Not so long ago the Factory fan behind The construction in hand moved to Amsterdam.  He has cunningly used this relocation to perform the conceptual act of writing about the entire Factory Benelux catalogue from within the ‘Ne’ of Benelux.  While eating space cake and drinking Westmalle.  The three-part result is unusual for a sustained piece of music criticism in that even as it imparts notes on the cultural education that can be achieved by paying close attention to sleeves, inspirations and lyrics, it is also very funny.  Though the comedy is probably enhanced if you happen to be a Factory nut too.

The excellent Memory lapses are also well worth reading.

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To add to the one already posted here, more photos of the Wolfhounds playing at the Black Horse in Camden on 28th June 1987 .  Taken with a cheap Pentax, and it shows.

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The cartoon supplement for Pot Plant Pantry was once again given over to the surreal lunacy of David Nichols’ creations.

To my (admittedly warped) mind, Minty and McGinty anticipates the wonderful Mo Willems’ Elephant & Piggie and Pigeon series of books for children.

And Dr. Seuss meets Viz in the form of Woop and the Poops, with a bit of Cambridge Footlights satire thrown in for good measure.

Woop and the Poops is dedicated to Tim, for remembering it down the course of twenty years.

David’s work from the previous issues of my fanzine can be seen here.

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A clamor went up for more Laugh, in the absence of a retrospective.  Over at Backed with, you’ll now find both versions of ‘Sensation no. 1’ alongside B side ‘It’s easy’; here we’ve added ‘Never had it so bad’ (AA side from debut 12 inch for the Remorse label) to the ealier post, and now offer up the awesome ‘Time to lose it’ (A side of their third single for the Remorse label) and the earlier version of ‘Take your time yeah!’, proving that the flexi disc has no challengers when it comes to the award for the format with the worst audio quality.

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What a mess.  The last but one page of Pot Plant Pantry, and I seem to have run out of steam.  Laugh deserved better.  Read about and listen to them over at Backed with; and listen here to:

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 Sunderland, 2004

 

To put it much more bluntly – you just wonder why you bothered. You just wonder whether the choices you made – to be an artist and make music on your own terms – trapped you. The deeper you go into yourself, the more chance you have of becoming lost, and I think that’s something that plays out throughout this record.

As we await what may or may not turn out to be the final Clientele record, Bonfires on the heath, here are some thoughts elicited from Alasdair MacLean by Ryan Dombal of Pitchfork.

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I seem to have overlooked a cardinal rule of fanzine rhetoric in this excerpt from Pot Plant Pantry: never apologise, never explain.  Nevertheless this is the intensity of youth in full flow.  God, how he and I would eye each other with suspicion if time travel ever allowed us to meet.

But we would agree at least on one thing – those Jasmine Minks demos, which preceded the Another age album, remain exceptionally beautiful.  Done with a drum machine and exuding the fragility of a song writer – Jim Shepherd – trying and succeeding to find his way again after the departure of partner in crime Adam Sanderson, the songs struck a perfect balance between vulnerability and confidence.  Unfortunately very little of this is audible in transference from quiet cassette recording to mp3 format, so here instead are a couple of polished-up (or roughed-up) LP versions.  Neither ‘Still waiting’ nor ‘Nothing can stop me’ appeared on the 2004 Rev-ola compilation The revenge of the Jasmine Minks; both feature Jim’s singing at its best.

‘I quite honestly don’t care for all these sixties obsessions that have manifest themselves recently, when even more powerful attitudes are being expressed here and now… There is no ‘golden age of pop’, there are just pop portents who come and go.’  I suspect that the irony of placing a picture of Dusty Springfield alongside this opinion was lost on me at the time, but perhaps I was just being bloody-minded or provocative.  The phrase ‘pop portents’ still has a kind of ring to it, even if it makes the portentous nature of my writing at the time all too transparently evident.

I’ve been enjoying Littlepixel’s ongoing and eclectic series of album covers turned into Pelican books.  They recall Andy Royston’s Faber-esque ‘paper covered edition’ sleeve for McCarthy’s ‘The well of loneliness’.  Thanks to Bimble, you can compare and contrast that cover with the Pelicans – and download the still rousing five song 12 inch while you’re there.

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More than a bit prissy, this piece, but it was genuinely touching to be given a book in a bookshop, even if as I suspect was the case the bookseller in question ran her shop as a pretext for social interaction rather than because she needed to make a living.

It’s been years since I read or re-read any of the many authors on these two pages, save for C.S. Lewis, inspired by Philip Pullman’s ideological objections.  I forget quite why I did it, but I made up the novel Edward’s crumby day and its author Grantley Trillo, and got an earful from one or two people for doing so.  I’ve occasionally felt that by way of restoring the natural order, I should write a novel of that title and with the characters I sketchily outlined, but given that no-one uses the word ‘crumby’ any more, I would have to pretend that it had been discovered in a distant relative’s attic where it had lain undisturbed since it was written in the seventies.

I still maintain affection for Richard Brautigan’s books.  I used to wonder whether the Coen Brothers would ever adapt one of his stories, as it seems to me that two or three of them have taken some essence from Brautigan – The big Lebowski, O brother, where art thou?, perhaps The Hudsucker proxy.

Of Bukowski’s Factotum my chief memory is of Henry Chinaski being the sole person in his class of would-be taxi drivers to know that the only time it’s legal to take your eyes off the road is when you involuntarily do so by sneezing.

Without at all wishing to be dismissive of how potently affecting his stories are, J.D. Salinger, like Kerouac, increasingly seems to me to be an author of truths for people in their teens and twenties.  And I wonder if Salinger’s silence and Kerouac’s burgeoning misanthropy in later life relates to each man’s realisation of this, and that they lacked the energy or the wherewithal to re-establish themselves as authors of truths for what comes after that explosion of cynicism and idealism.  They may in fact be extreme examples of the connected generality that people read less fiction and more non-fiction as they age.

The book end people are from a book I used to spend hours perusing at my grandmother’s house, The Film Show annual.  The film stars are ‘Bachelor girl in Hollywood’, Suzan Ball, and ‘avid reader’ William Holden, who is shown in another photo with his life partner: ‘Bill relaxes in the garden with his wife Brenda Marshall who gave up a promising film career to look after her husband and children.’ppp11_495w8q

He knows so much about these things

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