Kogumaza perform NB when they played alongside Gareth Hardwick and Souvaris at Souvaris' last ever show at Nottingham Contemporary on Friday 17 February 2012.
Kogumaza Facebook
Kogumaza Bandcamp
19 February 2012
Kogumaza - NB
Kogumaza perform NB when they played alongside Gareth Hardwick and Souvaris at Souvaris' last ever show at Nottingham Contemporary on Friday 17 February 2012.
Kogumaza Facebook
Kogumaza Bandcamp
28 December 2011
The Chameleon - Nick Turner
Paul Klotschkow put some questions to Nottingham raconteur Nick Turner, the man who runs The Chameleon...
How did you end up running The Chameleon?
I first came here in 2007, but I’ve known the place since 1995, when when it used to
be Raffles. When we started, it was a café and we only put fourteen gigs on in the first
year. Cafés don’t make any money any more, so we’re just a gig venue now. We put on about 160 per year.
You’re very supportive of the Notts DIY music scene.
We specialise in indie/ underground stuff; anything from noise music to hardcore to pop to indie rock to jazz to folk. We try to cover a wide spectrum, but because we are running a business, there are certain things that we can’t put on. Stuff like Straight Edge; they don’t spend any money on alcohol, and they don’t drink enough pop to keep the place going, so we have to try and avoid them. Nothing against them – but you’ve got to make money to survive.
So what are you trying to do here?
This is a launch pad for bands. Most of them aren’t going to make it, and most of them aren’t even going to bother to try. Some of them are good, some of them are terrible, but they’ve got their mates to come down. Some of them do it for a laugh, others have big ideas. Everyone has got to start somewhere and everyone started in the small places.
Do you have any favourite Nottingham bands?
You’re putting me in to a corner here, aren’t you? Fists are a good band. The Cult of Dom Keller – OK, they get a bit drunk, but when they are sober they’re alright. Human Hair, who’ve just played.
Is it tough to run a small independent venue like this in the city?
If you want to support your small independent venues you’ve got to get out and watch live
music. We are forever getting hit by extra costs, and the Council just don’t want to help. We’re not attached to a brewery or a big company; we’re doing this on our own. What people need to understand is that if they don’t keep the small venues alive, bands will just end up playing their instruments in their own backyard.
The venues that have failed - what did they do wrong?
I don’t think that they did anything wrong, apart from the fact that the customers just didn’t bother going. Town is a funny place nowadays; every year you’re going to get a different crowd in because of the students. In their first year they’re messing about, going to lots of different places, whilst we are more of a cultured type thing. Eventually, some will come here because a band is on, then say that they like this place, because it’s a bit out of the way and they didn’t know about it – even thought it’s opposite the Square. And that’s what we’re trying to be; a bit undercover, where all people are welcome as long as they relax and get into the music.
The Chameleon on Facebook
Interview for LeftLion #44
Nick Turner in The Chameleon - photo by Carla Mundy
How did you end up running The Chameleon?
I first came here in 2007, but I’ve known the place since 1995, when when it used to
be Raffles. When we started, it was a café and we only put fourteen gigs on in the first
year. Cafés don’t make any money any more, so we’re just a gig venue now. We put on about 160 per year.
You’re very supportive of the Notts DIY music scene.
We specialise in indie/ underground stuff; anything from noise music to hardcore to pop to indie rock to jazz to folk. We try to cover a wide spectrum, but because we are running a business, there are certain things that we can’t put on. Stuff like Straight Edge; they don’t spend any money on alcohol, and they don’t drink enough pop to keep the place going, so we have to try and avoid them. Nothing against them – but you’ve got to make money to survive.
So what are you trying to do here?
This is a launch pad for bands. Most of them aren’t going to make it, and most of them aren’t even going to bother to try. Some of them are good, some of them are terrible, but they’ve got their mates to come down. Some of them do it for a laugh, others have big ideas. Everyone has got to start somewhere and everyone started in the small places.
Nick Turner outside The Chameleon
- photo by Carla Mundy
- photo by Carla Mundy
Do you have any favourite Nottingham bands?
You’re putting me in to a corner here, aren’t you? Fists are a good band. The Cult of Dom Keller – OK, they get a bit drunk, but when they are sober they’re alright. Human Hair, who’ve just played.
Is it tough to run a small independent venue like this in the city?
If you want to support your small independent venues you’ve got to get out and watch live
music. We are forever getting hit by extra costs, and the Council just don’t want to help. We’re not attached to a brewery or a big company; we’re doing this on our own. What people need to understand is that if they don’t keep the small venues alive, bands will just end up playing their instruments in their own backyard.
The venues that have failed - what did they do wrong?
I don’t think that they did anything wrong, apart from the fact that the customers just didn’t bother going. Town is a funny place nowadays; every year you’re going to get a different crowd in because of the students. In their first year they’re messing about, going to lots of different places, whilst we are more of a cultured type thing. Eventually, some will come here because a band is on, then say that they like this place, because it’s a bit out of the way and they didn’t know about it – even thought it’s opposite the Square. And that’s what we’re trying to be; a bit undercover, where all people are welcome as long as they relax and get into the music.
The Chameleon on Facebook
Interview for LeftLion #44
Kirk Spencer
Playlisted on Radio One, 1Xtra and 6Music, slots at Reading and Leeds: all in a year's work for Radcliffe-on-Trent's finest. Interview: Paul Klotschkow
Are you a Nottingham lad?
I’m from Radcliffe-on-Trent way; it’s outside of the main part of Nottingham but it’s great as I’ve got all of my friends there.
What is your earliest musical memory?
It has to be buying Spice Girls, and Five...I went to see Five at the Ice Arena.
Are you a big pop fan then?
Every kid kind of likes pop. I listened to my dad’s music, stuff like Bob Marley; and my mum’s music, which is quite Eastern influenced. She’s a yoga teacher.
So having that whole ‘Eastern’ sound on Enter The Void isn’t some trend thing, it’s because you grew up listening to it...
Yeah, but it’s only been in recent years where I’ve really got into that type of music. At the moment I’m listening to a lot of psychedelic music from the sixties to early seventies of which a lot is influenced by Eastern music.
What was the first record you bought with your own money?
I can’t actually remember... it could have been a Spice Girls one. I didn’t used to spend my money on music a lot.
Are you of the generation who have grown up with downloading music for free?
I think I am of that generation. It’s only recently I’ve been getting back in to buying music, as a kid I downloaded albums. I downloaded all of Radiohead’s albums, but when they released In Rainbows, I bought the full package and the tab book. I also buy music now because if I DJ with it, I need the quality to be high.
Do you think that as a musician, you can now see how people getting music for free has affected the traditional way of listening and purchasing music?
I can see how it is messing up the industry, but on the other hand I’ve discovered so many artists that are great and then gone on to see them play live; it’s a two way thing. The old
model has to change at some point; everything has to change.
How did you progress to making your own music?
I started playing in a band and at school I found out about this project that was happening down at Community Recording Studios. I went there and met Trevor Rose and Nick Stez, who run the studios. They gave me the skills to learn how to produce; CRS is a studio where lots of things are happening, so you can get involved in lots of different aspects of making music. I’m still learning now.
You’ve been played on Radio One a few times now, how did that happen?
I found a short film on Vimeo that was set in India and the first track that I made for it was called Flying Through India. I listened to Nihal’s show on Radio One every week, so I sent it to him via Soundcloud and he played it. He didn’t just play it once he played it for four weeks. A lot of people you have to chase up, but I didn’t with Nihal - from that start he just liked like the track.
You’ve got three EPs out - has your sound changed much over them?
I guess it has, although I don’t actually know. I’m not sure if my approach to making music has changed, but people are constantly changing. Depending on what kind of mood I’m in,
the music I make will change and I’m teaching myself new stuff every day.
Which label are you working with?
I’m getting interest from some indies and some majors. A track that I did with Marita called Gold got on the Radio One playlist, so a lot of people heard that which helps. I’d like to get signed, just for the fact that it might help me see the world.
How do you re-create your music live?
Luckily I’ve got an amazingly tight drummer, Ben Fawce and I’ve got Marita who acts as the hype person and sings. It’s been awesome working with them. I’ve always listened to bands like Rage Against The Machine who literally rip up the stage and that is what I want to create, I haven’t done it yet, but I’m still working on the live show and some new tunes so I can create that effect. Getting a good reaction from a live crowd is one of time working on your music.
Will you expand in to a full band set-up?
I’m working on a band project at the moment with Faley from Late of the Pier, which is really fun.
You are also a dab hand at doing remixes. How many people have you done remixes for?
Not that many, I’ve turned down quite a few. Unless it is for a decent label then I don’t see the point. But recently I’ve done two remixes for a Playstation game called Unchartered 3. At the moment I’m working on quite a big track that I can’t actually talk about.
How do you put your stamp on a remix?
Sometimes I’ll listen to a track and there might only be a two words in the whole track that I like, so I would just use those two words. Same with a synth part, I’m not scared to take out a synth part and do a whole track around that. It’s just grabbing the bits I like.
What current Nottingham music are you listening to?
I’ve always thought that Origamibiro are really inspirational. Some of the artists and graphic designers like Jon Burgerman and even filmmakers like Shane Meadows, they all inspire me. Bands like Late of the Pier because of their success and they way they got their stuff to look and sound.
How do you class yourself - are you a musician, producer, DJ or what?
I would say that I am more of an artist. I’m not doing anything completely out of the ordinary though, I’m influenced by people like Flying Lotus and they get called electronic artists, so I’m going with that.
Is the city a supportive place for you to make music, or do you need to move elsewhere to step up?
Nottingham’s been amazing; growing up here and going to nights like Wigflex and some of the nights that Dealmaker do. There’s still loads more that can happen in the city, but whether it does happen is a different matter. I think I will go to India; I want to see the whole world and all I really need is my laptop to make music. I’m also working on some sketches with my mate and hoping to do a comedy podcast together by this time next year. I’m not a comedian but my mates are.
Why should whoever is reading this go out listen to your music?
Because just like you guys are, I’ve been reading LeftLion since I was a kid - so you could be me one day.
Kirk Spencer on Tumblr
Interview for LeftLion #44
Kirk Spencer in his home studio - photo by David Baird
Are you a Nottingham lad?
I’m from Radcliffe-on-Trent way; it’s outside of the main part of Nottingham but it’s great as I’ve got all of my friends there.
What is your earliest musical memory?
It has to be buying Spice Girls, and Five...I went to see Five at the Ice Arena.
Are you a big pop fan then?
Every kid kind of likes pop. I listened to my dad’s music, stuff like Bob Marley; and my mum’s music, which is quite Eastern influenced. She’s a yoga teacher.
So having that whole ‘Eastern’ sound on Enter The Void isn’t some trend thing, it’s because you grew up listening to it...
Yeah, but it’s only been in recent years where I’ve really got into that type of music. At the moment I’m listening to a lot of psychedelic music from the sixties to early seventies of which a lot is influenced by Eastern music.
What was the first record you bought with your own money?
I can’t actually remember... it could have been a Spice Girls one. I didn’t used to spend my money on music a lot.
Are you of the generation who have grown up with downloading music for free?
I think I am of that generation. It’s only recently I’ve been getting back in to buying music, as a kid I downloaded albums. I downloaded all of Radiohead’s albums, but when they released In Rainbows, I bought the full package and the tab book. I also buy music now because if I DJ with it, I need the quality to be high.
Do you think that as a musician, you can now see how people getting music for free has affected the traditional way of listening and purchasing music?
I can see how it is messing up the industry, but on the other hand I’ve discovered so many artists that are great and then gone on to see them play live; it’s a two way thing. The old
model has to change at some point; everything has to change.
How did you progress to making your own music?
I started playing in a band and at school I found out about this project that was happening down at Community Recording Studios. I went there and met Trevor Rose and Nick Stez, who run the studios. They gave me the skills to learn how to produce; CRS is a studio where lots of things are happening, so you can get involved in lots of different aspects of making music. I’m still learning now.
You’ve been played on Radio One a few times now, how did that happen?
I found a short film on Vimeo that was set in India and the first track that I made for it was called Flying Through India. I listened to Nihal’s show on Radio One every week, so I sent it to him via Soundcloud and he played it. He didn’t just play it once he played it for four weeks. A lot of people you have to chase up, but I didn’t with Nihal - from that start he just liked like the track.
You’ve got three EPs out - has your sound changed much over them?
I guess it has, although I don’t actually know. I’m not sure if my approach to making music has changed, but people are constantly changing. Depending on what kind of mood I’m in,
the music I make will change and I’m teaching myself new stuff every day.
Which label are you working with?
I’m getting interest from some indies and some majors. A track that I did with Marita called Gold got on the Radio One playlist, so a lot of people heard that which helps. I’d like to get signed, just for the fact that it might help me see the world.
How do you re-create your music live?
Luckily I’ve got an amazingly tight drummer, Ben Fawce and I’ve got Marita who acts as the hype person and sings. It’s been awesome working with them. I’ve always listened to bands like Rage Against The Machine who literally rip up the stage and that is what I want to create, I haven’t done it yet, but I’m still working on the live show and some new tunes so I can create that effect. Getting a good reaction from a live crowd is one of time working on your music.
Will you expand in to a full band set-up?
I’m working on a band project at the moment with Faley from Late of the Pier, which is really fun.
You are also a dab hand at doing remixes. How many people have you done remixes for?
Not that many, I’ve turned down quite a few. Unless it is for a decent label then I don’t see the point. But recently I’ve done two remixes for a Playstation game called Unchartered 3. At the moment I’m working on quite a big track that I can’t actually talk about.
How do you put your stamp on a remix?
Sometimes I’ll listen to a track and there might only be a two words in the whole track that I like, so I would just use those two words. Same with a synth part, I’m not scared to take out a synth part and do a whole track around that. It’s just grabbing the bits I like.
What current Nottingham music are you listening to?
I’ve always thought that Origamibiro are really inspirational. Some of the artists and graphic designers like Jon Burgerman and even filmmakers like Shane Meadows, they all inspire me. Bands like Late of the Pier because of their success and they way they got their stuff to look and sound.
How do you class yourself - are you a musician, producer, DJ or what?
I would say that I am more of an artist. I’m not doing anything completely out of the ordinary though, I’m influenced by people like Flying Lotus and they get called electronic artists, so I’m going with that.
Is the city a supportive place for you to make music, or do you need to move elsewhere to step up?
Nottingham’s been amazing; growing up here and going to nights like Wigflex and some of the nights that Dealmaker do. There’s still loads more that can happen in the city, but whether it does happen is a different matter. I think I will go to India; I want to see the whole world and all I really need is my laptop to make music. I’m also working on some sketches with my mate and hoping to do a comedy podcast together by this time next year. I’m not a comedian but my mates are.
Why should whoever is reading this go out listen to your music?
Because just like you guys are, I’ve been reading LeftLion since I was a kid - so you could be me one day.
Kirk Spencer on Tumblr
Interview for LeftLion #44
Notts Record Labels
Every local imprint we can think of, compiled by Paul Klotschkow. And if you've been missed, pleased don't feel dissed...
49s Versus Dolphins
Specialists in limited edition, handmade releases by bands with a penchant for American post-hardcore. Recent projects include compilation Touchdowns #1, a label supergroup called Sneinton, a stream of gigs at the Chameleon and some gorgeously put-together
tapes.
49s vs Dolphins on Bandcamp
Adaptation Music
Internationally-sourced deep and soulful house label, with a few Notts artists on board. Sub-label, Cosmic Elements, covers lounge, chillout, jazz, funk and space disco. Has a strict demo policy, but is keen to work with new vocalists and musicians – and don’t rule out any producers as long as ‘they are consistent and produce quality music’
Adaption Music website
Bad News Records
The home of ASBO Peepshow, Fresh Eyes For The Dead Guy and Merciless Terror, Bad News veers towards the even darker side of metal, but isn’t interested in pigeonholing its artists, some of whom are as far-flung as the US and Russia. They accept demo submissions, but prefer physical CD, cassette, vinyl, and even wax cylinders to any of that digital rammell.
Bad News Records website
Connect For Music
On a mission to ‘create a soundtrack for the city of Nottingham’, CFORM focuses on exclusively Notts house, techno and electro. Set up in order to put out the tracks created by label owner Rich and his mates, they are, quote, ‘definitely open to demo submissions’.
Connect For Music on Tumblr
Dealmaker
The primo purveyors of downtempo beats, rap and jazz, the formerly Canning Circus-based Dealmaker is now comfortably ensconced on Broad Street and has multiple fingers in musical pies, including a very swish residency at Nottingham Contemporary. Yes, they accept demos, but via digital dropbox only.
The Dealmaker Label website
Denizen Recordings
With the likes of Hhymn, Origamibiro, Injured Birds and Kappa Gamma under their wing, Denizen – part of the Confetti empire - deal with 100% Notts-based artists at present, and are happy to stay that way for the foreseeable future. According to label boss Pete Fletcher, they are up for CD or online demo submissions, try to respond to everyone, and will check out your next gig if they think you’re worth it.
Denizen Recordings website
Earache
The legendary bedroom-based brainchild of Digby Pearson championed the very earliest death metal bands of the late eighties, and is now a worldwide concern a quarter of a century later. They now have offices in London and New York, but still keep a base in
Nottingham. Demo submissions welcome - email digby@earache. com with a link to your extreme and innovative sounds, or submit your YouTube clips via the website.
Earache Records website
The Elementz Productions
Specialists in all things bass, tropical and dark carnival, their leftfield club imprint takes in acts from all over the place. Not looking for demo submissions at the moment, but their Lace Market-based studio is available for hire.
The Elementz Productions website
Farmyard Records
According to owner Tommy Farmyard, this label’s oeuvre is ‘varied, eclectic, often beautiful, often dark, always melodic and accessible - a great representation of the talent oozing out of Nottingham’. Like all good farms, the produce is 100% locally sourced, with more to follow. Demos welcome, preferably Soundcloud-based
Farmyard Records on Facebook
Field Records
The self-styled ‘home for dysfunctional artists’ mainly deal with instrumental music that falls into the post-rock, post-hardcore, math and electronic genres. Whilst not Notts-exclusive, taken in the likes of Old Basford, Grain, You Slut! and Alright The Captain, and love to hear from bands and artists who already have stuff to listen to online.
Field Records website
Folkwit Records
A hugely eclectic label, spanning alternative folk roots and alt country through to lo-fi and experimental music, with a global network of artists on board – including a soupçon of local acts such as Andy Whittle, Jezz Hall, The Phil Langran Band and Nimming Ned. Happy to cock a tab at your demos – either drop ‘em an e with links to your online sounds, or upload tracks to their SoundCloud or Dropbox.
Folkwit Records website
Gringo Records
On the verge of a decade and a half of activity, Gringo are proud standard-bearers of, in their own words, ‘UK DIY excellence’, with roughly a third of their roster based in the Motherland. Owner Matt Newnham isn’t one to sift through demos – he’d rather deal with bands who are already self-sufficient and filter through to him through word
of mouth.
Gringo Records website
Hello Thor
The much-loved DIY indie label never set out to be Notts-only, but love the thought of working with artists they can regularly bump into at gigs or pop to the pub with, love to put on gigs and parties in Nottingham, and are constantly blown away by the talent in town. Constantly looking for, quote, ‘music that excites us’, they’re keen for even more demo submissions. As Nick Lawford, Thor’s Artist Liaison says; ‘Just say hello and give us gifts at gigs.’
Hello Thor website
Low Point
The very under-the-radar home of ambient, drone and experimental music, Low Point handles artists from all over the world. As owner Gareth Hardwick says; ‘As the music released by the label tends to be quite ‘niche’ at the best of times, limiting our output to just
Nottingham based artists would be incredibly restrictive!’ As such, the demo-to-release ratio is small – definitely ‘don’t call us, we’ll call you’ territory.
Low Point website
Mimm
The music wing of the multi-faceted design empire (situated right next door to Dealmaker) concentrates on the eclectic fringes of the dance spectrum, and specialises in producing exquisite limited edition vinylartwork- and-t-shirt/jumper packages, from the likes of Spam Chop. Predominantly, but not exclusively, consisting of all-Notts artists, their release schedule for 2012 is completely blocked out, but they are interested in hearing new stuff.
Mimm Records website
White Horse Records
Electronic dance label who – while casting the net far and wide – are always keeping an ear to the ground in the NG. House, dubstep, synth pop and drum and bass demos welcome – send ‘em via the website.
White Horse Records website
Wigflex Records
The type of music put out buy this label can, according to designer / promoter / manager, Spam Chop, be summed up by the words ‘gloop’, ‘wobble’ and ‘click’. The majority of the roster is either Notts-based or from here originally, but not exclusively. Demos always welcome; lob them in the direction of the website.
Wigflex Records website
Compiled for LeftLion #44
49s Versus DolphinsSpecialists in limited edition, handmade releases by bands with a penchant for American post-hardcore. Recent projects include compilation Touchdowns #1, a label supergroup called Sneinton, a stream of gigs at the Chameleon and some gorgeously put-together
tapes.
49s vs Dolphins on Bandcamp
Adaptation MusicInternationally-sourced deep and soulful house label, with a few Notts artists on board. Sub-label, Cosmic Elements, covers lounge, chillout, jazz, funk and space disco. Has a strict demo policy, but is keen to work with new vocalists and musicians – and don’t rule out any producers as long as ‘they are consistent and produce quality music’
Adaption Music website
Bad News RecordsThe home of ASBO Peepshow, Fresh Eyes For The Dead Guy and Merciless Terror, Bad News veers towards the even darker side of metal, but isn’t interested in pigeonholing its artists, some of whom are as far-flung as the US and Russia. They accept demo submissions, but prefer physical CD, cassette, vinyl, and even wax cylinders to any of that digital rammell.
Bad News Records website
Connect For MusicOn a mission to ‘create a soundtrack for the city of Nottingham’, CFORM focuses on exclusively Notts house, techno and electro. Set up in order to put out the tracks created by label owner Rich and his mates, they are, quote, ‘definitely open to demo submissions’.
Connect For Music on Tumblr
DealmakerThe primo purveyors of downtempo beats, rap and jazz, the formerly Canning Circus-based Dealmaker is now comfortably ensconced on Broad Street and has multiple fingers in musical pies, including a very swish residency at Nottingham Contemporary. Yes, they accept demos, but via digital dropbox only.
The Dealmaker Label website
Denizen RecordingsWith the likes of Hhymn, Origamibiro, Injured Birds and Kappa Gamma under their wing, Denizen – part of the Confetti empire - deal with 100% Notts-based artists at present, and are happy to stay that way for the foreseeable future. According to label boss Pete Fletcher, they are up for CD or online demo submissions, try to respond to everyone, and will check out your next gig if they think you’re worth it.
Denizen Recordings website
EaracheThe legendary bedroom-based brainchild of Digby Pearson championed the very earliest death metal bands of the late eighties, and is now a worldwide concern a quarter of a century later. They now have offices in London and New York, but still keep a base in
Nottingham. Demo submissions welcome - email digby@earache. com with a link to your extreme and innovative sounds, or submit your YouTube clips via the website.
Earache Records website
The Elementz ProductionsSpecialists in all things bass, tropical and dark carnival, their leftfield club imprint takes in acts from all over the place. Not looking for demo submissions at the moment, but their Lace Market-based studio is available for hire.
The Elementz Productions website
Farmyard RecordsAccording to owner Tommy Farmyard, this label’s oeuvre is ‘varied, eclectic, often beautiful, often dark, always melodic and accessible - a great representation of the talent oozing out of Nottingham’. Like all good farms, the produce is 100% locally sourced, with more to follow. Demos welcome, preferably Soundcloud-based
Farmyard Records on Facebook
Field RecordsThe self-styled ‘home for dysfunctional artists’ mainly deal with instrumental music that falls into the post-rock, post-hardcore, math and electronic genres. Whilst not Notts-exclusive, taken in the likes of Old Basford, Grain, You Slut! and Alright The Captain, and love to hear from bands and artists who already have stuff to listen to online.
Field Records website
Folkwit RecordsA hugely eclectic label, spanning alternative folk roots and alt country through to lo-fi and experimental music, with a global network of artists on board – including a soupçon of local acts such as Andy Whittle, Jezz Hall, The Phil Langran Band and Nimming Ned. Happy to cock a tab at your demos – either drop ‘em an e with links to your online sounds, or upload tracks to their SoundCloud or Dropbox.
Folkwit Records website
Gringo RecordsOn the verge of a decade and a half of activity, Gringo are proud standard-bearers of, in their own words, ‘UK DIY excellence’, with roughly a third of their roster based in the Motherland. Owner Matt Newnham isn’t one to sift through demos – he’d rather deal with bands who are already self-sufficient and filter through to him through word
of mouth.
Gringo Records website
Hello ThorThe much-loved DIY indie label never set out to be Notts-only, but love the thought of working with artists they can regularly bump into at gigs or pop to the pub with, love to put on gigs and parties in Nottingham, and are constantly blown away by the talent in town. Constantly looking for, quote, ‘music that excites us’, they’re keen for even more demo submissions. As Nick Lawford, Thor’s Artist Liaison says; ‘Just say hello and give us gifts at gigs.’
Hello Thor website
Low PointThe very under-the-radar home of ambient, drone and experimental music, Low Point handles artists from all over the world. As owner Gareth Hardwick says; ‘As the music released by the label tends to be quite ‘niche’ at the best of times, limiting our output to just
Nottingham based artists would be incredibly restrictive!’ As such, the demo-to-release ratio is small – definitely ‘don’t call us, we’ll call you’ territory.
Low Point website
MimmThe music wing of the multi-faceted design empire (situated right next door to Dealmaker) concentrates on the eclectic fringes of the dance spectrum, and specialises in producing exquisite limited edition vinylartwork- and-t-shirt/jumper packages, from the likes of Spam Chop. Predominantly, but not exclusively, consisting of all-Notts artists, their release schedule for 2012 is completely blocked out, but they are interested in hearing new stuff.
Mimm Records website
White Horse RecordsElectronic dance label who – while casting the net far and wide – are always keeping an ear to the ground in the NG. House, dubstep, synth pop and drum and bass demos welcome – send ‘em via the website.
White Horse Records website
Wigflex RecordsThe type of music put out buy this label can, according to designer / promoter / manager, Spam Chop, be summed up by the words ‘gloop’, ‘wobble’ and ‘click’. The majority of the roster is either Notts-based or from here originally, but not exclusively. Demos always welcome; lob them in the direction of the website.
Wigflex Records website
Compiled for LeftLion #44
Roger Caney
Let the champion gig-goer of the Shire lead you through the toilet venues of Nottingham past and present.
Why?
“Because going to see live music is always different - even the bands I love can be different every time I go and see them. I’m just constantly amazed at the depth of talent here in Nottingham; the list of bands that I like at the moment is just endless. I probably go to around three or four gigs a week, depending on what’s on - they sometimes clash with arty things that I like going to too. I must start keeping a log”.
The Old Vic
“I’ve been in Nottingham since 1973, but only really started gigging in the eighties. I was sharing a flat with some folk and they said they were off to a gig in the basement at the Old Vic. There were a couple of punky bands from somewhere up North who had been brought down by Paul Kilbride who had recently moved here. It’s now Eschucha”
Sam Fay’s
“Paul later started a listings mag called Overall and started promoting gigs at a venue located in some old engine sheds off London Road by the Canal (later to be Hooters). Here, apart from all the visiting talent, local DJs such as Walt (Sweet Potato) and Nail (now of Bent) had nights, and I saw some of the early gigs by local bands such as Wholesome Fish, and promotions by Anton Lockwood.”
The Yorker
“One night when my son Morgan was staying over, a band was rehearsing downstairs. I went down to complain about the noise keeping him awake, and ended up in the band. They were called The Decline. We played gigs in Nottingham, with my favourite being upstairs in The Yorker on the day Laurence Olivier died in July of ’89 - I did vocals for Sympathy for the Devil with a slow first verse in an Olivier stylee. The tatty cassette recording of this gig makes my tenor sound not bad. It’s now the Rose of England”
Junktion 7
“About ten years ago I was working on Alfreton Road, about five minutes walk from J7, so I would often pop in for a quick drink after work, end up watching a gig, and stumble home after midnight. This was the days when Adrian, his missus and her sister Tammy were running the place, and we had loads of locals on. This was where I saw the great Notts ska-punk revival start with people like Weeble. Also, there was this attractive redhaired
woman who was a good sound engineer and did a bi-weekly CD DJ set in the downstairs bar, indulging her obsession with sixties pop/soul. This was Roni, who I ran into a couple of years later at The Rescue Rooms gig – and later discovered that she was now known as Ronika and about to be big...”
Bunkers Hill
“One night I ran into a bizarre little band called Master, who told me about a band a couple of them had recently started up at Trent and the gig they had lined up at Bunkers Hill. They became The Hellset Orchestra, one of the first and best prog-goth-rock revival bands, started by Michael Weatherburn with some guys from his rock band Maelkar. Michael, of course, is now back being a rock-god with Ulysses Storm”
Moog
“The first incarnation of Moog had the highest quota of electronic acts of all types that I’ve seen in Nottingham - some worldwide, and also local acts and DJs, my favourite being Ill Tim who is now one of the Molten Gods. A favourite band for me - possible bias alert - was Laboratoire, which had a core of my son Morgan, with two other laptoppers; Leigh Toro (Molten Gods/ Flotel) and Kamal Joury (Geiom)”
On being known as ‘That Bloke Who Goes To Gigs’
“It feels a bit odd. I don’t want to become even more of a freak, but people seem to want to party, so let’s party. I’ll only stop going to gigs when they tear my last glowstick from my cold, dead hand. Or when I start grandad dancing”
Interview for LeftLion #44
Roger Caney - photo by Claudette Jarvis
Why?
“Because going to see live music is always different - even the bands I love can be different every time I go and see them. I’m just constantly amazed at the depth of talent here in Nottingham; the list of bands that I like at the moment is just endless. I probably go to around three or four gigs a week, depending on what’s on - they sometimes clash with arty things that I like going to too. I must start keeping a log”.
The Old Vic
“I’ve been in Nottingham since 1973, but only really started gigging in the eighties. I was sharing a flat with some folk and they said they were off to a gig in the basement at the Old Vic. There were a couple of punky bands from somewhere up North who had been brought down by Paul Kilbride who had recently moved here. It’s now Eschucha”
Sam Fay’s
“Paul later started a listings mag called Overall and started promoting gigs at a venue located in some old engine sheds off London Road by the Canal (later to be Hooters). Here, apart from all the visiting talent, local DJs such as Walt (Sweet Potato) and Nail (now of Bent) had nights, and I saw some of the early gigs by local bands such as Wholesome Fish, and promotions by Anton Lockwood.”
The Yorker
“One night when my son Morgan was staying over, a band was rehearsing downstairs. I went down to complain about the noise keeping him awake, and ended up in the band. They were called The Decline. We played gigs in Nottingham, with my favourite being upstairs in The Yorker on the day Laurence Olivier died in July of ’89 - I did vocals for Sympathy for the Devil with a slow first verse in an Olivier stylee. The tatty cassette recording of this gig makes my tenor sound not bad. It’s now the Rose of England”
Roger Caney - photo by Claudette Jarvis
Junktion 7
“About ten years ago I was working on Alfreton Road, about five minutes walk from J7, so I would often pop in for a quick drink after work, end up watching a gig, and stumble home after midnight. This was the days when Adrian, his missus and her sister Tammy were running the place, and we had loads of locals on. This was where I saw the great Notts ska-punk revival start with people like Weeble. Also, there was this attractive redhaired
woman who was a good sound engineer and did a bi-weekly CD DJ set in the downstairs bar, indulging her obsession with sixties pop/soul. This was Roni, who I ran into a couple of years later at The Rescue Rooms gig – and later discovered that she was now known as Ronika and about to be big...”
Bunkers Hill
“One night I ran into a bizarre little band called Master, who told me about a band a couple of them had recently started up at Trent and the gig they had lined up at Bunkers Hill. They became The Hellset Orchestra, one of the first and best prog-goth-rock revival bands, started by Michael Weatherburn with some guys from his rock band Maelkar. Michael, of course, is now back being a rock-god with Ulysses Storm”
Moog
“The first incarnation of Moog had the highest quota of electronic acts of all types that I’ve seen in Nottingham - some worldwide, and also local acts and DJs, my favourite being Ill Tim who is now one of the Molten Gods. A favourite band for me - possible bias alert - was Laboratoire, which had a core of my son Morgan, with two other laptoppers; Leigh Toro (Molten Gods/ Flotel) and Kamal Joury (Geiom)”
On being known as ‘That Bloke Who Goes To Gigs’
“It feels a bit odd. I don’t want to become even more of a freak, but people seem to want to party, so let’s party. I’ll only stop going to gigs when they tear my last glowstick from my cold, dead hand. Or when I start grandad dancing”
Interview for LeftLion #44
Annie's Burger Shack
The sloppy joe at the Navigation
Since being taken over by new owners in the summer, The Navigation has undergone a makeover, started to build a rep as a gig and event venue, and – most importantly for this section of the website – has swooped in to recruit Annie and her renowned Burger Shack from the Old Angel. This makes the Nav a pretty hectic place at the best of times; when we rocked up there were three Rockabilly bands playing downstairs, and a craft fair on upstairs.
As at the Angel, each of the burgers have a theme, mainly musical, with relevant toppings. The ‘Thin Lizzy’ (£6.90) has Guinness as an ingredient, whilst the heart-stopping ‘Elvis’ (£6.90) has peanut butter and jam. There’s three options for fries - straight, curly and wedges – and it’s all presented on a wooden slat with a couple of sliced gherkins for garnish. Another huge tick in the ‘win’ column for this place is that, unlike other places where vegetarians are often fobbed off with one or two options on the menu, all 24 of the burgers on the menu can be made for vegans and vegetarians, while the actual beef is locally sourced.
My friend and I opt for the ‘Howlin’ Lord’ (£7.50) and the ‘BB King’ (£6.90), our choices possibly subliminally dictated to us by the Blues tunes that fill the pub when we first got there. The latter is drenched in BBQ Sauce and topped with onions and cheese. We take the Quorn option, but it’s more than enough to satiate even the meatiest of appetites. Eating it is a sloppy, but fun experience as the sauce makes its way all over my face and hands. It’s not often that I can say that the simple act of eating a burger is an outright delight, but this is one time when it definitely is.
Our second choice - the ‘Howlin’ Lord’ - consists of cheddar, jalapeños, black olives, onions, peppers, chilil paste and – gasp - a whole grilled Scotch bonnet pepper. When ordering it, I was advised by the relentlessly cheerful and super-helpful Annie that I’ll need a fire extinguisher. My companion dares me to eat the Scotch bonnet pepper whole. I do, because I’m an idiot. I step through the looking glass into a world of searingly hot sweats and dizzy lightheadedness. According to my companion, who has not immolated his tastebuds, the actual burger is spicy and sweet in equal measure, but not overpowered by heat and is bursting with flavour.
Annie’s Burger Shack proudly claims to serve the best authentic American burgers in the UK. And you know what? They’re probably right.
6 Wilford Street, NG2 1AA. Tel: 0115 8087280
The Navigation website
Annie's Burger Shack website
Noshingham review for LeftLion.
18 December 2011
Fists-O-Maza - Money For Nothing (17 December 2011)
Fists-o-maza cover Dire Straits for the 10th Annual Damn You Christmas Covers Party at The Bodega in Nottingham.
The 10th Annual Damn You Christmas Covers Party
Fists website
Kogumaza website
17 December 2011
Grey Hairs - Down Down (17 December 2011)
Grey Hairs get their denim on and cover Status Quo at The Chameleon Christmas Party.
Grey Hairs website
16 December 2011
The 10th Annual Damn You Christmas Covers Party
This year will feature eight of Nottingham's finest bands including SWIMMING, HHMYN, AUGUST ACTUALLY, GUILTY PARENTS and a couple of specially formed projects featuring members of FISTS, KOGUMAZA, GARRISON, POPPY SEED, SOUVARIS and CANTALOUPE.
Now in its 10th year, Chris from promoters Damn You! tells LeftLion why it's become such a highlight of the Notts music calendar.
For the uninitiated how would you describe the Christmas Covers Party?
It’s like the office Christmas Party for Nottingham bands. A chance to unwind at the end of the year and do something stupid. Put your arse on the photocopier or snog the person in accounts you’ve always fancied. Metaphorically of course.
How did the idea come about?
A gang of us used to do a monthly club night called Why Can’t We Just All Get Along? and it came out of that. I can’t take any credit for the idea as I believe it was the folks in the band Seachange who originally schemed it up and what a good idea it was.
What makes it different from the usual covers nights you get around town?
It’s better - simple as that. It’s developed over the years so now any idea a band might have of covering something that is somehow “cool” or in keeping with their normal bands is pretty much out of the window. It’s genuinely the highlight of the year for me and a lot of people because it’s good to see otherwise serious music types doing something silly for once. The standards are always really high as well, people really raise their game for it so it’s only ever a shambles in a good way.
Can you remember much about the first one?
Not at all. I can remember playing with Wolves Of Greece and we did New Rose by The Damned and Clear Spot by Captain Beefheart. I recall Punish The Atom doing Cokane In My Brain by Dillinger as well. I believe the first year was recorded somewhere but I hope to God it never surfaces.
This year’s is the 10th anniversary – why do you keep doing it?
Like I said, it’s brilliant fun. Any time we’ve considered not doing it people have been really upset and so we’ve given in and put it together again. That says something I think. Plus there are now versions in London, Brighton, Portsmouth and Geneva happening...
 |
| Elvis Presley Always on My Mind at The Damn You Christmas Covers Party 2008 |
Not really, playing covers is good fun and the night always brings people in bands together so it’s inevitable that people will always have enthusiasm for it. Plus, it’s a rare occasion where getting pretty messy is acceptable and we all like a bit of that.
What are your highlights of Christmas Covers past?
I think The Chemistry Experiment’s regular appearances have always somehow raised the bar of what is expected from a band. They were the first band to really take the idea and go with it and make it something extraordinary, so I have to say every time they’ve played has been amazing.
Other things that stick in my mind are Scout Niblett doing Black Sabbath, Savoy Grand doing I Want To Know What Love Is and the incredible medley of Godspeed You Black Emperor and Gold by Spandau Ballet that happened at the London one a few years back. Mind blowing! Then there was the Maneater/Maneater Nelly Furtado/Hall & Oates medley by Jingle Belles. And how can I forget Wander Phantom tackling Ol Dirty Bastard? Brave lads.
Some of my own favourite musical memories have happened at Christmas Covers but (from my point of view) our set of Elvis covers from a few years ago complete with Elvis impersonator in jumpsuit is going to take some beating. I cried a bit when we were playing Always On My Mind. I was pretty hammered though.
More of the same but bigger and better! We’re aiming to break our fundraising records this year and all the cash is going to Nottinghamshire Hospice where we think the money would be most appreciated, so we urge everyone to not only come along but to donate any change throughout the night as well. After all, that’s what it’s about. I can also confirm that you can expect some serious squeezing going on onstage as some of the bands have far too many members.
The awesome bands involved this year either in their own right or in ill-advised supergroups put together for the occasion are – Swimming, Fists, Souvaris, Savoy Grand, Kogumaza, Guilty Parents, August Actually, Fonda 500, Garrison, Cantaloupe, 8mm Orchestra, Hhymn...
Undoubtedly the highlight of the millenium for Nottingham music!
Has anyone ever turned up and played the same songs?
The setlists are always a closely guarded secret, but a few years back 2 bands played the same song by The Doors (serves them right for covering The Doors), so now we have an adjudicator who vets the choices to make sure no one else is doing/has done them. It’s very professional Paul. It might not sound it but we run a tight ship here mate.
Is there one song that you’ve always wanted to hear covered but no one’s done it yet?
That’d be telling. There is one and we came so close to doing it one year but it was like the Holy Grail or the secrets of the Sphinx, impossible to tackle, unscalable, insurmountable. One year though.
 |
| Fists Breaking The Law at the Damn You Christmas Covers Party 2009 |
Easy peasy – At Last I Am Free by Chic covered by Robert Wyatt. With All Along The Watchtower by Dylan covered by Hendrix coming in a close second.
Finally, for those reading this who have never been, what would you say to them to get them to come to the Xmas Covers party?
It’s the best musical night of the year. No chin stroking. No coolness. Just a lot of merriment and fun all in the name of charity. That’s what Christmas is about right?
The 10th Annual Damn You Christmas Covers Party with Swimming, Fists-O-Maza, Hhymn, Unique Moments, Blade Runner The Band, August Actually, Guilty Parents, The Lukewarm Equation and Burly Nagasaki takes place at The Bodega on Saturday 17 December 2011.
Raising Money for Notts Hospice.
The 10th Annual Damn You Christmas Covers Party website
The Damn You Christmas Covers Party Database Project
Original article for LeftLion.
27 November 2011
Grey Hairs - Rescue Rooms (23 November 2011)
 |
| Ther Art of Noise...Grey Hairs live at the Rescue Rooms - Photo by Paul Klotschkow |
The band, made up of local music-types from other Notts bands such as Fists, The Cult of Dom Keller, Kogumaza and Paper Plane Crash, line-up on stage like they are just about to get down to a rehearsal and not play to a hundred or so people in the Red Room of the Rescue Rooms. They stand around in circle type formation and play to themselves as much they do to the audience.
The vocals are deliberately murky and kept low in the mix, and sound as if they are trying to fight their way through a wall of static. It works perfectly though as this band seem to be all about creating fuzzy textures and grainy dynamics. Imagine taking a photograph and photocopying it, then photocopying the photocopy and repeating this process until all that you are left with a is a distorted black and white image with only a faint outline of the original photo. This is how Grey Hairs sound.
It’s heavy, but not heavy in a ‘metal’ sense of the word, but more in the physical, crushing way you feel the music pushing down on you. This is all down to the sheer volume and raucous playing of the band. The pummeling fuzzed-out bass holds court laying down the foundations, leaving room for the guitar to lay waste to whatever hearing you have left; playing with swagger, flair and firing out riffs like it’s still 1991 and Sub Pop have got a couple of A&R men are in the room. Behind all this is the Grey Hairs secret weapon - the drums. The driving force for the whole thing; they crash and smash creating one almighty racket, and are the glue that holds the whole thing together
Yes, it’s unabashedly grunge, with the slabs of guitar often reminiscent of Mudhoney, yet you could see them lining up alongside more recent punky types such as Male Bonding, especially with their skittering energy. This is the art of noise and what a glorious sound it is.
Grey Hairs played in the Red Room of the Rescue Rooms on Wednesday 23 November 2011.
Grey Hairs Facebook
Original Review for LeftLion.
Subscribe to:
Posts (Atom)