CHRISTMAS Q&A:
ROB (DOE FACE LILLIAN)
1. What do you actually like about Christmas?
Wandering the streets whilst everyone else in the world is too busy gorging themselves or slumbering in front of one of those oft repeated Tim Allen wank piles.
2. What do you utterly despise about Christmas?
The fact that it appears to be starting in the middle of FUCKING NOVEMBER!
3. What are your favourite and worst Christmas songs?
Oh...My Dad used to sing some shitty parody of mistletoe and wine which never fails to warm ones cockles. I'll sing it to you one day. As for the worst... Probably the original.
4. What is the most dreadful gift you've been given at Christmas?
A mug. The cheapest, shittest eyeshadow ever, Chlamydia.
5. What will you be doing at, say, 6pm on Christmas day?
Erm. My half sister if I get half the chance. It's unlikely though. She was born to a different mother, and lives in a different place. She has no idea who I am...
Thursday, 13 December 2007
A RANT DOWN THE RAVE
This month: Well, everything.
Yes, it’s that time of year again: Christmas is upon us and before you know it, you’ll be waking up in a pool of your own vomit and wondering what exactly you were doing when 2008 decided to rear its inevitably ugly head. But, before then, you’ll be enjoying the annual festivities, drinking great loads of goodness-knows-what and doing many vulgar things that you would never have done were it not for ghastly old tradition deeming it appropriate. Like eating Christmas pudding, for one thing. Let us now take a look at some of the staples of festive tradition and take a moment to wonder what, how, when, where and, most importantly, why the fuck….
TURKEY
As you may or may not know, I happen to be a vegetarian, so any meat-munching of any kind (hur hur hur) gets automatically frowned upon. But regardless of this, some people just refuse to be told. They can’t keep their gnashers out of that pork. So why is it then, that even though most of them profess a distaste for turkey, that they go ahead and ‘festively slice’ it anyway? Because it’s Christmas, that’s why. It’s about giving, receiving and killing animals nobody wants to eat anyway.
THE RETAIL INDUSTRY
Of course, Christmas is a time where bulbous bastards in high-flying jobs get to stuff their pockets and go on expensive skiing holidays. Skiing holidays? Why can’t you just make do with a fucking dinner and a bottle of booze like the rest of us? Anyway, these people are able to stuff their pockets because the companies they run start advertising Crimbo’s loving commercial side from the moment the kids go back to school, thus preparing the ensuing rush to buy absolutely anything anywhere (and at any price.) And if rinsing people of their hard-earned ain’t enough, then the knockout punchline is saved until after Christmas; that’s right, the faithful January sales. Where people go and squander their meagre gift vouchers on shit they don’t want for an insignificantly sliced price.
CHRISTMAS SONGS
Musically, Christmas should solely be a time for John Lennon’s earnest plea for war to be over, or for reminiscing about what a fabulous hairstyle George Michael had as he lamented the fact that someone nabbed his heart as he was putting up the tree the previous year. But, instead, every single year we are forced to endure hearing all of the old ‘classics.’ Who can forget Cliff thinking about children (singing Chris-ti-an rhyme) or Paul ‘n’ Linda simply having a wonderful Christmas time (certainly not Paul this year) or Noddy ‘Bonkers’ Holder loudly letting you know that ‘it’s Chriiiiistmas!’? No one can, that’s for sure. But who would like to? I certainly would, that’s for sure.
THE QUEEN’S SPEECH
Who honestly gives a toss what the old bag’s got to say this year? Why is it alright for her to get her own TV show on the one day of the year when absolutely everybody will be indoors when no one else does? In fact, does any fucker even bother watching it???
THE FORCED CHEERINESS OF IT ALL
I spend the other 364 days of the year being happily quite miserable, so why should the 25th of December be any different?
TOP FIVE *BEST* MOMENTS IN XMAS HISTORY:
That one time in everybody’s lifetimes when it did actually fucking snow.
Den giving Angie the divorce papers.
Pet Shop Boys making Xmas Number One with a song that wasn’t actually some festive-orientated shit.
That moment when they realised that absolutely nobody in the history of the world has ever found a joke from a cracker remotely funny and therefore decided to make them more and more heroically unfunny with each passing year.
That moment when you wake up on Christmas morning and get all excited when you realise that it’s the one day of the year when you can get half-cut by 11 without anyone flashing you a single frown.
‘APPY CHRISTMAS EVERYBODY!!!
Old bastard.
This month: Well, everything.
Yes, it’s that time of year again: Christmas is upon us and before you know it, you’ll be waking up in a pool of your own vomit and wondering what exactly you were doing when 2008 decided to rear its inevitably ugly head. But, before then, you’ll be enjoying the annual festivities, drinking great loads of goodness-knows-what and doing many vulgar things that you would never have done were it not for ghastly old tradition deeming it appropriate. Like eating Christmas pudding, for one thing. Let us now take a look at some of the staples of festive tradition and take a moment to wonder what, how, when, where and, most importantly, why the fuck….
TURKEY
As you may or may not know, I happen to be a vegetarian, so any meat-munching of any kind (hur hur hur) gets automatically frowned upon. But regardless of this, some people just refuse to be told. They can’t keep their gnashers out of that pork. So why is it then, that even though most of them profess a distaste for turkey, that they go ahead and ‘festively slice’ it anyway? Because it’s Christmas, that’s why. It’s about giving, receiving and killing animals nobody wants to eat anyway.
THE RETAIL INDUSTRY
Of course, Christmas is a time where bulbous bastards in high-flying jobs get to stuff their pockets and go on expensive skiing holidays. Skiing holidays? Why can’t you just make do with a fucking dinner and a bottle of booze like the rest of us? Anyway, these people are able to stuff their pockets because the companies they run start advertising Crimbo’s loving commercial side from the moment the kids go back to school, thus preparing the ensuing rush to buy absolutely anything anywhere (and at any price.) And if rinsing people of their hard-earned ain’t enough, then the knockout punchline is saved until after Christmas; that’s right, the faithful January sales. Where people go and squander their meagre gift vouchers on shit they don’t want for an insignificantly sliced price.
CHRISTMAS SONGS
Musically, Christmas should solely be a time for John Lennon’s earnest plea for war to be over, or for reminiscing about what a fabulous hairstyle George Michael had as he lamented the fact that someone nabbed his heart as he was putting up the tree the previous year. But, instead, every single year we are forced to endure hearing all of the old ‘classics.’ Who can forget Cliff thinking about children (singing Chris-ti-an rhyme) or Paul ‘n’ Linda simply having a wonderful Christmas time (certainly not Paul this year) or Noddy ‘Bonkers’ Holder loudly letting you know that ‘it’s Chriiiiistmas!’? No one can, that’s for sure. But who would like to? I certainly would, that’s for sure.
THE QUEEN’S SPEECH
Who honestly gives a toss what the old bag’s got to say this year? Why is it alright for her to get her own TV show on the one day of the year when absolutely everybody will be indoors when no one else does? In fact, does any fucker even bother watching it???
THE FORCED CHEERINESS OF IT ALL
I spend the other 364 days of the year being happily quite miserable, so why should the 25th of December be any different?
TOP FIVE *BEST* MOMENTS IN XMAS HISTORY:
That one time in everybody’s lifetimes when it did actually fucking snow.
Den giving Angie the divorce papers.
Pet Shop Boys making Xmas Number One with a song that wasn’t actually some festive-orientated shit.
That moment when they realised that absolutely nobody in the history of the world has ever found a joke from a cracker remotely funny and therefore decided to make them more and more heroically unfunny with each passing year.
That moment when you wake up on Christmas morning and get all excited when you realise that it’s the one day of the year when you can get half-cut by 11 without anyone flashing you a single frown.
‘APPY CHRISTMAS EVERYBODY!!!
Old bastard.
RED, WHITE (AND BLUE CHEESE)
Continuing the theme of last month's article, X-mess is now practically upon us, So I thought I'd take this final opportunity to impart some advice, and cast it from a circle a little more wide.
Yes, the headline is misleading (more of that later). Given the time of year I'm going to dedicate this article to reds:-
Ones to Hit:
Given the fact that most of us will be tucking into big, hearty fare (I'll be keeping mine veggie), especially on Ex-Mass day, why shouldn't we have a wine to match? Tannat is a grape that produces wines that are weighty, and, as its name suggests, tannic (tannin being a component from the skins and seeds of grapes that produces the astringent, drying effect in your mouth when you drink red wines). Its spiritual home is the Madiran AC in south-west France, and one of my favourite examples is Chateau Bouscasse 2003 Madiran (14% ABV), a blend of 65% Tannat, 25% Cabernet Sauvignon and 10% Cabernet Franc. It sits inkily opague in the glass, emitting a seductive woodspice before unleashing pleasant, bitter / ripe waves of coffee, dark-chocolate and Black Forest Gateau. If bought as part of a case (12 bottles) of wines from winedirect.co.uk, It's available for a very reasonable £9, However, as I know most of us aren't financially flush enough to be buying our wines by the case just yet, I'll also mention that you can pick it up in person from the Fortnum & Mason wine department for a still not unreasonable £11.50. Keeping it under a tenner, and co-incidentally southern French - My next choice would be Domaine Clavel's 2005 'Les Catalognes' (13.5% ABV), from the Coteaux du Languedoc AC. Ostensibly a red wine, it's a actually a blend of 6 varieties (Carignan, Grenache, Syrah, Mourvedre, Muscat a Petit Grains and Pinot Gris), the two smallest in proportion being white grapes. These provide a freshness and light finish to what would otherwise be a fairly weighty wine. So, what do I mean by that? Well, the thick legs / tears clinging to the sides of the glass indicate that the liquid inside shall pack quite a punch, and the nose seems to support this - rich, potent, purple fleshed fruits in a perfume of damson, blackcurrant spice and freshly baked sweet-pastry crust. However, although this is borne out when you take a mouthful, there is also a balance between the alcohol, acidity and rounded tannins, topped off with a silkiness which is the mark of those fresh and light qualities I mentioned before. It's available for £6.79 In branches of Oddbins or at discounted 6 and 12 bottle rates on their website ( www.oddbins.com).And finally, for those of you outside of central London, with no Oddbins nearby, I'll complete my French southwestern 'troika' with a recommendation from Sainbury's - their own-label 2006 Organic Syrah (13% ABV). At £5.49 (sometimes cheaper, when part of cut-price or multi-buy promotions) you get a lot of wine for your money - mulberry, forest fruits and subdued spice on the nose, before a moreish, multi-layered palate of black-pepper and rich black fruits balancing alcohol and soft-textured tannins. I've drunk plenty of both this and the even better 2005 (grab it if you can still find it) over the past year, I can tell you. Shockingly, I couldn't find it on their website when researching this article. But then, fortunately, I couldn't find the next one on my list either... One to miss (at all costs):Gallo Family Vineyards Sycamore Canyon 2006 Cabernet Sauvignon (13.5% ABV) - this is a classic example of supermarket wine 'discounting' bullshit, and shame on Sainsbury's for pushing it as a 'bargain'. So, in this issue I giveth with one hand and take with the other (just like God, really, but at least I exist. Can't turn water into wine just yet though folks, sorry!) Why do I hate this wine so much? Well, I hate being ripped off, you see. I'm no fool, I know that supermarket half-price wine deals are rarely, if ever, that. However, when I'm getting a wine that's supposed to be worth well over £8 (I paid £4.39 for it) at a discount I expect it to be worth at least a fiver. Not asking for much, eh? But no, it wasn't even up to that. The nose started to give the game away - slightly baked with aromas of parma-violets and boiled sweets - not what I want from a wine. The palate was no better either - heavy with prominent, volatile alcohol and slightly sweet, confected fruit leading to an aftertaste of syrupy dessert sauces and a bitter anti-climax of a finish. This wine was an insult, and if I'd paid the full price I'd have been extremely pissed-off. Believe me I tasted this wine so you don't have to. So, there you go. I hope I've steered you toward some affordable, quality drinking and away from a notable scam. Call it my present to you for the festive season. I hope it's a good one. You'll hear from me again in the New Year. markusofwine@googlemail.com
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MARKUS KEANEY
Exclusive Guest DJ for the Christmas Vapour Trail
Continuing the theme of last month's article, X-mess is now practically upon us, So I thought I'd take this final opportunity to impart some advice, and cast it from a circle a little more wide.
Yes, the headline is misleading (more of that later). Given the time of year I'm going to dedicate this article to reds:-
Ones to Hit:
Given the fact that most of us will be tucking into big, hearty fare (I'll be keeping mine veggie), especially on Ex-Mass day, why shouldn't we have a wine to match? Tannat is a grape that produces wines that are weighty, and, as its name suggests, tannic (tannin being a component from the skins and seeds of grapes that produces the astringent, drying effect in your mouth when you drink red wines). Its spiritual home is the Madiran AC in south-west France, and one of my favourite examples is Chateau Bouscasse 2003 Madiran (14% ABV), a blend of 65% Tannat, 25% Cabernet Sauvignon and 10% Cabernet Franc. It sits inkily opague in the glass, emitting a seductive woodspice before unleashing pleasant, bitter / ripe waves of coffee, dark-chocolate and Black Forest Gateau. If bought as part of a case (12 bottles) of wines from winedirect.co.uk, It's available for a very reasonable £9, However, as I know most of us aren't financially flush enough to be buying our wines by the case just yet, I'll also mention that you can pick it up in person from the Fortnum & Mason wine department for a still not unreasonable £11.50. Keeping it under a tenner, and co-incidentally southern French - My next choice would be Domaine Clavel's 2005 'Les Catalognes' (13.5% ABV), from the Coteaux du Languedoc AC. Ostensibly a red wine, it's a actually a blend of 6 varieties (Carignan, Grenache, Syrah, Mourvedre, Muscat a Petit Grains and Pinot Gris), the two smallest in proportion being white grapes. These provide a freshness and light finish to what would otherwise be a fairly weighty wine. So, what do I mean by that? Well, the thick legs / tears clinging to the sides of the glass indicate that the liquid inside shall pack quite a punch, and the nose seems to support this - rich, potent, purple fleshed fruits in a perfume of damson, blackcurrant spice and freshly baked sweet-pastry crust. However, although this is borne out when you take a mouthful, there is also a balance between the alcohol, acidity and rounded tannins, topped off with a silkiness which is the mark of those fresh and light qualities I mentioned before. It's available for £6.79 In branches of Oddbins or at discounted 6 and 12 bottle rates on their website ( www.oddbins.com).And finally, for those of you outside of central London, with no Oddbins nearby, I'll complete my French southwestern 'troika' with a recommendation from Sainbury's - their own-label 2006 Organic Syrah (13% ABV). At £5.49 (sometimes cheaper, when part of cut-price or multi-buy promotions) you get a lot of wine for your money - mulberry, forest fruits and subdued spice on the nose, before a moreish, multi-layered palate of black-pepper and rich black fruits balancing alcohol and soft-textured tannins. I've drunk plenty of both this and the even better 2005 (grab it if you can still find it) over the past year, I can tell you. Shockingly, I couldn't find it on their website when researching this article. But then, fortunately, I couldn't find the next one on my list either... One to miss (at all costs):Gallo Family Vineyards Sycamore Canyon 2006 Cabernet Sauvignon (13.5% ABV) - this is a classic example of supermarket wine 'discounting' bullshit, and shame on Sainsbury's for pushing it as a 'bargain'. So, in this issue I giveth with one hand and take with the other (just like God, really, but at least I exist. Can't turn water into wine just yet though folks, sorry!) Why do I hate this wine so much? Well, I hate being ripped off, you see. I'm no fool, I know that supermarket half-price wine deals are rarely, if ever, that. However, when I'm getting a wine that's supposed to be worth well over £8 (I paid £4.39 for it) at a discount I expect it to be worth at least a fiver. Not asking for much, eh? But no, it wasn't even up to that. The nose started to give the game away - slightly baked with aromas of parma-violets and boiled sweets - not what I want from a wine. The palate was no better either - heavy with prominent, volatile alcohol and slightly sweet, confected fruit leading to an aftertaste of syrupy dessert sauces and a bitter anti-climax of a finish. This wine was an insult, and if I'd paid the full price I'd have been extremely pissed-off. Believe me I tasted this wine so you don't have to. So, there you go. I hope I've steered you toward some affordable, quality drinking and away from a notable scam. Call it my present to you for the festive season. I hope it's a good one. You'll hear from me again in the New Year. markusofwine@googlemail.com
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MARKUS KEANEY
Exclusive Guest DJ for the Christmas Vapour Trail
NICO WOULD BE PROUD….
The Resistance were first brought to our attention via a show they played a few months ago at The Pleasure Unit. The juxtaposition of such a vibrant and dramatic outfit with the dismal and dreary surroundings of the Bethnal Green venue was truly something to behold, and we wrote about them accordingly in the first issue of this very fanzine. But now we are also very lucky to have them grace the Vapour Trail night itself. A truly modern band with a penchant for updating psychedelia and noise-pop (amongst many other things) with a modern electronic edge, the group are one of those who truly need to be seen in the flesh to be completely appreciated. The live shows, backed by projections of the trippy variety, often see vocalist Matt on the floor banging out a primitive rhythm at odds with the aforementioned electronics (bringing to mind the rudimentary-though-effective percussion of Mo Tucker & Bobby Gillespie) but somehow it works. And you will, of course, see so for yourself….
1. First of all, explain how the band came together -a potted history,if you will....
We got together in 2005, but we'd all been indifferent bands beforethen. We've spent the last few years as anexperimental instrumentalband, played lots of gigs and released two singles onour own label. Thesewere moderately successful and got on Radio 1 but wewanted to take it further. Our singer Matt was inanother band called the Khe Sanh Approach. He was along time fan and friend of the band, our bands playedtogether a lot and we arranged gigs together. When theKSA split up he was the ideal choice for our band andhe joined us full time in 2007. Nico is dead, Iggy Popis old and Julian Cope has gone mad. Matt is easilythe next choice and he's just as good as all theabove.
2. What were the initial aims in terms of style, soundand substance?
When we started we believed that the music around uswas boring and we wanted something more. There were nointeresting bands in Cambridge and the sheer lack ofambition in all of them was depressing us. We didn'twant to play boring indie rock in a pub back room toour friends. We wanted to make something no one hadheard before and do something that people willremember. We like noise and we like pop music. It wasgood to combine them, use them as a starting point andtake it from there.
3. Who would you name as your key inspirations andinfluences?
We like unusual sounds, interesting ideas anddifferent ways of doingthings. We're all into 60's psychedelia, Krautrock,pop music,electronic noise and rock and roll. We gerenerallyall admire people who have done something new from theVelvet Underground to My Bloody Valentine. We couldprobably answer "The Velvet Underground" to just aboutevery question here.
4. You put on a particularly exciting live show. Tellus about whatinspired the slides/backdrop you use & also what youhope to conveythrough live performance.
When we started out we didn't have a singer and thismeant that wedidn't have the same traditional focus that peopleare used to when theysee a band. Lots of people tend to get unsettled whenpresented withsomething they don't understand. We liked thepsychedelic lightshows theWest Coast bands had in the late '60s and it was away of making thingsmore interesting, and again, it was making more of aneffort than mostbands do. So many bands just shuffle onstage wearing jeans and at shirt and it's just lazy and indicative of howapathetic and unimaginative most bands are. We want tomake lots of noise, have a good time and have muchbetter shoes than anyone else.When we play live we want to get a reaction frompeople. Ideally we want to blow their minds but evenif they don't understand us and throw things thenthat's much better than if they talk amongstthemselves or go to the bar. Nothing is worse thanbeing competent and average.
5. Tell us how you arrived at the set-up ofinstrumentation you use.How do you see yourselves furthering your sound infuture?
Most of our live set up is due to necessity. We ownand use a huge variety of different instruments whenwe write songs, but these are sampled and put onto the laptop so we don't have to bring them to gigs andhave someone playing them. The guitars go right intothe PA and we don't use guitar amps. This means that we can go to gigs on public transport, and we only need 4 people in the band rather than 8 or 9. It's took 3years to find a singer who can actually sing, we likeand who actually understands what we do. If we had to find a drummer too we'd need several lifetimes.6. Finally, what is next for you?Through some very generous donations we've been ableto build a pretty good recording studio with lots ofvintage gear and a big old desk and we're currentlydemoing new tracks. After that we're going to play asmuch as we can and see what we can do with this. We'vedone a lot already but it's always interesting to tryto take things further..
The Resistance were first brought to our attention via a show they played a few months ago at The Pleasure Unit. The juxtaposition of such a vibrant and dramatic outfit with the dismal and dreary surroundings of the Bethnal Green venue was truly something to behold, and we wrote about them accordingly in the first issue of this very fanzine. But now we are also very lucky to have them grace the Vapour Trail night itself. A truly modern band with a penchant for updating psychedelia and noise-pop (amongst many other things) with a modern electronic edge, the group are one of those who truly need to be seen in the flesh to be completely appreciated. The live shows, backed by projections of the trippy variety, often see vocalist Matt on the floor banging out a primitive rhythm at odds with the aforementioned electronics (bringing to mind the rudimentary-though-effective percussion of Mo Tucker & Bobby Gillespie) but somehow it works. And you will, of course, see so for yourself….
1. First of all, explain how the band came together -a potted history,if you will....
We got together in 2005, but we'd all been indifferent bands beforethen. We've spent the last few years as anexperimental instrumentalband, played lots of gigs and released two singles onour own label. Thesewere moderately successful and got on Radio 1 but wewanted to take it further. Our singer Matt was inanother band called the Khe Sanh Approach. He was along time fan and friend of the band, our bands playedtogether a lot and we arranged gigs together. When theKSA split up he was the ideal choice for our band andhe joined us full time in 2007. Nico is dead, Iggy Popis old and Julian Cope has gone mad. Matt is easilythe next choice and he's just as good as all theabove.
2. What were the initial aims in terms of style, soundand substance?
When we started we believed that the music around uswas boring and we wanted something more. There were nointeresting bands in Cambridge and the sheer lack ofambition in all of them was depressing us. We didn'twant to play boring indie rock in a pub back room toour friends. We wanted to make something no one hadheard before and do something that people willremember. We like noise and we like pop music. It wasgood to combine them, use them as a starting point andtake it from there.
3. Who would you name as your key inspirations andinfluences?
We like unusual sounds, interesting ideas anddifferent ways of doingthings. We're all into 60's psychedelia, Krautrock,pop music,electronic noise and rock and roll. We gerenerallyall admire people who have done something new from theVelvet Underground to My Bloody Valentine. We couldprobably answer "The Velvet Underground" to just aboutevery question here.
4. You put on a particularly exciting live show. Tellus about whatinspired the slides/backdrop you use & also what youhope to conveythrough live performance.
When we started out we didn't have a singer and thismeant that wedidn't have the same traditional focus that peopleare used to when theysee a band. Lots of people tend to get unsettled whenpresented withsomething they don't understand. We liked thepsychedelic lightshows theWest Coast bands had in the late '60s and it was away of making thingsmore interesting, and again, it was making more of aneffort than mostbands do. So many bands just shuffle onstage wearing jeans and at shirt and it's just lazy and indicative of howapathetic and unimaginative most bands are. We want tomake lots of noise, have a good time and have muchbetter shoes than anyone else.When we play live we want to get a reaction frompeople. Ideally we want to blow their minds but evenif they don't understand us and throw things thenthat's much better than if they talk amongstthemselves or go to the bar. Nothing is worse thanbeing competent and average.
5. Tell us how you arrived at the set-up ofinstrumentation you use.How do you see yourselves furthering your sound infuture?
Most of our live set up is due to necessity. We ownand use a huge variety of different instruments whenwe write songs, but these are sampled and put onto the laptop so we don't have to bring them to gigs andhave someone playing them. The guitars go right intothe PA and we don't use guitar amps. This means that we can go to gigs on public transport, and we only need 4 people in the band rather than 8 or 9. It's took 3years to find a singer who can actually sing, we likeand who actually understands what we do. If we had to find a drummer too we'd need several lifetimes.6. Finally, what is next for you?Through some very generous donations we've been ableto build a pretty good recording studio with lots ofvintage gear and a big old desk and we're currentlydemoing new tracks. After that we're going to play asmuch as we can and see what we can do with this. We'vedone a lot already but it's always interesting to tryto take things further..
GOING UNDER GROUND?
We first featured Monday Club in Issue 1 of ‘The Vapour Trail.’ This month, we are lucky enough to have them play at the night itself. With a sound that brings to mind the likes of Patti Smith, Bauhaus, PJ Harvey and Joy Division (although still remaining very much their own creation), the group produce a highly atmospheric and often very ferocious sound. Based heavily in almost-tribal rhythms, the songs often have a dark and bluesy feel not heard since The White Stripes last meant anything. With choppy guitars and throbbing, melodic basslines, the fact that the three of them are able to create a sound so intense while remaining extremely melodic and often very poppy can only be a good thing. 2008 should see them make some serious waves but, for now, we let them answer the questions and therefore tell the story….
1. First of all, how long have you been together and how did you get together?
Jess: We’ve been together in various forms since the summer of 2003. I remember that because it was the longest, hottest summer I can remember, and I remember the three of us squeezing into amy’s bedroom in the sweltering heat bashing out a song called ‘the body song’ which started with the words ‘sit and listen to the melody, this is a song about my body’. We had to break every couple of minutes to hang out of the window and get some fresh air, I don’t really know how we’d got together. Astrud and I have been friends since we were 14 and wore glitter and sweets, and we met Amy at 6th form college. Astrud and I had been talking about forming a band for years and that summer Amy acquired a drum kit, I acquired a bass, and it just happened.
Astrud: I’d been playing keyboard in my room making atmospheric instrumentals and taping them onto a dictaphone for about a year and a half while I was at university. I started learning guitar and piecing chords together and I wrote a few songs. I played them to Jess and Amy and Selmin, (who originally playing guitar in the band) and we tried a few harmonies and they sounded cool so we thought we should start writing more stuff together. Jess and I wanted to have a band when we were 16 and the only song we ever learned was shakin’ all over. I knew amy would be good at drums because she used to mix drum and bass records. I thought a band would be more fun than solitary writing and playing which is cool but the social element changes the whole way you make music.
2. Your songs have a sense of bleakness running through them at times while being very immediate and catchy at others. What inspires your music, be it bands and/or other influences?
Amy: David Lynch, ATP!, things that appear simple but have a quality about them that's beguiling/infectious, Ad Reinhardt's Black paintings, minimal/..'big' drumming - Stereolab, Bauhaus, Joy Division, Deerhunter, Liars, Todd Trainer (Shellac)..Extra points for lush Rock Out sounds! - Nought, Deerhoof..a bit O' Iggy!
Astrud: It’s true that I have a penchant for liking dark kind of music- I always have done. But I love great pop songs. I think it’s an amazing skill to write very uplifting music- and probably even more difficult to write lyrics that sound sort of joyful but meaningful at the same time. It’s something I’d like to try. Rather than bleakness, it’s the pathos of situations that I find interesting- there’s light there, it’s like the excitement something glittering in dirt. As for the catchier ones, it’s a challenge I have with myself to write melodies that stick in your head.
3. What would you say your overall aim is in terms of style and direction?
Jess: I’m not sure that we have one. Or if we have one one day, it’ll be different the next.
Astrud: I think the thing is with our band is that everyone brought in their own styles to playing or writing that’s formulated the overall sound. We try and experiment with how we write and try different instruments to keep things forging ahead- it’s the accidentals in this process that can create new songs.
4. With your live performance, you appear to have a knack for conveying lots of energy and creating an atmosphere. How important is live performance to what you do?
Astrud: live performance is often the way I’ll come across new bands or acts I like as I go to a lot of gigs and it’s a very immediate way the band can grab you, but the performance shouldn’t necessarily be about grand movement- it depends on the act, sometimes the less someone says and does the more compelling they are. I think we’d like to experiment with light shows or visuals, which I think would work with our music.
5. A rather corny question, but what was it that made you all pick up your instruments in the first place?
Jess: I picked up the bass when we started the band! I was learning guitar when we formed, so it made sense for me to try out the bass rather than have three guitarists (we used to have a second guitarist).
Amy: Having a drum kit in front of me + beats in my head! Seeing/meeting other encouraging female drummers in my teens at Riot Grrl or Ladyfest events.
Astrud: I just really really wanted to play guitar- I had been learning a few chords here and there and just wanted to practice until I got good. At the time my boyfriend and one of my friends could play really well so the fact that they were really good probably encouraged me to learn as well. It was a personal thing for me to particularly want to play guitar over any other instrument- I was aware of the gender imbalance of female to male guitar players, which was something I wanted to help shift.
6. Finally, what is next for you?
All: Keep on making music that we really enjoy coming up with + playing! We hope to release a single soon too.
We first featured Monday Club in Issue 1 of ‘The Vapour Trail.’ This month, we are lucky enough to have them play at the night itself. With a sound that brings to mind the likes of Patti Smith, Bauhaus, PJ Harvey and Joy Division (although still remaining very much their own creation), the group produce a highly atmospheric and often very ferocious sound. Based heavily in almost-tribal rhythms, the songs often have a dark and bluesy feel not heard since The White Stripes last meant anything. With choppy guitars and throbbing, melodic basslines, the fact that the three of them are able to create a sound so intense while remaining extremely melodic and often very poppy can only be a good thing. 2008 should see them make some serious waves but, for now, we let them answer the questions and therefore tell the story….
1. First of all, how long have you been together and how did you get together?
Jess: We’ve been together in various forms since the summer of 2003. I remember that because it was the longest, hottest summer I can remember, and I remember the three of us squeezing into amy’s bedroom in the sweltering heat bashing out a song called ‘the body song’ which started with the words ‘sit and listen to the melody, this is a song about my body’. We had to break every couple of minutes to hang out of the window and get some fresh air, I don’t really know how we’d got together. Astrud and I have been friends since we were 14 and wore glitter and sweets, and we met Amy at 6th form college. Astrud and I had been talking about forming a band for years and that summer Amy acquired a drum kit, I acquired a bass, and it just happened.
Astrud: I’d been playing keyboard in my room making atmospheric instrumentals and taping them onto a dictaphone for about a year and a half while I was at university. I started learning guitar and piecing chords together and I wrote a few songs. I played them to Jess and Amy and Selmin, (who originally playing guitar in the band) and we tried a few harmonies and they sounded cool so we thought we should start writing more stuff together. Jess and I wanted to have a band when we were 16 and the only song we ever learned was shakin’ all over. I knew amy would be good at drums because she used to mix drum and bass records. I thought a band would be more fun than solitary writing and playing which is cool but the social element changes the whole way you make music.
2. Your songs have a sense of bleakness running through them at times while being very immediate and catchy at others. What inspires your music, be it bands and/or other influences?
Amy: David Lynch, ATP!, things that appear simple but have a quality about them that's beguiling/infectious, Ad Reinhardt's Black paintings, minimal/..'big' drumming - Stereolab, Bauhaus, Joy Division, Deerhunter, Liars, Todd Trainer (Shellac)..Extra points for lush Rock Out sounds! - Nought, Deerhoof..a bit O' Iggy!
Astrud: It’s true that I have a penchant for liking dark kind of music- I always have done. But I love great pop songs. I think it’s an amazing skill to write very uplifting music- and probably even more difficult to write lyrics that sound sort of joyful but meaningful at the same time. It’s something I’d like to try. Rather than bleakness, it’s the pathos of situations that I find interesting- there’s light there, it’s like the excitement something glittering in dirt. As for the catchier ones, it’s a challenge I have with myself to write melodies that stick in your head.
3. What would you say your overall aim is in terms of style and direction?
Jess: I’m not sure that we have one. Or if we have one one day, it’ll be different the next.
Astrud: I think the thing is with our band is that everyone brought in their own styles to playing or writing that’s formulated the overall sound. We try and experiment with how we write and try different instruments to keep things forging ahead- it’s the accidentals in this process that can create new songs.
4. With your live performance, you appear to have a knack for conveying lots of energy and creating an atmosphere. How important is live performance to what you do?
Astrud: live performance is often the way I’ll come across new bands or acts I like as I go to a lot of gigs and it’s a very immediate way the band can grab you, but the performance shouldn’t necessarily be about grand movement- it depends on the act, sometimes the less someone says and does the more compelling they are. I think we’d like to experiment with light shows or visuals, which I think would work with our music.
5. A rather corny question, but what was it that made you all pick up your instruments in the first place?
Jess: I picked up the bass when we started the band! I was learning guitar when we formed, so it made sense for me to try out the bass rather than have three guitarists (we used to have a second guitarist).
Amy: Having a drum kit in front of me + beats in my head! Seeing/meeting other encouraging female drummers in my teens at Riot Grrl or Ladyfest events.
Astrud: I just really really wanted to play guitar- I had been learning a few chords here and there and just wanted to practice until I got good. At the time my boyfriend and one of my friends could play really well so the fact that they were really good probably encouraged me to learn as well. It was a personal thing for me to particularly want to play guitar over any other instrument- I was aware of the gender imbalance of female to male guitar players, which was something I wanted to help shift.
6. Finally, what is next for you?
All: Keep on making music that we really enjoy coming up with + playing! We hope to release a single soon too.
Thursday, 15 November 2007
Ex Mass Fizz
EX-MASS FIZZ
Dear reader, ‘twas suggested to me by the editor of this venerable publication that a waxing lyrical on something other than music may provide an interesting aside. Well, I was more than happy to oblige…
So, giving you plenty of time for forward planning, this month I thought I’d advise on Champagne and sparkling wine. Some of you may be wanting to drink more than mulled wine come Ex-Mass time – ‘tis, as they say, the season…
Now, you may have noticed, in retailers with a certain ‘bling’ to their swing, the arrival of bottles of Moët NV tarted up with Swarovski glass crystals, and in a box bearing the legend “Be Fabulous” – BE CREDULOUS more like, says this noble scribe. These monstrosities are retailing at around 40 quid a bottle when you can get EXACTLY THE SAME CHAMPERS for around 20 notes in many supermarkets and even the odd pub chain (i.e. Wetherspoon’s) – not that I’d drink the stuff myself of course! However, before you accuse me of snobbery, allow me to clarify. Over 40 million bottles of Moet (and, by the way, you pronounce it MOW-IT, like your lawn, NOT ‘Mo, eh?’ – like a pseud) Champagne are produced every year. Think you get quality at that volume? No, neither do I. It tastes thin and compliments that with a rapier-like acidity. Nice.
So, If you’re gonna shell out some hard earned cash on a nice bottle of pop, I’d like you to get your money’s worth. For around the same price you’d waste on a bottle of Moët you can pick up either Vilmart Grand Reserve (small, independent producer – available via independent wine merchants and also Fortnum & Mason’s wine department) or Billecart-Salmon Brut Reserve (more widely available, for example on bbr.com and in branches of Oddbins) – both of these are round, ‘classic’ styles of Champagne with acidity that’s ‘palate-cleansing’ rather than teeth stripping.
Hell, you don’t even have to stretch to the real thing if the budget won’t permit. Jansz, from Tasmania, do a cracking line in sparkling wines and you can pick up their ‘Premium Cuvee’ for just over a tenner all over this Fair Isle. Perfect for making Christmas Pud palatable.
Santé!
Dear reader, ‘twas suggested to me by the editor of this venerable publication that a waxing lyrical on something other than music may provide an interesting aside. Well, I was more than happy to oblige…
So, giving you plenty of time for forward planning, this month I thought I’d advise on Champagne and sparkling wine. Some of you may be wanting to drink more than mulled wine come Ex-Mass time – ‘tis, as they say, the season…
Now, you may have noticed, in retailers with a certain ‘bling’ to their swing, the arrival of bottles of Moët NV tarted up with Swarovski glass crystals, and in a box bearing the legend “Be Fabulous” – BE CREDULOUS more like, says this noble scribe. These monstrosities are retailing at around 40 quid a bottle when you can get EXACTLY THE SAME CHAMPERS for around 20 notes in many supermarkets and even the odd pub chain (i.e. Wetherspoon’s) – not that I’d drink the stuff myself of course! However, before you accuse me of snobbery, allow me to clarify. Over 40 million bottles of Moet (and, by the way, you pronounce it MOW-IT, like your lawn, NOT ‘Mo, eh?’ – like a pseud) Champagne are produced every year. Think you get quality at that volume? No, neither do I. It tastes thin and compliments that with a rapier-like acidity. Nice.
So, If you’re gonna shell out some hard earned cash on a nice bottle of pop, I’d like you to get your money’s worth. For around the same price you’d waste on a bottle of Moët you can pick up either Vilmart Grand Reserve (small, independent producer – available via independent wine merchants and also Fortnum & Mason’s wine department) or Billecart-Salmon Brut Reserve (more widely available, for example on bbr.com and in branches of Oddbins) – both of these are round, ‘classic’ styles of Champagne with acidity that’s ‘palate-cleansing’ rather than teeth stripping.
Hell, you don’t even have to stretch to the real thing if the budget won’t permit. Jansz, from Tasmania, do a cracking line in sparkling wines and you can pick up their ‘Premium Cuvee’ for just over a tenner all over this Fair Isle. Perfect for making Christmas Pud palatable.
Santé!
Markus Keaney will be doing a Guest DJ slot at The Vapour Trail on December 12th. He is also a poet, vocalist and bassist as well as being a wine expert.
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