitions, art and poetry tours; including stage appearances in a sheep’s mask making moaning noises, and producing a number of album releases from this tapestry of experiences, including experimental music and spoken word “Melancholia” in 2008.

Now 2012/2013 sees Ashley Reaks release a number of divergent albums including the one under consideration here “Power Failure”. The cover artwork itself displays his obvious love of collage, and reflects perfectly the variety of influences apparent on the music within. ‘From Egg to Worm to Fly’ has a striking refrain which skims briskly over a majestic bass line that any fan of Jah Wobble or Bill Laswell would be delighted to hear.

A lifetime’s interest in poetry is evident on ‘Lucky Gordon’ which, whilst having a naive, child like quality, is brought to maturity by authoritative bass and brass. Then we see the collage effect as ‘No Wonder Camels Spit’ changes the mood to one of introspection through repetitive piano phrases and delicate vernacular that are at times evocative of a possible movie soundtrack by Philip Glass and other minimalist composers. By gradually building layers of texture the piece gathers momentum, whilst still retaining an elusive enigma.

Raising the mood slightly ‘Bulldog Grace’ skips gracefully, whilst ‘Karma Bonfire’ grabs the listener by the lapels with stark, pragmatic poetry, read by Joe Hakim over a disquieting mixture of bass, brass and eastern influenced instrumentation. Here we now see the true spirit of the album, where the aesthetic finds its true voice. ‘Miss Holy Holy’ is electro a capella with a sting in the tail, whilst ‘The Glance of Mercy’ is a further nod to experimental, minimalist music but augmented now with bold percussion and brass lines.

‘Jesus in a Manger’ illustrates entirely the influence of Crass and Gee Vaucher, with its confused, feverish spoken word introduction and unsettling soundtrack. Careful listening reveals the spectrum of influences already acknowledged, from dub, improvisational and experimental jazz through to ambient washes of sound. The barbed vocals become breathless and urgent before fading unsympathetically....

Read the full review at This Is Not A Scene

Winter is finally over at Temple Newsam...

Jello Biafra and the Guantanamo School of Medicine - White People and the Damage Done review

It is quite a disconcerting fact, for readers of a certain age, to realise that it is more than 30 years since the breakup of the Dead Kennedys. Since that time Jello Biafra has engaged with a variety of projects, including Lard and NoMeansNo amongst others, as well as a prolific spoken and written word catalogue. Apparently the Guantanamo School of Medicine project was motivated by Iggy Pop’s 60th birthday party concert at Warfield in San Francisco where Jello decided it was time to form a band of his own for his own 50th birthday party. After “The Audacity of Hope” in 2009 we now have another opportunity to listen and learn from the master of candour on their latest release “White Man and the Damage Done”. One look at the album cover and title will be a relief to long term fans of Jello’s aesthetic.

This assortment opens with a fanfare of tightly produced vigour in “John Dillinger”, which features a frenzied guitar riff that is not only exhilarating enough to bring a smile to the face, but unforgettable enough to fix that smile there. The vocals are dementedly earnest and delivered with the trademark styling that we all know, hopefully, and love so well. “The Brown Lipstick Parade” is equally calculated to be heard and stick into some corner of the imagination to be brought out when the listener needs reminding of certain political truths. Lines such as “We are the Illumi-Nazis, You’re the food chain we devour, laughing all the way to China, Giving you the golden shower”, are vintage Biafra and should be considered carefully and with tongue in cheek.

“Road Rage” is reminiscent of the Dead Kennedy’s “Buzzbomb from Pasadena” with Biafra adopting an almost farcical vocal which helps draw the listener in to the lyrical content and underlying message. “Mid-East Peace Process” has a furious momentum which feels as if it could collapse at any moment but is reined in with precision, whilst “Hollywood Goof Disease” is characterised by a gorgeously vintage surf guitar sound that fans of Biafra’s earlier work will be contented with.



For the listener in the right frame of mind, the title track “White People and the Damage Done” will bring tears of nostalgia and elation, and possibly cause the most belligerent old fan to secretly air guitar along, whereas “Burgers of Wrath” is a slice of insurgent electric country. The album closes with four remixes including a brass version of “The Brown Lipstick Parade” and a version of “Crapture” which develops, as the title suggests, into a “Flight F.I.N.A.L Space Blast Extension”....

Read the full review at This Is Not A Scene