TUSK to TUSK: rob hayler on the year past and the ‘final’ midwich show

September 22, 2017 at 11:42 am | Posted in midwich, musings, new music, no audience underground | 8 Comments
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TUSK 2017 poster

Shit.  Who would have thought that 2017 could turn out to be worse than 2016?  At the global level, possibly irreversible man-made climate change is screaming ‘I FUCKING TOLD YOU SO’ as it flattens, floods or incinerates.  The leader of the free world is a ham-faced, racist, narcissistic idiot who appears happy to boast about the prospect of nuclear war.  I started typing ‘I could go on..’ but I’m not sure I can.  I feel the same stomach-flipping foreboding that kept me awake as a teenager in the ‘80s.

On a more personal level, my plan to ‘sort everything out’ whilst on sabbatical from radio free midwich has yielded mixed results.  Without going into detail, months have been sliced from the year caring for elderly relatives following a ‘things will never be the same’ level accident.  My own life has been complicated by learning to cope with diabetes and other long-term, soul-withering nonsense that would be unwise for me to discuss on a public forum.  Everything is either an emergency or delayed indefinitely.

As I write, waves of rain are crashing against the back windows of the house, and Warehouse: Songs and Stories is playing quietly in the background, commemorating the untimely death of Grant Hart.  I look up at a post-it note with ‘fencing flatworm 2017 release: East of the Valley Blues’ written on it, placed at an optimistic angle on the wall nine months ago (sorry fellas)…

So [takes deep breath] what to do?  As always: count my blessings, be realistic, look forward. It ain’t all bad.  Living with my wife Anne and our four year old son Thomas is an inexhaustible source of strength and inspiration.  Family switches the light back on when it grows dark in my head.  Joe is doing a staggering job at the helm of this beautiful blog.  The #noiselife area of Twitter I frequent has offered an easy way of maintaining connections even at the busiest times.  And then there’s music, always music.  From bangers heard on 1Xtra whilst I’m cooking to the glottal pops and retches of the latest gurglecore tape as recommended below.

When talk of TUSK Festival 2017 started appearing on social media I recalled what a life-affirming blast it had been in 2016 and vented my frustration at our current lack of funds via a handful of joke tweets (read from bottom to top):

tusk tweets

This caught the attention of Lee Etherington, TUSK head honcho, and – fuck me – he only went for it!  So, at the moment it looks like I’m going to be hosting a discussion about the state of, ahem, ‘the underground’ then perform immediately after.  GET IN!  I’m delighted and as this is such a relatively high profile gig that I could use to springboard my career to the next level I’m going to… nah, only joking:

I’m going to use it to kill midwich.

NWW - A Sucked Orange cover pic

Some context.  One of the headline acts is Nurse With Wound.  I imagine virtually all readers of this blog will be familiar with at least some of the music of Steven Stapleton and his numerous collaborators.  As such, it is unlikely to surprise you that his work is an enormous influence on me, maybe one of the two biggest on my output as midwich.  The magickaldronetronics of Soliloquy for Lilith – constructed from recordings of self-playing pedal loops manipulated hands-off like a Theremin – is something I have pathetically tried to harness numerous times.  What might raise an eyebrow, though, is how much of the dada and whimsical side of Stapleton’s catalogue I’ve absorbed too.  In amongst the drones I’ve always used skittish interludes, sometimes jokey, sometimes intentionally irritating or deliberately on the verge of being so.  This is all the fault of albums like A Sucked Orange – a collection of off cuts that I adore – which is a perfect manifestation of Stapleton’s inspiring unconcern with the mucking about that comes with being, y’know, an actual musician.  It might genuinely be the case that the track ‘Pleasant Banjo Intro With Irritating Squeak’, a mere 43 seconds long, is the biggest musical influence not only on midwich but on how I think about what is possible in ‘the underground’.  Chew on that.

To be on the same bill as this band (albeit as part of a weekend-long festival and in an adjacent room) makes me feel rubbery with excitement and nerves.  This is pretty much all I wanted to happen one day.  Now it will, so I’m done.

(An aside on the other biggest influence on midwich: Pan sonic.  Oh god, how I loved their heaving rumble that had me gluing a coin to the cartridge to stop my prissy needle jumping off the record in disgust.  Just as impressive though was how they threaded this cyclopean density with intricacy, thought and playfulness.  Like an obsidian carving of Cthulhu shaking its polyps to Miami Bass.  The removal of the second ‘a’ from their name, then calling the following album ‘A’, is perhaps the most deadpan, thus funniest, ‘fuck you’ to corporate bullying I can think of.  Inspiring on so many levels.  I was truly saddened by Mika Vainio’s passing this year and, in my own hopelessly inadequate way, my set will be in tribute.)

pan sonic a

What then does it mean when I say ‘I’m going to kill midwich’?  Anyone who has spoken to me before or after any midwich gig of recent years has heard me complaining about the growing unreliability of the Roland MC-303 Groovebox that has been (almost) my sole instrument since 1999.  It’s a remarkable machine but it has been hammered to the point that getting what I want out of it involves an ungainly combo of cajoling and brute force.  I have long spoken of a ‘final’ performance.  This would be a ‘Greatest Hits package’ (I’m semi-serious – any requests?) ending with the tearing up of the manual and the dismantling of the machine, handing out keys, pots and components to audience members as souvenirs.  What more satisfyingly perverse way could there be to end a long term man/machine relationship than with a ritual disembowelment at a prestige venue? This finality has not yet been finalised – scheduling constraints may force a rethink – but if it proves possible I’m well up for carrying a much lighter bag back to the hotel…

groovebox

So: the prospect of a fun discussion followed by a unique performance with a self-sabotaging, tragic-comic finale, maybe even a physical souvenir!  And the same ticket – very reasonably priced weekend or day options available – sees you right for all the other choice oddness occurring too.

Unmissable, eh? See you there.

TUSK Festival 2017, Sage Gateshead, 13-15 October

midwich Bandcamp site

—ooOoo—

 

8 Comments »

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  1. Amazing and fantastic and I will definitely see you there as I too will be ripping out my guts for it. xxxjennyp

    • Ha! Looking forward to it – we shall compare entrails… Rob x

  2. YESSSSSS get in boyo!!

    Heavy manners at TUSK

    Xoxo xoxo xoxo

  3. I feel for the trusty MC303, it was a toss up between that and a Yamaha RM1X and I went with RM1X. Still in use today probably because I barely scratched the surface until recently. It’s probably the least glamorous piece of kit ever.

  4. Yes, despite our grumpy and fractious relationship, and the relish with which I’m looking forward to the coup de grace, it will be missed. Not had experience with the RM1X but hear it is terrific, a lot of grooveboxes manufactured at the time were overshadowed by the Roland line… Oh, and glamourt ain’t everything, fortunately for me ;-)! Love, Rob x

  5. It’s weird to think of the music those grooveboxes were meant to make, I look at mine now and wonder why it doesn’t make me want to make Big Beat or French House from the 90’s, when if I ever pick up an electric guitar I’m a Jimmy Page or Howlin Wolf fax. I would be nice to think that electronic instruments encourage continued experimentation but I guess that’s down to the driver. I enjoyed the Inertia Crocodile tracks by the way, please start a kickstarter page to buy one of them boutique Roland units and do more.

  6. Howlin Wolf Fax! I’m having that as a working title if that’s OK Stephen. Smokestack KKKEEEEEEeeeeeeeekekeeee!

  7. […] about the year past, how I blagged onto the bill, what I planned to do and what it meant to me, see here. This part is about the festival itself and begins on the morning of Friday 13th October. Also, […]


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