tightly packed egg: rfm tagteam on tradescantia zebrina, swiss barns & queef, various sofia artists, ian watson & rob hayler, lust rollers, of habit

October 26, 2017 at 11:44 am | Posted in midwich, new music, no audience underground | Leave a comment
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Tradescantia Zebrina –Tradescantia Zebrina (Hairdryer Excommunication)

Swiss Barns & Queef! – Live at the Monk and the Nun (Sofia Records)

Various Artists – 12 14 16 18 20 22 = 2 (Sofia Records)

Ian Watson & Rob Hayler –Metronome (Invisible City Records)

Lust Rollers – Grim Reflections from the Poetic Spleen (Structured Disasters)

Of Habit – Extended Technique (Entr’acte)

 tradescantina 2

Tradescantia Zebrina –Tradescantia Zebrina (Hairdryer Excommunication) CD and digital album

Mysterious rumbles from the powerfully-coiffured Kev Sanders and comrades Morgan Potts and Siobhán Britton.

Released as a fund-raiser for Trans Health, Housing Action and Not Your Fault this is a master-class in enigmatic sound.

Like a Graham Lambkin joint this reflects the perfect drifting between rooms you sometimes find yourself craving – a hot sonic ear scanning like radar for ripe sound-fruit.  So what if all the apples are withered and brown – no use for a ploughman’s but perfect for chutney!

On this release Sanders’ distinctively polite drone spoons some distant storm clouds and Morgan’s cello that appears to be playing in two rooms at once. The interjection of random slowcrash (think a falling piano slowed down by a factor of 500 perhaps) keeps things both spicy and sweet.

‘Upon Afterwoods’ is particularly poignant and makes me think of Alison Bechdel’s ‘Fun Home’ the waves of dark repression and longing collapsing into a domestic sinkhole.

But most mysterious is the final track ‘Clippings’ that seems to be a total bumdial. A piece of accidental accident to add a healthy dash of sauce to the proceedings.

Quick like fever.

swiss barns

Swiss Barns & Queef! – Live at the Monk and the Nun (Sofia Records) Cassette full of genuine moss and individual art print and digital album

New improvising duo Swiss Barns sport not one but two slack-string-virtuosos; Jorge Boehringer (AKA Core of the Coleman) and Ailbhe Nic Oireachtaigh (Woven Skull, Three-Eyed Makara, Cian Nugent & The Cosmos) both on viola.

This 20 min side-long jam takes in a whole cornucopia of approaches: hillbilly scrape, pointillist puckering and velvet-thunder drone.  It moves with the flexibility of language, a language of vibration.  But of course – aren’t they all?

Often the off-chug of the voices clash in mid-air making a third vibration that stands proud like a cormorant on the cliffs – wings outstretched replenishing its natural oils.

At other times the slick ‘plunks’ or scrapes rustle like whole peppercorns wrapped up in newspaper; a solitary tune coils like a wormcast on a beach and, as you get your eye in you see there’s another, and another and another.

But each time one of our heroes bows it’s to let out the spirit of some half-mad Pan.  Goat-legged and hell bent on debauchery the strings swoop and flutter, they roil and stab ending on a Bernard Herrmann-esque riff that makes the watching crowd stand up, hands on hips and say ‘Oi!’

Queef! play a melodie derived from a Chinese greetings card to open a set of carefully considered tape-grot and strummed/struck/fondled summatorother.  Like Prick Decay (but older and wiser) got it back together for one last show this Dada Junk Spew flirts with litter, rubbish and trash in all senses of the words. Discarded remnants of sound, found non-instruments and a heavy ticking combine in ways both formless and totally natural.

The ghost of improv haunts some sections, the mid-point reveals the shuffling chains and dropped keys of a Usurper side but soon mutates into electro-frat clowncore – complete with honking horn and what I presume are enormous shoes.

As things move towards resolution my personal favourite – the rubbery wrench of tight balloons – is combined with a spluttering dentist’s drill and the acid squeal of hot air passing through a stretched neck.

A brief countdown ends the piece and those patrons of the Monk and Nun stand up again to crow the legend ‘Oi – Oi!’

12 14 16

Various Artists – 12 14 16 18 20 22 = 2 (Sofia Records) Cassette and digital album

A conceptual piece of tape collage/field recording masterminded with the spider-like fingers of Natalia Beylis drawing a bunch of freaky flies into her web.

The trick is (Duke Ellington knew it and Natalia Beylis knows it too) is to surround yourself with quality horns and all you have to do is play the moods.  Here the moods are played with a firm hand and clarity of vision and the horns include heads like Elkka Nyoukis, David Colohan, Andie Brown, Sharron Kraus & Ingrid Plum.

Like all good concepts this one is simple at its root.  Each contributor is asked to record two minutes of ‘something’ from their day’s activities and these moments are stitched together into two, twenty-two minute sides.

So while you’d maybe think this would result in a choppy, highly edited mix you’d be mistaken.  The domestic kitchen noise rustles into traffic ‘schuss’, birds tweet among the cutlery and bus queue politics/tannoy announcements punctuate the random clatter and swish of someone getting ready for work.

Each situation blends into the next and themes (travel, the weather, domestic chores etc) are shared between the pieces, time-zones and countries to create a disjointed yet very human narrative.

As you lose yourself in this music rhythm and texture become all important; for me this turned into an epiphany halfway through side two where some busy fidgeting and dog toy squeak is rammed up against someone lighting the gas on a cooker.  Reader…I jumped up and clapped my hands.

As a listening piece this is both cleansing sorbet and hot sticky fudge-treat.

hayler watson

Ian Watson & Rob Hayler –Metronome (Invisible City Records) Cassette and free digital album

As avid RFM readers will know Rob Hayler killed off his longstanding Midwich persona rather publically at October’s TUSK festival in Gateshead.  A final Groovebox throb and hum led to an electronic disembowelling soon to be all over that youtube.  Ever the careful archivist Rob made sure his outpourings would not be stemmed.  Henceforth they gush via his solid and trustworthy everyday name –Rob Hayler.

And in this act of back-to-basics Rob doubles his impact by teaming up with the polymath Ian Watson (artist, drone-lord, electronic heavy) to launch their iron-clad ‘Metronome’.

So forget all you know about the gentle “tuk – tuk – tuk” of those cute polished wood mechanicals.  This 44 minute piece groans like mutant springs; it howls and it blisters.  It wobbles and crashes.

The scant sleeve notes suggest the source material comes from Ian and is mixed by Rob.  I always find this an interesting approach as it asks fundamental questions of the participants – how much do I present?  How much do I leave in and leave out?  Like a slow-motion improvisation the agonising decision making process is dragged from seconds into weeks!  But on ‘Metronome’ such questions are answered in a clear, unhesitating voice – this is a confident piece of duo-ism that sounds to my tin ears the greasy smearing of one decisive mind.

The mood is certainly darkly metallic, and constantly unfurling as if multiple appendages are slowly freeing themselves from a tightly packed egg.  The motion is continuous – mesmerising.  You stare unblinking, afraid to move, not daring to wonder what evil is being unwrapped.

Number one on Megatron’s playlist?

 lust rollers

Lust Rollers – Grim Reflections from the Poetic Spleen (Structured Disasters) CD-R and digital album

The Aylesbury based duo of Mark Browne and Daniel Gregory come at ya on their second release with a sound that can and has been labelled non-music and idiot-jazz.

Silence flows through these improvisations like dark chocolate in a Vienetta. Objects are donked, flecked and pilched in unorthodox manners (not sure if there is an orthodox manner to ‘play’ a cardboard box anyways) and ‘real instruments like sax and gong are included.

The pleasure can be found in the laser-like operation your ears are required to perform in order to focus on a dense sound world of motion and decay. The scampering and rustling as the disc starts had me reaching for the volume in the car only to damn near soil myself when an unexpected gong strike erupts from the speakers like Norman Bates from behind the shower curtain.

The spirit of mischief is clearly on the agenda although my journey through grim reflections was more serene meditation then beardy euro-jazz freak out. Whilst listening, uninterrupted at home, I was genuinely shocked to find that forty minutes had elapsed. The loving approach to small sounds has a serenity and purity of intent that moves gracefully like the wind through tree branches and seems to slow down time.

I found its autumnal hues immensely soothing to my gonked-out cerebrum.  (by PUKE VOLLAR)

of habit

Of Habit – Extended Technique (Entr’acte) Cassette

Gary Myles is one half of sound-confusion dingbats Spoils and Relics.

Here he offers his first official solo outing and what a curious and alluring beast it is. I found myself flipping it like a pancake in my nifty new walkman whilst taking my dog Lola out on a grey October morning.

Gary’s droll Yorkshire commentary runs through both sides like ominous smog. His droll and detached voice carries a ‘scary guy at the back of the bus’ edge that is lulling and a bit sinister. Amid the sedated thud of drum machine and soggy mechanics whirr Gary’s stoic mumbles that allude to scenes of bleak surrealism and urban squalor.

Fans of Spoils and Relics may be surprised by the more err…musical heft of this delicious little tape. There is an arc and a persistence that trudges wearily on across the whole first side, the sad thump of a cheap Casios and dying batteries. The peripheral chirping and rustling underneath the beatz sound like a rusty hospital trolley on a journey down  a corridor that has no end. It also gives a hint at what suicide may have sounded like had they grown up in a Yorkshire mining town with Ken Loach as their svengali visionary.

Side B starts with hollow loops of melody smeared with several layers of tape grime, descending into blackness. As the narration returns, grey oxide drizzle flickers malevolently in the background finding space between breath, teeth and throat. An unlikely samba limps to life briefly before puttering out like a fag end in a puddle.

Magnificent

(by  LUKE VORTEX who advises us this tape, sold out at source is AVAILABLE FROM THE BOOMKAT VAMPIRES)

Tradescantia Zebrina Bandcamp / Hairdryer Excommunication

Sophia Records

Invisible City Records

Structured Disasters Records

Entr’acte

-ooOOoo-

 

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—

 

holding our treasure aloft: thoughts on facebook, rfm and the d.i.y. underground compiled by rob hayler

March 21, 2017 at 7:42 am | Posted in musings, not bloody music | 5 Comments
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facebook satire 2

On Friday 3rd March, as I was enjoying the opening of the Crow Versus Crow/Malorymaki art exhibition in Bradford, Joe Murray (who had been invited down to play at the event) mentioned to me that new RFM staffer Sarah Gatter (known ‘round these parts as Sky High Diamonds) had offered to create a Facebook page for RFM.

Without thinking too hard about it I gave my blessing.  By lunchtime on Monday 6th March the thing existed.  Blimey.  As the dust settled there began a lengthy and involved discussion amongst RFM colleagues about the merits, or otherwise, of Facebook and other social media.  This has proved so interesting that I have returned briefly from my sabbatical to compile these thoughts (edited to remove repetition, small talk and logistical stuff) and add some of my own.

Let’s start with Sarah and the rationale:

A brief online chat with Rob and Joe over the weekend suggested that an RFM Facebook page would be a good idea as it would exist as a ‘go to’ site for interested parties to get a rundown on RFM and the latest blog reviews. I am happy to manage this page but if any of you are Facebook users and would like to be added as admin (meaning you can then also upload the RFM blogs, add photos, monitor, add and remove posts, including posts or comments from other people etc.) then find me on FB and I can add you as admin.

As agreed with Rob & Joe this page will be a ‘copy’ of the RFM WordPress blog in its use of words and images, both of which will simply be an echo of the already published blog info. No new material or personal posting to exist here as it then gets confusing.

All business, right?  Nowt to worry about, eh?  Well… Marlo kicks it off:

Woah, really?! I think Luke, Chrissie, and I use it.  Both Joes, Rob, and Sophie don’t.

I was thinking RFM was purposely avoiding that platform…. Times are a-changing…

Rob and Joe, can I ask why? I mean, it isn’t really harmonious with what I though RFM mission statement? Or is it?

Chrissie is pragmatic:

I’m very much a semi-detached user of Facebook these days but I think the idea of a page is OK provided it doesn’t distract from the blog.

Is the plan just to post links to the RFM reviews when they appear on the Facebook page? This seems like the best way of doing it to me and allows for people to possibly discuss the reviews and share them easily on FB.

Sof then voices unease:

Know what you mean Marlo. I came off FB because I got so sick of everyone relying on such a massively corporate website to find out about underground DIY gigs etc (including Tor Fest – winds me up so much).  Don’t see why everything needs to have a FB presence to exist these days.

…which allows Marlo to expand her point:

Thanks Sophie for understanding. I feel torn myself constantly cause I cornered myself into the FB for Ladyz in Noyz back in the day and am stuck now or take the risk of losing the international audience. I should have just done a proper page in the past. Myspace to FB…sheesh…

I know it isn’t a collective and whatever Rob and Joe feel is right, I go with [Editor’s note – heh, heh].  Just wanted to see why the shift?

I will be here either way!

Time for me to weigh in:

I wasn’t involved in any discussion as such but Joe M did mention at the show on Friday that Sarah had offered to mirror RFM on Facebook and I said sure, if she’s willing to do the work then let’s try it.

I have never had any personal desire to be on FB, nor have I ever had an account, but since the blog’s inception the majority of referrals have been from FB links (twitter is catching up but FB still in front) so, like it or not, a lot of our traffic has come from that direction.  Thinking about the ubiquity and omniscience of FB makes my stomach flip but it is only one aspect of the corporate global evil that we are using for our purposes.  PayPal, Google, Apple, Twitter – bleurgh – even Bandcamp takes a hefty rake and WordPress charges me more for keeping the site ad-free than it does for hosting our actual content!  We wade waist-deep through the shit holding our little box of treasure aloft so that it doesn’t get caked in crap too.  ‘Twas ever thus.

Also, should you be concerned about such things, the numbers are down.  Mostly, I think, due to the breaks in regular posting last year caused by my burn-out/’real life’ issues, 2016 was the first year since RFM’s birth that number of visits didn’t increase.  I’m not fussed about a plateau – this is a niche concern after all – but this was quite a dramatic drop (2015 = 32k, 2016 = 23k) and I’m not above a bit of rattling the stick in the bucket.  Calling attention to your fine work is noble, and can be even if the format is grisly.

That said – some suggestions/requests.  Firstly, I’m not sure I want that photo of (some of) us from Crater Lake to be so prominent.  Makes me a little uncomfortable.  Secondly, I don’t want the text of posts just reproduced on the FB page – pictures, lists of artists featured, little summaries like those we tweet are fine but I want people to visit RFM to do their reading (or subscribe to the blog and get each post emailed to them directly – currently over a 100 people do this).  I don’t want the FB page to replace the blog.  I see that posts are being made as I type [Editor’s note: Sarah was cracking on]!  The format is fine like that I think.

facebook satire

Over two emails Sarah doubles down for practical reasons and stresses it can be a collaborative effort:

The page is easy to delete if having second thoughts. I personally think it is a good idea as FB really is the ‘go to’ site for getting information. Also, those of us on FB can like and repost the blogs (as we do on Twitter) giving each blog a bit more of a following and a bit more oomph and clout. Also, when blogs are just in a newsfeed (as on both Twitter & FB) they are easily lost and many people (myself included) don’t have the time to fully read a review, or even scan through it, when leisurely (or frantically) scrolling through a news feed.

However, if people are aware that there is a permanent page storing these blogs with a link to a whole heap of other blogs, then that instantly makes all of the blog posts more accessible.

I’m happy that everyone gets a say about layout and content and happier that there are many admin involved, also to make sure that everyone’s happy!

At this point Joe Henderson offers a forthright, brain-stirring intervention:

Will briefly say my piece. I think that, for me, the magic is instantly lost when Facebook gets involved in anything – to be honest. Given my own experience of it and the flow of research surrounding well being & social media I make a concerted effort to stay away.

I don’t mind using the word ‘poisonous’ to describe my attitude towards Facebook, however, I’ve seemed to deal a little better with Twitter, although I still have yet to use it myself (I went on there to get another News source other than the BBC, turns out I can’t get the app anyways on my old iPhone, so I haven’t ended up using it anyway).

Can I make a request that none of my articles are re-posted to Facebook?  And on a far stronger note – I do not want any of my writing to be subject to Facebooks content codes and control.

Part of the charm of things like Radio Free Midwich is their unwavering principles in the face of peer pressure.

Sophie, I know what you mean about lazy promotion. I came to think of Facebook promotion as really exclusionary – like, that you could miss out on so much by not being in a link or social loop. I have no solutions, but I think in general… good old hand-made posters and nerdy art stuff like that appeals to my DIY, punk sensibilities more. Things shouldn’t be eazy..

I’m happy to hang back for a bit and maybe see how things pan out.  Very sceptical right now, but open minded for y’all.  My first article should be out this week (given a little tweaking in the mean-time).  Am happy for it to go out on the website but please don’t put it on FB – I hate that place and it’s toxic, damaging glare.  But, of course am happy for you guys to go ahead and frollick (in the dust & mirrors)

foghorn

Oh, is that Sarah wavering a little? <winking emoji>

 

I also think that hitting the delete button on the FB page would be weirdly very satisfying, and quite anarchic, at this early stage of gaining a few ‘likes’ and ‘followers.’

“Now you see us, now you don’t.”

Not sure what else to say!

Joe Murray shouts encouragement from the window of a moving train:

For me this is all about spreading the word. No more.  I think we are a valuable piece in the no audience crossword so a few more clues (like FB) help folk connect.

But still…we all have to be comfortable with it. I guess we can self-destruct this channel whenever we feel the need.

It’s always good to debate and have different views.  Let’s keep an eye on things and review in a month or so.

All our viewpoints matter.

Speak soon, and if I may gush for a second…we goddamn rule!

Respect as always…

Sarah, like all good academics recognizes grist for the mill when she sees it:

I’m loving this debate, currently attempting to put a PhD proposal together on this very stuff- the relevance of social media to DIY, so the varying perspectives on how we use and control/are used and controlled by social media platforms is intriguing. Many of the artists I know go through long/short periods of deactivating profiles and deleting entire pages of personal data and then coming back to social media on their own terms and for their own agenda when it suits them, I like that.

Sof, bit now firmly between teeth, questions the stated purpose:

Slightly related / aside – I saw this band in London last week and at the end of their show they made a massive statement that “clicks get gigs” find us on Facebook! If we have loads of likes then we’ll get more shows!  What a load of bollocks. Talent gets gigs not some website. People who work hard at what they are doing get gigs. It doesn’t make any personal difference to me if RFM has a FB page or not I’m just saddened that this is the way people think you have to be nowadays. I know it is the go-to for loads of people, the company I work for get loads of work via it but what a lazy state of affairs.  As if the Internet doesn’t make it easy enough for people already why not condense the info in to one accessible website ? Twitter is just as bad – argh! Please meet me down the pub or the library / send me a letter for further ranting opportunity!

I’m actually in talks with a web developer to create a sort of Cops n’ Robbers website [Editor’s note: for non-UK readers Cops n’ Robbers is a legendary Yorkshire-based listings zine with oodles of DIY and N-AU swagger]that would cover West Yorkshire (and maybe nationally) gigs as an alternative ‘go-to’ site instead of FB. For this gig I did on Sunday just gone I really wanted to just advertise without FB but actually got a complaint! Forced Jake to make a page – made it more legit I guess. Fairly confident that most people who showed up were at Pelt a couple of weeks before and picked up a flyer but perhaps that’s wishful thinking.

Clearly a Luddite technophobe over here, where are my DDDD copies?

P.S.  I really like Twitter btw. Not as personal.

evil twitter

In her typically quiet but laser-sharp fashion Chrissie makes the point that…

Contacts get gigs mainly – in my experience at least. It doesn’t matter how talented or brilliant you are, if no-one has heard of you then you don’t get gigs*. Facebook is just one of many places that can possibly be a help there. Ignoring it is a choice, of course, but you are cutting off a potential source of people. The platform on its own may, or may not, be evil. But the people on it mostly aren’t (with some exceptions).

* I’m not saying my band Helicopter Quartet are either talented or brilliant [Editor’s note: they are, both, in spades], but we don’t get any gigs because we don’t have any contacts and both of us are so painfully shy we never make any.

At this point Marlo and I both start thinking ‘there’s an article in this’ and ask if anyone wants to make a more formal contribution.  Marlo suggests:

Perhaps we could all string something together around the question:

How do different social media platforms feed or weaken the ‘underground’? What associations do different social websites bring to the table? What is lost or gained in ‘opening the floodgates’?

Chrissie responds first:

One of the nice things about social media is that it can bring together people of niche interests together – it’s largely what I do on twitter – in a way that’s almost impossible or very difficult to do in other ways.

Yes –  you can start your own website but how do you get people to use it in the first place: twitter/Facebook etc. are the funnel through which you can get access to people who might want to go there. Of course, there are all the arguments about centralisation and monopolies and I’m not happy about those things either. But principally I’m a pragmatist and that’s how these things are structured at the moment. To some extent they always have been, it’s just that the ownerships change over time.

As to ‘opening the floodgates’ – it doesn’t happen. Despite what I just said above, adding RFM to Facebook isn’t going to triple or even double viewing figures (if it does, please buy me a hat to eat).  It’ll bring in some new readers, yes. But it’s not a magic potion and it doesn’t make you popular overnight or even ever – it’s a small help.  I have Facebook pages for my two main bands, nothing has ever happened because of them.  That’s partly down (as I said in a previous email) to the need to be ‘present’ to chat with people on there and make contacts, and partly down to having contacts on the IN THE FIRST PLACE to bring in others.

For my personal opinion, I hate Facebook (for non-political reasons), and I only use it to publicise (unsuccessfully) band things and chat in some obscure synth groups where it feels more cosy and safe. I don’t post personal things on my timeline any more, but plenty of people still do and I have chatted with lots of interesting people there.

Luke puts his head around the door to add:

Hey folks – well for what it’s worth I use Facebook every day.  It has its drawbacks and I’ve sworn off it a few times.  Having said that it does allow you to keep in contact with groovy people chat about music, films, books, gigs etc. I guess it’s about making it work for you and keeping it real. I can’t be doing with Twitter.  So I guess I’m saying if RFM hits face-ache. I’m cool with it.

zucker 2

…then Sarah offers a more fleshed out statement of her position

My continued interest in the electronic DIY underground/no audience culture stems from the DIY rave movement of the mid 80s and early 90s.

I see the current No Audience Underground, as an extension of this movement and I am still fascinated by how it was documented through film footage, photography, music, art and printed/published writings by those who protested for the right to squat empty buildings, resist fox hunting, gather for music events etc. etc.  I did attend some events back then however, it was always pot luck to get to those events due to no social networking and reduced publicity (for obvious reasons) except for well organised word of mouth-those guys were good!

Those DIY activists made thorough use of the tools that were available to them at that time to promote their beliefs, ideas, celebrations and defeats into a wider consciousness and I believe that without those wonderfully documented processes (e.g. the wibbly-wobbly film footage of squats being raided, dancers in the street protesting the CJA etc.) this representation, and therefore a current understanding and contextualisation of that scene, would not be available to us today.  I see this as a cultural mapping of those times and I see social media as a contemporary tool available to us now to continue that cultural mapping.

Social Media is a site of production and reproduction but in many ways it responds to the DIY ethos in that it is free (most of the time), accessible (to the majority) and can be used to promote the individual, it is not entirely corporate like other sites of production and reproduction. However,  I like to think that at some point DIY will turn away from social media and re- ground itself into a less available scene, but I would be happier with this only once much documenting has been achieved and exists in some kind of accessible form.

Things that nag me are: Does the DIY underground movement become less ‘exclusive’ and therefore less underground when its documentary style footage is available to all to access online? How do the ideas of audience/participation/spectacle/active and passive viewing fit in with this? We are all passive audiences when viewing footage/sound/writing of the underground through social media. I also ponder how an attraction to a much larger and wider audience may well undo the emblematic DIY underground counter culture status, such as witnessed in the growth of the Glastonbury Festival, as well as contribute to a more general and overwhelming saturation of the arts.

In summary: For me, social media is currently a way of culturally mapping the continued growth of the DIY movement and is a tool available for us to use (and abuse) right now, but I am not entirely sure that it should or will have a monopoly on documenting the DIY movements for the long term.

I propose that we find a way to occupy the dark web!

…and that was that until over the weekend of the 11th and 12th when Joe and I received the following volte-face from Sarah:

Hi, I was in two minds about RFM on Facebook.

  • It seemed like a good idea to make use of it as a tool and to support the artists, whom I think want reviews about their work publicised.
  • It might be free, it might be accessible but it is a limiting platform and I am beginning to agree with Joe H, it makes us lazy and passive.

This has been echoed within another group that I am involved with [Editor’s note: The Unexplained Sounds Network] who have today proposed ‘silence’ in order to find new ways to communicate and collaborate other than Facebook.  I am in agreement with them.  DIY must mean DIY and Facebook takes that away through its controlled use of data, amongst other things. I did say in my last email that we need to find new ways and jokingly suggested the dark web but I am starting to feel that more needs to be done with searching for new and less lazy & passive ways. Sorry for the complete 100% U turn!!!

zucker

Heh, heh – the irony that this doubt as to the appropriateness of one form of social media was sent via a twitter DM was not lost on me.

So, where are we now?  Firstly, let me just comment on the loveliness of my colleagues – a multiway discussion carried out over the internet that remained civil and useful for an entire week.  Have you ever heard the like?  Secondly, it strikes me that there are three questions to consider with answers to the first two informing the answer to the third.  I’ll begin with a stab at the moral/political question: is Facebook evil?  Next, the pragmatic question: does it actually work as promotional tool?  And finally, the overarching question of whether it is ‘appropriate’ for our slice of the DIY underground to use it.

Despite not holding an account I have, of course, spent plenty of time dodging the demands to sign up in order to see gig info or otherwise lurk.  If RFM is being discussed then the hits coming from FB feel like a partially heard conversation happening in a room with the door ajar.  I’ve never been tempted to walk in, however, because what I hear about Facebook outside of Facebook is predominately negative.  I don’t doubt that there are lovely people using it (like those members of Chrissie’s synth discussion groups) but friends talk about it with exasperation, torn as to whether to cut ties as you might with a needy and bullying family member.  The final straw for a mate of mine was when he was disinvited from a stag do following a row caused by him daring to confirm his attendance with, y’know, his actual voice and not via Facebook.  It’s become like shopping in a supermarket, or reading The Wire – something none of us actually enjoy but which we grudgingly accept as part of modern life.  Imagine spending the evening in a gigantic, soulless, city-centre chain pub, one which has an unsmiling bouncer on the door demanding ID before letting you in.  The beer is crap, the décor unpleasant, neighbouring tables are full of braying idiots but, hey, it’s here that we have agreed to meet.  Evil – on a personal, individual level?  Probably not.  Fuck that shit? On balance, yes.

That’s not to say that the information you provide to Facebook can’t be used for straight-up evil though.  As these thoughts were congealing in my head I read this article, published on The Guardian website on February 26th.  I’m genuinely concerned that if I name names bots will be released, like flying monkeys, to come and destroy us but the gist is that an off-the-radar software company is busy analysing hundreds of millions of FB accounts and using that data to target propaganda furthering the hard-right agenda of their billionaire backer:

These Facebook profiles – especially people’s “likes” – could be correlated across millions of others to produce uncannily accurate results. […], the centre’s lead scientist, found that with knowledge of 150 likes, their model could predict someone’s personality better than their spouse. With 300, it understood you better than yourself. “Computers see us in a more robust way than we see ourselves,” says […].

This team worked both with the Leave campaign and with Trump.  Was it enough to swing both elections?  Maybe us complacent liberals wouldn’t have laughed so hard at those ‘dumpster fire’ campaigns if we’d known this Black Mirror style PSY ops was occurring in the background.  Evil – on a worldwide, political level?  Yeah, I’d say so.  Fuck that shit?  Absolutely.

But, the pragmatist asks, does it work?  Leaving aside the moral qualms and given that everyone is in the crap pub, what happens if we put our poster up on the noticeboard?  I think I’m with Chrissie on this one – the answer is: nowt much.  The reason is, I think, to do with the size and structure of the scene and not where the noticeboard is located.  In an article I wrote five years ago about the, *ahem* ‘economics’ of the no-audience underground I said:

OK, leaving London to one side as it has its own rules, experience has shown me that most UK conurbations of city-ish size can rustle up 20 people interested enough in the type of experimental music RFM covers to turn up to gigs.  10 or less if you are unfortunate, 30 plus if your scene is thriving.  Should you wish to perform in this ‘arena’ then these people are your audience: the subset of this crowd who can turn up on that evening.

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Marketing and promotion do little to alter these numbers.  This is because music of this type will always be a fringe interest (ignoring little blooms of hipster popularity every now and again) but that fringe is well-informed and inquisitive.  As long as the gig is plugged in whatever the usual places are (for example in Leeds we have the essential Cops and Robbers) then the cognoscenti will find out about it and do their best to roll up.

…and, despite the Facebook gig listing becoming ubiquitous in the meantime, I still think this is about right.  Had I been stood next to Sof when that band made their ‘clicks mean gigs’ announcement I would have groaned but at some level I guess it might make a difference nowadays – just not at our level.  Chrissie is right about contacts to a certain extent too – those who hustle for shows do generally get more shows – but within the no-audience underground any attempt at hype or unwarranted self-promotion is usually met with at least a raised eyebrow if not all-out hilarity.  Given the absence of money, the unit of currency ‘down’ here is goodwill and it is earned, exchanged and repaid through being active in the scene.  Perhaps this is our equivalent of <dry boke> ‘networking’ <coughing retch> and it strikes me that this can make more of a difference than any particular means of spreading the word – look, for example, at the love showered on Crater Lake or Tor Fest (“Call something a festival,” says Jake Blanchard, mystified, “and people just turn up.”).

For us, Facebook is now one of the ‘usual places’ where we find stuff out but its prominence has not noticeably affected attendance numbers either way.  When not specifically concerned with discussing Facebook itself I think most people consider the format transparent and ‘see through it’ to the information itself in the same way you don’t consciously think ‘this is a poster’ but instead just register the date, venue etc.  To be honest, I’d have been grateful to have it back in the Termite Club days when I was stuffing envelopes with flyers (<Noel Fielding voice> Imagine that!) to send to a postal mailing list or badgering magazines knowing full well that their attention was far less important than whether or not it rained on the night of the show.

To the last question then: given that we are at least justified in having misgivings about using Facebook and that as a promotional tool it is little better than other means (necessarily so given the nature of the scene we are part of) how appropriate is it to use it at all?

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Firstly I’m going to dismiss a couple of related concerns more or less out of hand – that it is inappropriate because it is ubiquitous or ‘mainstream’ and that it is inappropriate because it ‘makes things easy’ – then I’m going to end the whole thing really abruptly.

If something so nebulous and subjective as ‘mainstream’ culture can be usefully defined (I’m not sure it can, but that is for another day) then Facebook is unarguably part of it.  Your mum is on Facebook right now, discussing her favourite tracks from the Stormzy album.  I don’t care.  One of the great strengths of the no-audience underground is that is does not define itself in opposition to ‘mainstream’ culture but largely just turns its back to it and cracks on with the work.  The belief that DIY culture needs to be antagonistic to popular culture is a quaint stained-glass window surviving in the Church of Punk – very pretty, but I can’t help thinking it is orders of magnitude more radical to not engage with popular culture at all.  I’ve rehearsed these arguments several times over several years (starting here) so I needn’t say any more right now.

evil facebook

I also have absolutely no time for the argument that Facebook, or any other form of social media, ‘makes it easy’ or ‘lumps it all together’ as if that were a bad thing.  I’d be delighted if access to everything we do was made as easy as possible so that anyone who is interested could find it at their fingertips.  When I think of the golden age we live in now and compare it to the time and resources I had to spend as a teenager getting even part-way sound-literate I could cry at the waste.

For example: I grew up in a small seaside town called Littlehampton on the South Coast of England, near enough to Brighton for me to misspend much of my youth there.  As a teenage fan of Spacemen 3 and Loop, Can loomed large in legend.  My fellow heads and I did what we could to track down stuff from libraries, second hand shops and borrowed stuff from the rich kid whose dad bought him the first batch of CD reissues.  In that way we built up a patchy knowledge of the band and their context.  Contrast this to the situation in January of this year when Jaki Liebezeit sadly passed away.  In celebration of the man and his unique achievements links to YouTube clips went flying around twitter and anyone could listen to hours of the band’s music for free whilst reading exhaustive accounts of its history and influence via Wikipedia and innumerable blogs.  May I respectfully suggest that anyone who thinks the former situation is preferable to the latter (not with regard to Jaki’s passing, of course, I’m talking about access to the material) is, at best, misguided.  There is a tendency, especially amongst middle aged beardies, to cry-wank over their box-sets and pristine collection of Melody Makers from the late 1980s whilst whimpering nostalgically about finding a copy of Fun House under a hedge and ‘discovering’ The Stooges.  Jesus wept.  I could go on but I presume my feelings about anything that could be perceived as ‘gatekeeping’, or the raising of artificial barriers, are perfectly clear.

But what about RFM?  Reading through the above I see much of what I’ve written is fairly abstract or from the perspective of gig promotion.  Does it help answer the question as to whether a blog dedicated to documenting weird music produced by a fiercely independent d.i.y. scene should have a presence on Facebook?  Well, much as I understand Sof’s frustrations, Joe H’s reticence and the personally negative feelings shared by me, Chrissie and others I’d hesitate to say, as Joe H does, that Facebook drains the magic from everything it touches.  I don’t find it fun, for sure, but I’d like to think that the magic of the art we cover (and, let’s not be too modest, our descriptions of it – we are part of all this) shines through the murkiness of the medium.  If we proceed with caution then …nnnnggghhh… OK.

We are camped way uphill from the floodgates, a few signposts can’t hurt.

 

—ooOoo—

 

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