A Tin of Condensed Milk

Burn their money. Tear their world apart…

How To Burn Money

http://www.myspace.com/therealstanleybrinks

https://www.facebook.com/thekaniks

When maturity and baldness caused the growing Potteries lad to become Ted Chippington and a ‘Top Comedian’ he also moved in to riling up and calming down excited crowds with his act at gigs by punk rocker bands The Fall, the Nightingales, The Farm, the Higsons and many others.

During this period Ted – “The funniest man alive” according to music weekly Sounds back in the day – was to influence a new generation of stand up comedians (Stewart Lee, Richard Herring, Simon Munnery, etc, etc) with his live performances of what Stewart Lee descibes as “a mixture of surrealism and insolent provocation and uncompromising boredom”. Indeed Lee claims that Chippington was the very reason he got in to stand up, while Herring speaks in glowing terms of Ted’s “contempt for the very idea of jokes”.

Ted first came to national prominence when he opened for The Fall in Birmingham in 1984 and his performance was recorded and released by the Nightingales’ Robert Lloyd’s record label Vindaloo Records as a 7″ EP.

Entitled Non Stop Party Hits of the 50s 60s and 70s, refering to his penchant at the time for performing his own versions of classic hits, the record was played often by John Peel on his Top Gear programme – a rare occurrence for a comedian.

In 1986 he released an album on Vindaloo, Man in a Suitcase – a collection of live recordings plus more songs – which reached the Top 10 in the Indie Album Chart and his version of “She Loves You” from the album received wider exposure following repeated plays by Steve Wright on his Radio 1 show which in turn led to the track being released as a single by Warner Brothers after being picked up by Bill Drummond (KLF, etc) who was an A&R man at Warners at the time.

The 45 narrowly failed to make the Top 50 but “She Loves You” raised Chippington’s profile considerably and led to numerous media appearances, including a turn on the BBC’s lunchtime magazine show Pebble Mill at One and as a guest on That’s My Dog.

Chippington also fielded interviews with many radio shows and magazines – from New Musical Express to the colour supplement of The Mail on Sunday – and performed at the Glastonbury and Reading festivals in addition to hosting his own sell out show at Paul Raymond’s Revue Bar in Soho – ‘An Evening With Ted Chippington’ featuring guests Mark E Smith, Keith Allen, Poison Girls’ Vi Subversa and presenter of New Faces and That’s My Dog Derek Hobson.

Chippington once again came close to mainstream UK singles chart success with a recording of his theme tune “Rockin’ with Rita (Head To Toe)” which he performed with his fellow Vindaloo artists the Nightingales and teenage girl group We’ve Got A Fuzzbox And We’re Gonna Use It. Promotion of this record included a performance on kids TV pop show Razzmatazz and a promo video featuring one of Ted’s football playing mates Pat Nevin.

Ted then toured the USA completely bamboozling American audiences when supporting Fuzzbox and recorded a ‘Live In USA’ album on the tour, which remained unreleased until twenty years later when surfacing on his ‘History Of Ted Chippington’ CD box set Walking Down The Road.

A further Vindaloo single followed, with his reading of Dion’s “The Wanderer”, and was another relative hit but still Chippington’s ruthless disregard for the conventions of stand-up made him a perennial outcast from the 1980s comedy scene – albeit a popular and influential performer.

In 1990, bored by the media attention and feeling his new found popularity was the opposite of his initial aim Ted retired from show business to pursue a career truck-driving in California.

This new career ended ignominiously when his lorry shed its load on the Pacific Coast Highway and for a few years Ted worked as a cook in various restaurants in Mexico before returning to the UK born again as Reverend Ted Chippington, getting married and settling in Torquay.

In 2007 a definitive 4CD box set of Ted (& Eddie) Chippington’s earlier work, entitled Walking Down The Road, was released on Robert Lloyd’s new Big Print label.

A tribute to Chippington entitled “Tedstock”, featuring Stewart Lee, Phill Jupitus, Simon Amstell, Josie Long, Richard Herring and numerous other stand-up comedians, was held at London’s Bloomsbury Theatre in order to fund this release. This event and the box set release led to a new flurry of media appearances for Chippington, including substantial tribute articles in national newspapers (Independent, Guardian, etc) and television (including a feature on BBC’s Culture Show).

Due to demand and boredom Ted began gigging once more but found the experience tedious and has once more gone in to a semi retirement, however he still enjoys performing with his good mates the Nightingales and has done several tours with the group in the last couple of years, including his first dates in Germany and Switzerland where he completely baffled his audiences although performing his act in German.

Ted will once again be touring the UK with the Nightingales in May/June 2012 (dates below) and to coincide with these shows Respect Vinyl is proud to announce the first record of new Chippington material for over twenty five years – Blues Fan – a 10″ single of his classic live favourite coupled with a whole bunch of material on the 33rpm B-Side, including music by Ted’s all female American backing group TC & The Sushine Band.

Blues Fan is probably Ted’s best record release yet and an instant Chippington ‘greatest hit’.

TRACK LISTING

Side A – 45rpm
BLUES FAN

Side B – 33rpm
PHIL COLLINS IMPRESSION
MINT
SUNSHINE
BENNY HILL’S MATE

TOUR DATES

MAY

29 – Shrewsbury, The Vaults
30 – Brighton, Green Door Store
31 – LONDON (DALSTON), POWER LUNCHES ARTS CAFE – “BLUES FAN” LAUNCH PARTY WITH SPECIAL GUESTS

JUNE

1 – London, Nambucca
2 – Southampton, Talking Heads
3 – Wolverhampton, Slade Rooms
4 – York, Fibbers
5 – Manchester, Night & Day
6 – Glasgow, Nice N Sleazy
7 – Stockton On Tees – ARC Arts Centre
8 – Birmingham (Digbeth), Wagon & Horses
9 – Bristol, The Thunderbolt
10 – Kidderminster, Boar’s Head

www.myspace.com/revtedchippington

The Usual Suspects
Cop On Fire
Generic Eric
Chris Bowsher
SDB DJ’s

plus the return of Skinny

8pm til late
£5 in
www.skankingdubbeats.co.uk

Back To The Planet, Tarantism, YT, P.A.I.N, Cracked Actors, Dead Silence Syndicate, Kilnaboy, Supajamma, 10 O’clock Horses,

Dance Tent DJ’s

Riddimtion Soundsystem Full Crew, Johnny Sideways, Buda, Opus 23, Remington, Earthpipe, Kam-Pain, Busmonitor, Witchdoktor, Cousin EV, Distorted Panda, Ir Goon, Kuss, Mykee Wildting, Tinitus, Toby Highpeak, Benji 303, Addiktz, Hannibal Selekta, Spread, Jake Snake, Bushkah and Omen Breaks

Tickets for The Rogues Picnic are available online or by post from Rogues Records
http://roguesrecords.co.uk/tickets.html

Nightingales and Ted Chippington on Tour

MAY

Fri 25 – Stewart Lee gig in wolves
Tue 29 – SHREWSBURY, The Vaults
Wed 30 – BRIGHTON, Green Door Store

JUNE

Fri 1 – LONDON, Nambucca
Sat 2 – SOUTHAMPTON, Talking Heads
Sun 3 – WOLVERHAMPTON, Slade Rooms
Mon 4 – YORK, Fibbers
Tue 5 – MANCHESTER, Night & Day
Wed 6 – GLASGOW, Nice N Sleazy
Thu 7 – STOCKTON, ARC
Fri 8 – BIRMINGHAM, Wagon and Horses
Sat 9 – BRISTOL, Thunderbolt
Sun 10 – KIDDERMINSTER, The Boars Head

“The new album by Nightingales is brilliant. One of the fiercest and most exhilarating rock records I’ve heard in ages.” Andrew Male, MOJO

The first album by the latest Nightingales line up featuring the return of Matt Wood on guitar and new drummer Fliss Kitson
Recorded at Faust Studio, Germany in December 2011 “No Love Lost” is the first record by the group for Cooking Vinyl
Released in beautiful Digipak sleeve with original artwork by brilliant Scarborough based artist Jehan

1. Ace Of Hearts
2. Born Yesterday
3. The Done Thing
4. Real Gone Daddy
5. Best Of British Luck
6. Say It With Flowers
7. The Burster
8. The Dishwater Kid
9. Someone For Everyone
10. Sentimental Dunce
11. Mutton To Lamb
12. The World Of Nothing Really
13. Dick The Do-Gooder

Catalogue # COOKCD557

No Love Lost – Reviews:

Nightingales – “No Love Lost” album reviewed here by Louder Than war

Nightingales – “No Love Lost” album review by The Quietus

Nightingales – “No Love Lost” album review by Tasty Fanzine

Nightingales – “No Love Lost” album review by Penny Black Music

Nightingales – “No Love Lost” album review by SoundsXP.com

Nightingales ‘No Love Lost’ (Cooking Vinyl) – Losing Today May 2012

The Nightingales – you’re familiar with them right – once the Prefects, been around since dinosaurs roamed the earth (or so the youth of today would have you believe when you mention anything that passed before they came to be), around at a time when releases came pressed up on wax and the only way to gage whether a record was much cop was to have it featured in the NME (indeed dear people the same NME that these days sadly looks like a giant advertising insert with occasional music things and a back slapping name check for bands / artists you‘d couldn’t care to read about less breathe the same air as), played by Peel or shoved in front of your face by your in-tuned pulse feeling record emporium owner. Talking of Peel – he admired them so much that like the equally loved Fall, Wedding Present, Beatnik Filmstars and many others to numerous to name (though the three mentioned with the addition of Fatima Mansions (best viewed here on the schizoid powered prickly pop of the Cathal Coughlan meets Beefheart needle sharp blister blues ‘Born Yesterday’) all appear to share a common melodic mindset to the Nightingales in so far as each has emerged from musical reference markers not quite so easily obvious), he’d have them in for regular sessions and play list them at every given opportunity whether you liked them or not with resolute and unwavering conviction that he was right and you were wrong. And of course he was.

Several line ups over the years following 2004’s reformation and now sporting a new label after signing to Cooking Vinyl, the Nightingales of 2012 are a totally different proposition to the tykes whose awkward aural aerosol spiked the airwaves in the early 80’s, these days tighter and at the peak of their powers ’No Love Lost’ seers, scolds and sizzles with all the air of a collective mindset with the bit between their teeth and demanding attention. Rarely have I heard Lloyd and co sounding so forthright, bullish and at peace and enjoying themselves in the process. There’s an urgency about ‘No Love Lost’ its an urgency that encircles the would be listener the moment the opening salvo ‘Ace of Hearts’ rears into ear view wherein your dropkicked immediately into a sea of sonic shrapnel with its twang taunting 50’s informed beat grooved boogie. Elsewhere the kick-ass paint bombing punked up power pop scowl of ‘Real Gone Daddy’ comes across initially like a teen spirited day-glo dinked Rezillos before exiting stage left in a haze of squalling feedback attrition while the shoe shuffling pub rock rumble ‘Best Of British Luck‘ tailgates a youthful Dalmatian Rex and the Eigentones. Old school purists of Nightingales of old should find much with the wiring art pop grizzled math dislocation of both ‘The Burster’ and ‘Dishwater Kid’ to keep them satiated the latter especially finding itself huffing and puffing with a reserved cool as it shimmies casually smooching up to the stylus. Braided with a slyly effervescent 60’s pop persona and showered with echoes of his sole solo effort ‘Me and My Big Mouth‘ – ‘Something for Everyone’ shimmies and shakes to a sun lined feel good accent that should see it assured of radio play action while the mellowing ’The World of Nothing Really’ is cradled in a wounded soft reflection which leaves the frenetic ramshackle spike of ’Dick the Do Gooder’ to round off the set to reveal a fierce some spirit of intent especially at its finale as it dissolves into a sea of head melting cacophonic skree. That said with its snaking slow to burn motifs, nothing quite comes close to the pure mercurial beauty of ’the done thing’ – with its droning ’Low’-esque minimalist chill nodding to a Berlin era Bowie applied and enhanced with howling halos of souring and soaring feedback and lightly kissed with smidgeons of the Weddoes ‘Dalliance’ and the Fall’s ‘Bill is Dead’ to be rounded up into a majestically quiet subdued euphoric glow by Decoration themselves powered via an Arab Strap bypass. Sublime in a word.

TED CHIPPINGTON – “BLUES FAN” – NEW 10″ RECORD ON RESPECT VINYL

Well, well, well the funniest man alive is back! Ted Chippington at last brings to vinyl one of his top true stories – “Blues Fan”.
A really hilarious moment in Ted’s life, recalled with style, makes the long awaited record release of this classic story an immediate TC greatest hit!
And this Top Comedian does not stand still!
Check out the B-Side of this platter for new experimental Ted material.
A brace of rip-roaring impressions of showbiz legends Phil Collins and Benny Hill’s mate are intercut with live show stormer “Mint” and a true story wig out featuring TC & The Sunshine Band, Ted’s all American female backing group.
A hero to your favourite comics and pop stars. A good mate of the ordinary folk. A clean living, straight talking, hard working entertainer. A top bloke.
And now another great record – “Blues Fan” is the maestro’s best release yet.
Ted Chippington is to be appreciated – he’s mint!

A – Blues Fan
B – Phil Collins Impression + Mint + Impression Of Benny Hill’s Mate + Sunshine

Available at live shows & mail order from http://www.respectvinyl.co.uk/
“BLUES FAN” LAUNCH SHOW – THURSDAY 31 MAY
LONDON, Power Lunches Arts Cafe (Dalston)
http://powerlunchesltd.co.uk/

NIGHTINGALES

Born out of Birmingham’s original punk group The Prefects, the Nightingales have stubbornly ploughed their own furrow in the field of alternative rock n roll for three decades. Described in John Robb’s definitive post punk biography ‘Death To Trad Rock’ as “the misfits’ misfits”, the band has constantly garnered praise and respect from other artists and received endless glowing press reports, particularly for their live shows. Led by singer/lyricist Robert Lloyd (‘The most underestimated songwriter of his generation’ according to Ben Thompson in the Independent) the latest incarnation of the Nightingales – the best batch – yet release their new album “No Love Lost” on Cooking Vinyl in April 2012.

To coincide with the album’s release the Nightingales will be touring the UK and mainland Europe. The UK shows follow their May 2011 tour which culminated in a headline performance at the Southbank Centre in London as part of Stewart Lee’s Austerity Binge and the Festival Of Britain, which Mojo magazine called “Astonishing” and “Gig of the year”.

Birmingham’s original punk group The Prefects had been part of The Clash’s ‘White Riot Tour’, recorded a couple of Peel sessions, released a 45 on Rough Trade and, years after splitting up, had a retrospective CD released by NY label Acute Records to all round glowing reviews – from Rolling Stone to webzines.

The Nightingales was formed by former members of The Prefects following that band’s demise in 1979.

With an ever fluctuating line up, based around lyricist/singer Robert Lloyd, the Nightingales enjoyed cult status in the early ’80′s as darlings of the credible music scene and were championed by John Peel, who said of them – “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980′s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans”.

The group recorded a bunch of critically acclaimed singles (Almost always ‘Single Of The Week’ in the music press) and three albums, plus many radio sessions for their great supporter Peel – more than any other band bar The Fall. They also regularly toured the UK and Northern Europe, as headliners and supporting acts as diverse as Bo Diddley and Nico.

In the late Eighties the Nightingales stopped working but, following the occasional gig between times, they re-grouped in 2004, with Lloyd being joined by original Prefects guitarist Alan Apperley.

After fucking about with various wastrels, precious sorts and mercenaries the group arrived at it’s current line up, which features Lloyd, Apperley, Andreas Schmid (Faust Studio engineer) on bass, ex Violet Violet drummer Fliss Kitson and guitarist Matt Wood.

Since restarting the group have been more productive than ever – releasing five 7″ vinyl singles and three studio albums (Plus two live ‘bootleg’ albums), touring England, mainland Europe and USA numerous times, recording many radio sessions along the way. They have been invited to play various festivals in Europe and the States, including Glastonbury and SXSW. Their “Let’s Think About Living” 45 was ‘Single Of The Week’ on BBC 6 Music and they have continued to receive regular rave reviews for their records and live shows.

In 2008 the band recorded “Insult to Injury” produced by Hans Joachim Irmler of krautrock legends Faust which was released in 2009 on Irmler’s Klangbad label and “The Lost Plot”, an Irmler produced 10″ EP was released to coincide with the band’s Euro tours in 2011.

“No Love Lost” the new Nightingales album – their finest yet and first for Cooking Vinyl – was also recorded at Faust Studio in Germany but this time self produced and will be released in April 2012.

The group will be touring the UK in May, followed by dates in Europe, a bunch of festivalsduring the Summer and another U.S tour later in the year.

In addition to the group’s own activity there is a Nightingales ‘tribute’ album planned featuring ‘Gales covers by punk and post punk legends (Raincoats, Mekons, Subway Sect, others), young contemporary bands (Art Brut, Lovely Eggs, others), stand up comedians (Stewart Lee, Phill Jupitus) and academic/author Greil Marcus.

from Southbank web site:

Birmingham’s indomitable punk survivors fuse Beefheart licks and pulverising rhythms with a strangely sensitive cynicism, and arrive at Southbank Centre in advance of imminent National Treasure status. ‘One day their excellence will be confirmed, as other, infinitely better known, bands stand revealed as charlatans.’ (John Peel on The Nightingales)

small selection of recent press:

Nothing could have prepared for the astonishing revelation of Robert Lloyd’s Nightingales… The cumulative effect is one of euphoric delight, of old knowledge in the hands of new disciples. “Dig the depth of the furrow of mirth that I can plough,” sings Lloyd on The Overreactor. Tonight The Nightingales hit an epic new low. Catch them when they’re at it again – MOJO, UK

The Nightingales have always been simply a great rock ‘n’ roll band and 32 years on they’re right at the top of their game – THE STOOL PIGEON, UK

The Nightingales – they’re back and they’re marvellous – MARC RILEY/BBC 6 MUSIC, UK

Nightingales are unreal. The level of playing and songwriting after their post-punk hiatus is unparalled by any of their generational comeback cohorts – TERRE T/WFMU, USA

With The Fall getting Lifetime Achievement awards and Gang Of Four canonised it is long past time the wayward genius of Robert Lloyd and his cohorts was recognised – RECORD COLLECTOR, UK

Rock & Roll at its best – SUDDEUTSCHE ZEITUNG, GERMANY

Consistently excellent, the Nightingales are back, as ferociously sardonic as ever. Nice to see them still mad, still funny, still wrecking the furniture after all these years. – DUSTED, USA

Shows just how poor these skinny jeaned little shits currently doing the rounds really are. – TASTY, UK

The Nightingales in Southend on Friday jetted in to my top ten gigs of all time – PHILL JUPITUS/BBC 6 MUSIC, UK

Forget all these NME Band of the Week types, who make out they don’t care, they won’t compromise, etc, whilst wearing the same indie uniform and churning out the same tired old riffs. They don’t need your attention. The Nightingales do. Because rock ‘n’ roll rarely gets as uncompromising as this – PLASTELIN, SERBIA

The Nightingales revisited their past and offered up the future. Still stunningly relevant – LONDON EVENING STANDARD, UK

The Nightingales subjugate a rapt and breathless audience with a performance of sinewy magnificence – DAILY TELEGRAPH, UK
Tuesday night at the Cake Shop in NYC. One of the best shows I’ve seen in years. Jangly, angsty, angular, punk, post-punk, just rock and roll, whatever, they destroyed – DAN SELZER/ILXOR, USA

The Nightingales have been responsible for some of the most genuinely innovative minority music of the past three decades. – THE QUIETUS, UK

They sound wired, edgy, boozy and as dangerous as ever, like a new band full of that energy that comes with those first moves and not a band who’ve been doing this since the start of punk. Robert Lloyd really shouldn’t be this good after all these years, should he? – THE ORGAN, UK

Boozy and deranged, Insult to Injury is how the new Franz record ought to sound – VICE, UK

This is a living, breathing beast of an album – ARTROCKER MAGAZINE, UK

This is their fiercest, most lacerating album yet, better by a good margin than the mid-1980s Pigs on Purpose…and that was excellent – BLURT, USA

Their freshest and most subtly intoxicating work to date – OBSERVER MUSIC MONTHLY, UK

The new album from the ‘Gales is their finest for 27 years. Start here and work backwards – SUNDAY TIMES, UK

Unlovable as ever. The Nightingales remain hard work for precious little gain – MOJO, UK

“The new album by Nightingales is brilliant. One of the fiercest and most exhilarating rock records I’ve heard in ages.” Andrew Male, MOJO

Nightingales ‘No Love Lost’ cd/dd – Cooking Vinyl – Released April 30th 2012 – Press Report March 30th 2012

Radio

Marc Riley played ‘Dishwater Kid’ on Wednesday 28th March

BBC6Music - Marc Riley played ‘The Burster’ on Thursday 22nd March

BBC 6Music – Marc Riley played ‘Best of British Luck’ on 8th,13th and 19th March

Resonance FM – (London) Artrocker Radio – played ’Ace of Hearts’ on 19th March

Buy Nightingales CDs and more here: http://stores.ebay.co.uk/Iron-Man-Shop

www.thenightingales.org.uk
www.myspace.com/nightingalesmusic
www.facebook.com/pages/The-Nightingales/8860762012
http://twitter.com/_Nightingales

Seth Faergolzia (from the band Dufus) is heading over to Germany, Switzerland, Austria, Bulgaria, Italy and
 perhaps a couple other countries this May promoting a new album called “Tin Wood Soldier”

Seth Faergolzia returns to Music World Radio – Free Podcast preview:

April 28 Bugjar, Rochester [European Tour Send-Off and CD Release Party]

May 1 Darmstadt, Germany -Oetinger Villa w/The Mole
May 2 Köln, Gernany – Wohngemeinschaft
May 4 TBA- Leipzig, Germany
May 5 Offenburg, Germany – Spitalkeller
May 6 Berlin, Germany – Schokoladen
May 7 Hannover, Germany – Sing Sing
May 8 Halle/Saale, Germany – Objekt 5
May 9 Vienna, Austria – Rhiz
May 10 Bregenz, Austria – Plattenhahn
May 11 Innsbruck, Austria – Bäckerei
May 12 Nyon, Switzerland – Noviodunum
May 13 Morges, Switzerland – Couvaloup
May 17 Veliko Turnovo, Bulgaria
May 18 Blagoevgrad, Bulgaria – TBA (Bulgarian National Radio)
May 19 Sofia, Bulgaria – The Red House Center for Culture and Debate
May 20 (dom), Italy – A venue by the Adriatic Sea
May 21 Bolzano, Italy – TBA
May 22 Italy – TBA
May 23 Rome, Italy – Fanfulla
May 24 Italy – TBA
May 25 Vasto, Italy – Beat Cafe
May 26 Cassino, Italy (sab) – Nuove Officine

GERMANY SUMMER TOUR
August 3 Bad Doberan, Germany – Zappanale Festival
August 4 Wrendenhagen, Germany – Scheune
August 5 Trittau, Germany – Alter Bahnhof
More dates TBA!!!

UK TOUR
August 31 – September 2  End of the Road Festival, North Dorset/Wiltshire borders, UK
September 3-10, UK Tour TBA

Buy Dufus CDs here: http://stores.ebay.co.uk/Iron-Man-Shop

Seth Faergolzia and the 23 Psaegz will be releasing their debut CD on April 28, 2012.  Seth will then be touring Europe three times in 2012 and is also making plans for a US tour. He will be traveling to Germany, Austria, Switzerland, France, Bulgaria, Italy, and the UK, including performances at the Zappanale Festival in Germany and the End of the Road Festival in the UK.

Founded by Seth in 2010 as the successor to his world-renowned 13-year project, Dufus, Seth Faergolzia and the 23 Psaegz carry on the warm, weird legacy by stretching the boundaries of musical experience with craze and care unmatched. The group originally gathered with the intention of performing Seth’s 23 Psaegz stream of consciousness puppet rock opera, and has since also become a collaborative backing for his complex web of musical delight. Front man Faergolzia brings his one-man-band skills (mastering simultaneously the guitar, glockenspiel, kick drum, and vocal antics) to a new apex of musical sagacity, as he leads the 23 Psaegz odd.

23 Psaegz pl. n. *say-jezz* An extensive, boisterous musical composition, derived from the 23 pages of Seth’s streaming mind waves

Seth conducts his rollicking 15-folk-grand orchestra with a “glock” mallet, booming kick pedal, frolicsome guitar, and far-reaching vocals. Designed with five moving parts, 23 Psaegz ignites a most profoundly human machine, a musical organism with propellers that blast whirls of free-thought, frequencies that both cut close to the bone and hug the heart; a true masterwork. Seth’s keen ear for harmony deftly channels the energies and talents of the human voice, flute, tuba, trumpet, violin, guitars, bass, piano and found and salvaged metal percussion. With the precision and release of flight, melodic instruments melt sweet cream harmonies with the bass section, lead and vocal choir, then muscle up with brain circuit cranking dissonance. The playful and seriously probing expanse of 23 Psaegz is kaleidoscopic-divine New Orleans marching band meets Peter & the Wolf in outer space. This intense conflation of lyrical imagery and sonic wonder is music to submerge in.

Seth & the Psaegz concoct music which remains outside the scope of particular genre-labels or classification. With their harmonic subtlety, poetically experimental lyricism, quirked-out energy, and of course, Seth’s soaring, roaring gurgling, whip-crack-acrobatic vocals, each Psaegz performance lovingly unweaves time, revealing moments honest & organic in their exploration of possibility. Spontaneously fusing performers with audience, Psaegz mingle into the crowd in fits of wild dance to Seth’s iPod-karaoke hip-jump samplegasms. They’re reshaping and reinventing musical forms to create new, relevant gestures forward. Whether a whistle-driven dirge, foot-stomping fable, or inspired improvisation, these are not songs that will attract only a novel-shock-response, but a growing body of music so dynamic and full, it can be approached with new ears every time: outlandish, wise, and fool-hearted. Copied by many, equalled by none.

Please Visit:

http://www.ironmanrecords.co.uk
http://www.23psaegz.com
http://www.dufus.tv

If you’d like to help out with booking a date for any
of these tours, please write…  booking@23psaegz.com

I started buying records at an early age but soon found that record collecting was an expensive luxury and the only choice was what was stacked on the shelves or anything that hadnt already sold out. I spent time finding good second hand shops but again, the majority of records i found were old vinyl in poor condition or unwanted items and i could never find much I was interested in. I spent a lot of my time reading the music magazines for free in shops on saturday afternoons looking at the features and reviews but again there was never much i really found any interest in. The bands all seemed the same, none of them had any story or mystery to them, they seemed to me like manufactured, heavily marketed and promoted vehicles for generating money for the record labels behind them. Few of them captured my imagination or seemed to have much to inspire me in any way shape or form. For a while it seemed like the album artwork was almost more interesting or imaginative than the music on the record itself. I suppose the late 1970′s and early 1980′s did produce some good bands but I think anyone who was in their early teens at the time would agree that the 80′s were a bleak time for interesting new music.

One good thing did happen during that period, I discovered tape trading. In the back pages of many music magazines at the time there were small classified adverts listing people who lived all over the country, and all around the world, who had an interest in all sorts of bands. A typical advert would read something like “My name’s Joachim, I live in Germany and I like bands like Metallica, Slayer, Anthrax, The Accused, Suicidal Tendencies. Write me with S.A.E (self addressed envelope) for live tapes, swaps at this address….”

I would read the advert, and then read it again thinking…”I like Metallica, Slayer and Anthrax… but who are The Accused or Suicidal Tendencies?” I would write to the person in the advert and find out. Before long, the postman was delivering parcels to me that were coming in from all around the world. A couple of my friends were doing the same, we swapped amongst ourselves and with the people we wrote to.

The packages that arrived by post, sometimes two or three a week, contained hand written letters from people the same age as me. Sometimes the tapes would contain an album or a couple of band demos or a live recording of a gig on another. I got the first demos from Heresy, Doom, Carcass, Regurgitation and numerous other bands in this way so I was already looking out for them when the band’s first album got released. I discovered bands like Oi Polloi, Stupids, Dr Know, Rhythm Pigs, Sabbat, Butthole Surfers, Sacred Reich, Nuclear Assault, Faith No More, Prong and many others in a similar way.

Sometimes i would get a fanzine through the post with a long letter listing recommendations, some of the people I wrote to also reviewed records for fanzines or wrote their own. I began to realise that the bands I was watching on top of the pops each week and the features and reviews in the music magazines were just the tip of the iceberg and that the really interesting music was everywhere, you just had to know where to look.

I think this was the starting point for everything I do now. I had this idea to try and find a way to let more people find out about, and enjoy, the music that I was finding for myself so easily. I wanted to get all this music out to a wider audience. I couldn’t understand why more people weren’t doing what I was doing. I had this naive idea I could somehow come up with a mechanism to provide some kind of alternative to everything I was seeing and hearing through the standard mass media channels at the time. If truth be told, I don’t think I had any idea how to do it or where to start but seeing as i had no friends around me that knew any better, I might as well make a start and make it up as i go along.

Every week I used to go through all the magazine and fanzine gig listings I could find. I would hope I’d spot a gig for a band I had heard about through tape traders and people I had been writing to. I started going to see bands play in London as my older sister had a place where I could stay. I would show up to gigs and hope I could get in without having to show any id, I was 16 at the time. I spent a lot of my time at venues like The Sir George Robey in Finsbury Park, The Canterbury Arms in Brixton, The White Horse in Hampstead, The Fulham Greyhound and I used to go to loads of other places too many to mention here.

I often went to gigs by myself, once I had managed to get a drink at the bar I would try and find someone who looked friendly and just start a conversation. The easiest way to do this was to ask them about the bands playing or what records they had bought recently or what other bands they were into. I started to make new friends and some of them I’m still in touch with today. Many people I spoke to mentioned various record shops they could recommend, other venues or fanzines worth checking out and many of them mentioned John Peel. I had already discovered John Peel myself through listening to the radio late at night but I hadnt realised just how significant he was in terms of the numbers of people my age who listened to his show regularly. Sometimes John Peel would get a letter in from a band, or a mate of a band, I had heard about through tape trading, and he would read it out over the air. He would include the details of their upcoming gig, news of a forthcoming release and an address to write to if you wanted more information on the band. Quite often, if I couldn’t find anything in the gig listings worth going to see, I would take a chance on a band mentioned by John Peel.

Going to gigs, or earning enough money to go to gigs became, for many years, the complete focus of everything I did. I loved seeing bands play, meeting new people and sharing a drink with other people who liked the music I was into. But going to gigs and tape trading wasn’t enough, I wanted to take it further, I wanted to contribute in some way, help these bands reach a wider audience.

In 1990 I had the chance to decide where I wanted to live, I had an offer from several Universities to do a degree in Geography (Don’t ask) and I decided that Birmingham was the University for me. The City of Birmingham up to that time had been producing the most interesting music that I had heard. For example Napalm Death were based in Birmingham, I had been at the first Godflesh gig at the Canterbury Arms in Brixton completely by chance. Godflesh at the time were from Birmingham. I had showed up to see Dr and the Crippens (from Bristol) play but they cancelled and Godflesh and Sink played instead. Bri from Doom was there, I had been tape trading with him for a couple of years and he had told me a lot about what was going on in Birmingham. I used to trade and write to Les from Concrete Sox too and he was always talking about the Birmingham scene and how good the band Doom were. I had a load of Napalm Death live tapes that I had swapped and a lot of the talk between songs was all about other birmingham bands or records that members of Napalm Death were listening to. For a while, many of the bands I was discovering all seemed to play, or had played in Birmingham either at The Mermaid or The Barrel Organ. Birmingham also seemed to be the place where many bands I was listening to were going to record demos or their first records. For example Heresy, Doom, Carcass and others all recorded at Rich Bitch studios in Selly Oak, right next to the University. It seemed Birmingham between 1986 and 1990 had been attracting bands to a healthy alternative music scene and that was what brought me to Birmingham in 1990. However, like all things in the music world and everywhere else, change is never far away, and in Birmingham, things changed…for the worse.

The Mermaid closed down, The Barrel Organ closed down, in 1992 the Hummingbird closed down. What was left were venues like The Jug of Ale, The Hibernian, The Hare and Hounds, The Flapper and Firkin and the only real alternative venue of any size was The Foundry. There was also the Institute and Edwards Number 8. It seemed to me that the only promoters left in Birmingham were only in it to promote the bands they liked already or they would only put on bands that would appeal to the student population regardless of what might be thought interesting or new. How naive I was. Looking back on it with Hinesight, most of them were probably trying to cling on financially as the world around them was already collapsing and they would do anything if it meant better tickets sales. More ticket sales meant more beer sales. More beer sales meant the venue and the promoter had a future. There had to be a better way to attract customers. At this time, the Internet hadn’t arrived yet in any serious capacity.

Across Birmingham student bars were selling beer at £1 a pint, DJ’s were paid £50 to play records in the local pub, big screen TV’s were everywhere playing sport, computer games were encouraging people to stay at home and play, more channels were accessible on the TV, Cable, Satellite channels and changes in peoples use of their leisure time were all eroding ticket sales. You didnt have to go and see a live band anymore to have a fun night out…you could go to the pub and listen to a dj, or watch the sport, or go clubbing, or go to a sports bar and drink cheap lager. The council already had plans in action to build a new shopping center right in the middle of town, people would be able to go shopping anytime they liked. If this wasn’t enough to sound the death of any hope for the future, do you remember how Birmingham used to have one of the best dance music scenes in the country? House of God, Crunch, a host of other dance nights were all attracting students and other young people…live music was no longer as important as it was, particularly in Birmingham. If you ran a pub, why would you pay £300 or even 500 for a live band when you could get a DJ for £50? It has always been hard enough to run a pub and make money from beer without worry about the rest. Things like marketing and promotion were expensive and complicated, a simple solution for attracting people to drink beer and spend their money was the aim of the game and its still the same today. (It’s interesting to note that these days people even DJ for free in pubs with a laptop or an ipod and think they’re achieving something, they’re just being used…they have their ego flattered and they help sell beer for someone else but, I digress.)

This is where I found myself in 1992. The venues were closing, the promoters were doing anything to stay in business, the breweries would rather fit a big screen tv and provide food than have a fully equipped venue and regular live music. It was too expensive and too much risk was involved. As far as the promoters were concerned, I don’t think anyone was making any money, it was a lot of hard work and a lot of stress. When the venue was packed and the beer sales were good the bands got the credit. When the venue was empty and the beer sales were poor the promoter got a talking to. Either way, if you were a music promoter it was a lose or lose situation. The situation was desperate. Then something happened that pushed me into action.

At the start of 1992 Two bands I had been a fan of for years, from opposite ends of the musical spectrum, came together and appeared on prime time TV right in front of my eyes. One band was Extreme Noise Terror, a band John Peel had introduced me to through numerous plays on his radio show, the other was KLF…a band that had first caught my attention with their antics on top of the pops and an interesting approach to releasing records. The KLF attracted my attention for a number of reasons, you can look up what they are all about anywhere on the internet. Their most notorious performance was what finally did it. The KLF collaborated with Extreme Noise Terror at the February 1992 BRIT Awards, they played “3am Eternal” and fired machine gun blanks into the audience and dumped a dead sheep at the aftershow party. This performance announced The KLF’s departure from the music business, and in May 1992 the duo deleted their entire back catalogue. Im sure anyone will tell you how scarcity increases value of some items, the internet has put an end to scarcity and so the value of music and downloads has become almost nothing. You can get anything you want anytime you want it. There’s no apparent value in ownership anymore. Anyway, back to watching ENT vs KLF on the Brit awards: I watched in disbelief, laughing my head off as the two bands performed on LIVE tv. For the first time in as long as I could remember, something had made me laugh out loud and had lit the fire of enthusiasm to do something myself.

I had been playing in bands for many years by this time, I had been to hundreds of gigs, talked to lots of fanzines, labels, bands, venue promoters and gig organisers. I thought that if no one else was going to do anything to try and sort things out I would have to do it myself. This was the chance I had been waiting for, I had this stupid idea that I should start putting on gigs myself, bring to birmingham all the interesting new alternative bands and I should mix the bills up with good local support acts. All I needed was a venue going bust that would be desperate enough to let me have a go, I would need a sound engineer to look after the sound and I could make the rest up as I go along. That’s exactly what I did.

I started at the Hare and Hounds in Kings Heath. My friend Tom Wiggins was a sound engineer, or at least he reckoned he could do the sound if I paid him and sorted everything else out. I went to the landlord at the Hare and Hounds and managed to persuade him to give me one night a month. I would do all the promotion, I would take all the money on the door and I would have to pay the soundman and pay the bands. I started doing one show per month and then moved on to one show a week. I never made much money, enough to pay the sound man and give the bands a donation towards their costs but there was never enough money for everyone and I certainly was not going to make anything for myself. When I graduated I had a couple of dead end jobs then decided to sign on to free up my time to put more effort into organising the gigs, marketing and promotion. I spent many late nights thinking about what i could do to make things better. I had done my research, I had a strategy and I was putting the strategy into action but still there was not much money and not many people coming to the gigs.

A few years later I spotted a poster for a gig at what became Monkey Micks opposite the fire station in Aston. It was a poster for a band called Dogfood and on the poster it said the event promoter was sponsored by the K Foundation. I assumed and hoped that this was in some way related to the KLF and showed up to the gig with no idea what to expect. I had an interesting night out. Leaving the gig after a few drinks and making plenty of new friends, I felt I had at last found another small group of people who were also looking for an alternative. They were hell bent on making their own fun regardless. I was also pleased to discover the music promoter responsible for the gig posters, he appeared more unhinged than I was and at best came across as a dangerous lunatic. His name was Richard Temple and we became good friends. Richard introduced me to the internet, I had no idea what it was, how to use it or even what possibilities it presented. Richard had to admit that putting K Foundation on the posters was only an attempt to attract people to the gig, he was a fan of KLF and used the name purely to see who would show up. As he stated to me some days afterwards “as a strategy it worked quite well. For a start…you showed up.”

By 1996 Richard was organising shows in Birmingham under the name of “Discordian Promotions” and I was operating under the name of “Badger Promotions.” Both of us were trying to organise shows for interesting touring bands with support slots filled by local acts. I think we both knew that neither of us were ever going to make any money either for the bands, ourselves or the venues we were working in, but we couldn’t stop, the phone kept ringing. I think we both continued because we were both working at it and it felt good that there was someone else as mad, doing it, too.

In 1997 I had come to the conclusion that there was really no hope for the future of local gig promotion in Birmingham. It was a disaster area and would continue to be so until someone or something came along to change everything. Anyone who knew there was no longer any money in it was moving on in the hope of better things. Those that remained were either too stupid or too bloody minded to stop or earning money or promoting half decent new music was not the purpose. Richard and I had started using the internet and hoped that this could be the “thing” to change everything.

Richard set up the first internet based discussion group for “music in Birmingham” called “Discordian.” It started life at egroups, then became a yahoogroups list. We started putting email addresses on posters and flyers and invited people to join the discussion online. For users of twitter or facebook these days, this is it where it all started for some musicians in Birmingham. It was slow to start, painfully slow. I dont think many other people in Birmingham had any idea about the internet either and certainly no idea about what was to become “social networking.” The basic idea behind the discordian group was to provide a platform where people who were into alternative music in Birmingham could freely discuss all things music eg: gigs they were going to, bands they had seen, records they were listening to and so on. It was also a sneaky way to promote the word “discordian” and all related “ideas.” After many months the list still only had about 20 users and Richard and I were the main contributors. So always the one with the insane ideas, Richard decided to test whether the “Discordian” discussion group for music was the problem or the concept of the internet based discussion group itself. Richard tried to think of something that was less likely to be of interest to people in Birmingham than music. He picked the subject of “being naked in public places.” The reasoning was simple: “surely more people would be into going to local gigs than walking around in public naked?” Right? How wrong could anyone be. Richard and I were both masters at that. Richard set up a discussion group that was essentially aimed at people who “liked to walk around naked in public and network with other people who liked to do the same.” Within a month the group had over 1,000 users, within a year it had got out of control. Richard had to shut it down. At least we had the answer we were looking for, the internet is a powerful tool but you need to know how to use it and what you talked about, provided, discussed or promoted mattered. Just because we had access to the internet didn’t mean that people would show up to the gigs in any greater numbers than before we had the internet. The bands, the music, the quality, the profile of the bands were still an important part of the equation, we still had to choose the bands carefully. In fact, everything we had done offline before pretty much mattered just as much as what we were doing online now, we had just given ourselves even more work to do online and off. The internet was not instead of our work offline, it was an addition to our offline strategy.

I continued to think about ways to reach a wider audience, how could a local band in Birmingham reach a wider local audience, a national audience or even an international audience? Did you really need money or could you do it with strategy alone? Richard and I sat around drinking and arguing about what the internet was or wasnt going to do for us and how it would change the future. I had my ideas, Richard had his. I have to admit, looking back on it neither of knew anything but at the time Richard was the only one who had any clear vision of what we were dealing with and what the future might be. He had invested serious time finding out how things worked online and if anyone knew anything it was more likely to be him. At the same time, in the national press I was reading about the internet being the end of the music business. I’d heard that one before. Piracy will destroy the music business, Home taping is killing music and now digital files and downloading is killing the music business. It had to be rubbish, somebody somewhere was losing power and control and they didn’t like it. I thought about it a bit longer and read and re-read the articles about the internet and music. I thought to myself that people who knew how to use the internet effectively and use it in cooperation with everything else they did would no doubt succeed, and people who didnt know how to use the internet effectively were going to fail. The Internet appeared to me as a ten ton truck approaching and somehow i had to get behind the wheel or at least put some good tunes on the stereo rather than just get run down. At a time when the local live music scene was in a mess and the music industry had announced it was starting to collapse I decided to start a record label of my own. I wasn’t after money, I wasn’t after a quick hit or the hope of selling the business on to a larger company when I had made a mess of things. I knew I had no future promoting local gigs, I had already been at it for 5 years in Birmingham at this point and had seen enough to put anyone else off music for life. I just wanted the chance to compete in a new game with an all new hope for helping bands reach a wider audience. And if that wasn’t going to happen I would just have to cheat effectively long enough to stay in the game until I worked out a more effective strategy to survive. In 1997 I was on the dole, I had no money in the bank, I was behind with the rent, I owed people money, I had 5 years as a local music promoter behind me, what did I have to lose? I didnt have anything but there was one small problem. The bank was not stupid enough to lend me anymore money and my credit card was full. All I needed now was to find someone who would give me some money, enough money to release a record and test out the insanity for real. Someone who would not ask for it back if I failed completely. And while I waited, I thought I’d treat myself to a little research, I bought a copy of “The Manual” (How to Have a Number One the Easy Way) 1988 – a book by The Timelords (Bill Drummond and Jimmy Cauty), better known as The KLF. It’s wikipedia entry describes it as “a tongue-in-cheek step by step guide to achieving a No.1 single with no money or musical skills.” I’d heard about it and read bits that had been copied or reproduced. I decided to read it and work from there.

In late 1997 someone with money to lend me walked through the door of The Old Railway. I was organising two shows a week and they asked me how much I thought I would need to start a record label. I couldn’t believe my luck. Within 7 days the record label had a logo and the name I had been keeping for just such a purpose could at last be used. I had already thought a lot of my plans through so when the opportunity just appeared one evening in the doorway I knew exactly what I wanted to do next. Iron Man Records officially began on 23rd November 1997 although I had been working on ideas throughout 1996. The name came from the song Iron Man by Black Sabbath that I used to play when all else failed. Birmingham to me has always been Ozzy’s town. Black Sabbath could not have happened without the crushing despair that prolonged exposure to Birmingham’s built environment brings down onto people. It’s in the water, it’s the skyline, the warehouse roofs and canals, you can’t see much further than the other side of the road, it’s all around you, you can feel it. Birmingham can be a bleak and depressing place. Bands like Napalm Death, Godflesh, Doom and the rest I’m sure were all influenced by the place they spent their time. It shows in their music. The name was also inspired by my own perceptions of Birmingham as an old industrial town, made of iron, populated by stubborn, narrow minded people with no drive to do anything creative for themselves apart from work, consume, breed and die. I wanted to take a tin opener to peoples perceptions of the Birmingham Music Scene and I wanted to take a tin opener to the Music Business in general, I wanted to see what it was all about for myself and offer an alternative. I wanted to show that anyone could set up a record label and and anyone could work effectively to help bands reach a wider audience without having to be a greedy money motivated idiot. I didn’t just want to do it myself, anyone could do that. I wanted to do it properly and fairly without into the age old compromise chasing money etc. Not long after I decided to make a start on the record label, Barney, the singer from Napalm Death showed up one night at The Old Railway to write a review for Kerrang. I spoke to him briefly and asked if he could recommend a good studio in Birmingham for bands to record as I had heard so many horror stories about Rich Bitch. He laughed and said “Go and see Bag at Framework Studios, he’ll sort you out.” Barney gave me the address and the rest is history. When I found Framework Studios I found Bag aka Paul Siddens and Simon Reeves. Bag had worked with Napalm Death for the last ten years, Meathook Seed, Charger, DBH, Little Giant Drug, Cathedral, Carcass, Bjork, Admortem, Family Cat, Crowbar, Six Feet Under, Obituary, Ride, Coal Chamber, Skin Lab, At The Gates, Saxon, and PJ Harvey. Bag starting teaching me some of the most important things about touring, recording and everything else I might need to know. The rest is history, I still work with Framework Studios, in fact Simon Reeves plays bass in Last Under The Sun which is the band I started over ten years ago. The first release on Iron Man Records was a local band called I.O.D and it’s still one of my favourites, a local band that had only played local gigs and with Bag’s work in the studio, they produced a great debut release.

I have kept a list of quotes that have continued to inspire what I do since the record label has been in operation. You can read them here: http://ironmanrecords.net/about/reasons-why/

I have also been questioned on some of the above before. You can find my answers here: http://ironmanrecords.net/about/questions/ and here: http://ironmanrecords.net/about/10-questions/

Is it an equal partnership between you and Kevan? Or does one of you have more control?

I have the main artistic and financial control of the label, but just like any solo project, it is doomed to failure if you don’t have at least one other person involved to keep a degree of sanity to decision making. Kevan looks after all the Legal agreements and we discuss everything at length before I start working on any new projects. Kevan has also contributed many good ideas along the way as he has worked in music and law himself for many years and knows a lot more about the commercial pitfalls and the better aspects of the music business than I ever will.

What made you decide to branch out further that being just a record label?

I never started the record label to make money, I hoped it would cover it’s costs but that was just about it. Since 1997 the label has spent a lot of money and struggled to generate any real income at all. I considered applying for funding and working on more effective marketing and promotional strategies but in the end I decided I would rather abandon the concept of strategy and just generate more releases with bands that i liked in my own time and when funds permitted. After the closure of The Old Railway in Digbeth I was no longer booking concerts for bands and the phone kept ringing. Bands would ask for a show and when I told them I was no longer organising anything in Birmingham the next question would always be…”Can you come and get us from the airport?” or “Do you know anyone with a van who could drive us round Europe for the whole of the tour?” I started to offer Tour Management and driving to bands I already knew just to help them out. But the phone kept ringing and soon I was working with bands I had never met before and they were willing to offer me money in exchange for my experience, knowledge and time. I continue to keep to the idea of only working with people I like and I tend to favour the bands who have something interesting to say with their music, lyrics or approach to their music in general.

I have been offered work by the Musicians Union, local funded organisations, and several Universities teaching Music Industries Skills and Music PR and Promotion. To be honest, whilst I working for all sorts of different entities and enjoy teaching a lot, I don’t like being employed by anyone I wouldn’t want to invite for a drink and a chat. Sadly many Universities and local funded organisations have become administrative frameworks and sometimes you never even meet the people who make the decisions or pay your wages and as an employee you have little chance to influence what is taught or how it is taught or what subject matter should be focussed on.

In this digital age, for what reasons do you sell CD and Vinyl?

There is still a healthy market for CDs and Vinyl and I like them both for different reasons.

In Germany, France and Czech Republic, Vinyl always sells better than CDs or digital downloads amongst the bands I work with both on tour and as a label. One of my friends in Czech republic explained to me that he discovers new music on the internet, by personal recommendation. He downloads suggested mp3 and gives them a listen. If he discovers a new band he likes he buys a ticket and goes and sees the band play when they visit Czech on tour. If he likes the show he will buy a vinyl album or a 7 inch single as a souvenir of the gig and as a valuable addition to his record collection. He explained he had no use for cds as they were digital and he could get the digital files for free from the internet. He explained he likes to sit and listen to his records or invite his friends round to join him. This love of vinyl has been repeated to me by friends I’ve got in France and other European countries. Things may well change in future but for now, Vinyl is still more important that anything else if you want to tour or operate in Europe.

On a personal level I’ve always loved Vinyl, the artwork on the record sleeve, the lyrics inside, the smell of the vinyl and the simple joy of playing the record and sitting down and listening to it. I have a good collection of vinyl and I still think one of my favourite things is to sit down, with no phone, no laptop, no interruptions and just play a record from start to finish. If anyone has ever sat down and listened to any classic record like David Bowie – Ziggy Stardust and the Spiders from Mars or Pink Floyd – Dark side of the moon from start to finish without any distraction you can’t help but admit, the music takes your mind to another place and you just cant get that sort of enjoyment from digital files played through tiny speakers on a laptop computer.

CD’s are different to me. I like them as they are digital, you can play them in the car but you can also read the sleeve notes and packaging, you can look at the artwork and you have a physical product. The are also a lot cheaper to send through the post. I have never really like the idea of filling my computer with digital files. All that happens is I listen to endless streams of music files and in the end my brain just becomes numb to all of it and I stop enjoying the music. I still enjoy putting on a good record and listening to it from start to finish. I don’t mind getting up and turning it over if its on vinyl but I really don’t enjoy the continuos, infinite stream, of digital files playing through itunes, I find it soul destroying and eventually irritating.

Digital files tend to be found mostly on my computer so i only listen to files that don’t distract me too much while i’m answering emails or whatever online. I tend to listen to more relaxing or acoustic based music when im on the computer. I think this is why music that is marketed and promoted only though the digital medium will eventually short circuit. the only music that will prevail will be music that people like to listen to whilst playing on facebook or answering emails or whatever while sat at a computer.

Releasing a good physical product, with proper artwork and packaging, that involves the listener playing the music on a record player or a cd player means that at least there is a small chance they wont ONLY listen to the music when sat at a computer.

Do you sell any music by artists that are not with the label?

Yes I run a distro on ebay. By this I mean I buy cds, vinyl, dvd, and all sorts of other stuff off bands I like and I listen to on a regular basis. I try and sell stuff as cheap as I can on ebay and usually I put a freebie of some description into every envelope. Anyone who buys anything from me gets an extra item of some sort in addition to the stuff they have paid for. It’s my way of keeping in touch with my customers and it means I can see for myself what people are buying and what they are no longer interested in as far as ebay selling is concerned. It also helps as i can put flyers or info about events into the envelopes as I pack and wrap items before sending them out. At times it’s just like the old days of tape trading, I have a means to get the information out to the people buying the music and I can bypass everything in the mainstream media or on the net. I know that if they are buying this cd from me by this band, they will probably be interested in this flyer, for this gig, on this date etc.

Do you have a business plan?

Not really, things are changing all the time, my mind is changing all the time, I have to be ready to seize the moment and by the time I’ve written a proper plan out I’m already onto something else.  I do however do my research for each individual release, I assemble a strategy on a release by release basis as every band has different needs, wants, ideas etc and I try my best to stick to the strategy spread over a planned time period. I alway try to set goals or agree indicators for evaluation before I begin so I know whether I have been successful or not. For example I might suggest 2 good local reviews, 6 good national reviews and some radio play might deem a release a success. By comparison another record might need 5 good local reviews and 20 good national reviews to be a success. I’m not going to go through it all here but in simple terms I have a rough outline strategy for everything I do but everytime I think about putting a strategy into action I review it based on recent events, try and do some more research where required and then I’ll customise it depending on what I want to do and how much time or money is available. But I always try to set targets before I begin so i know whether what I have done has been any good or not by the time its all finished or I’ve gone as far as I can.

How is Iron Man Records funded?

The label began with a cash loan that was recoupable against sales but not returnable in the event of failure. It’s probably safe to say the word failure was the result. I’ve essentially written all this loaned money off now, I don’t think I’ll ever generate enough to pay it off, or not in the near future at least. I spent too much money too quickly and expected sales to be about 20 times better than they turned out to be. The result was no one has earnt anything and a huge debt still exists. I try not to think about it too much but it did teach me a valuable lesson. Spending other peoples money is really easy, when you spend your own you don’t make so many mistakes and one mistake can put an end to any plans. This is one of the main reasons I don’t think funding the creative industries can ever produce any meaningful results unless the funding is less than 20% of any new project cost. Projects that only exist because someone has managed to hook some funding for it are a waste of everyones time and nobody gains anything apart from the box ticking people at the funding organisation and the people who deliver the project itself, they get to pay their mortgage or go on holiday but nothing of any value is generated by the process.

Since 2002 I have been funding the record label out of my own earnings from activities outside of the record label. I have earned money from teaching, consultancy, helping to run workshops, speaking and providing online strategy and help with PR and promotion. By far the biggest earner for me these days is Tour management and driving for touring bands. Tour Management was never something I chose to do, my phone just kept ringing with bands asking for my help on tour, in the end I just gave in and said “OK, whats your budget, what are you trying to do, where are you going and when do you need me to start?”

I’ve been doing tour management and driving without even realising it for many years, and for free. I’ve been doing it for purely commercial purposes for the past 6 years as a means to provide income for the label. I always prefer earning and spending my own money than going “cap in hand” to some funding agency or governmental organisation. Not only do these organisations often know nothing about anything, their staff and the people who find themselves delivering many of the projects end up taking more interest in their share of the 45% project spend on “costs”. And when they’re not worrying about their own wages, sick pay, maternity pay, annual leave, lunch hour etc, The project leaders end up spending their time worrying how to spend all the money by a specific time rather than how to invest it properly for the sustainability of the project or to generate more funds for the future. The funding organisations in my view have not only put the real creative businesses out of action by providing unfair and funded competition, they have forced anyone with any intelligence to abandon their creative project and start a new one that meets the criteria of the funding available.

Ive had to stand back and watch people with some of the best minds, talent and ideas Birmingham has produced to date throw their own ideas and creativity away in exchange for a “funded project position.”  I’ve watched them do it for the easy money, a higher salary than could be expected than if you did it by yourself, and some stupid job description like creative consultant or creative director. These people are worse than dead people, they are living dead people who have choosen to kill off their own creativity in exchange for working for someone else because they are too lazy or too fearful of doing it for themselves and risking failure. When the funding finally stops Birmingham will start to produce some creative genius’ again. Until then, give up all hope, the creative genius’ will continue to sell themselves for any price to anyone who will take their fears away and tolerate their cowardice.

What work have you done with other companies?

I’ve organised more than 1000 gigs in and around Birmingham since 1994 as Badger Promotions. I did plenty of shows before that but on an irregular basis under various assumed names.

I set up the Birmingham Music Network in 2000, it’s still running and I organise a networking meeting on the last thursday of the month.

Since 2002 I have continued to put on shows, but they have been few, and far between, and usually under an assumed name as I felt the Badger Promotions thing had run its course.

At the moment I’m playing in a band called Last Under The Sun which started life in 2000 after my last band split up. I also play in another band called Police Bastard. I book the tours and organise pretty much everything else.

I write and maintain several music related blogs and work to promote new music where possible by sharing links, videos, news etc on twitter, facebook and through my websites.

I currently only work for money as a Tour Manager & Driver outside of Iron Man Records. I’ve worked for Seasick Steve, Anthrax, Mika, Killing Joke, Gorillaz, Brand New Heavies, The Enemy, Friendly Fires, Okkervil River, The Wild Mercury Sound, Sierra Maestra, Jay Reatard, The Nightingales, Ivo Papasov, Endbutt Lane, The Rakes, Crystal Castles, The Magistrates, Bullet for my Valentine, The Orb, Barry Adamson, Soulsavers, As I lay Dying, Roisin Murphy, Police Bastard, Dufus, Arrows, Taio Cruz, Ladytron, Son de la Frontera, Jeffrey Daniel, Johnny Foreigner, Xova, Johnny 2 Bad, The Moons, The Lines, Phantom Limb, Little Barrie and many others…..

In the past I have worked for money assembling online strategy for bands like The Orb, Arrows, Xova and companies like Moving Space Tours and more recently Good 2 Go Tours.

I have lectured at Birmingham City University as part of their Music Business degree course, I’ve delivered work for the Musicians Union, projects for Birmingham City Council, Learning and Skills Council and Advantage West Midlands. I was also part of the team that delivered “In The City” in cooperation with Radio 1 before 2000.

What do you feel the role of Iron Man Records is in regards to the music industry as a whole?

To provide an alternative, a different way of seeing the world, a different perspective, something homemade, or homegrown.

I read somewhere that 87% of the population base their beliefs and perceptions on what others around them tell them is true. Only 13% make any effort to research and establish the truth for themselves before making any decision. To that so called “13%” who “make their own decisions” I’d like to offer a record label and a roster of bands that are trying to do something I think is worth listening to. The rest I don’t care about. They have their own decisions to make.

To show you can do it yourself and do it properly on a budget you can stick under a glass.

To record, release and promote music by bands and artists that have something to say for themselves and whose music I like.

To ignore what the rest of the so called commercial music industry or latest fashion trends might be doing.

To track down and share new music by interesting bands from around the world with a new audience with little or no regard to anything else going on in the music industry.

I don’t really care what anyone else is doing, I’m happy to let them do what they want. All I’m interested in doing is what I want, doing it properly and finding like minded people to share what I’m doing with.

Mark, Iron Man Records – January 2012

February 2012
24th Brighton, The Hydrant
25th Bournemouth, Champions (all dayer)
26th Birmingham, Adam and Eve
27th Sheffield, Corporation
28th Newcastle, trillians
29th Derby, The Old Bell

March 2012
1st Ashton-under-Lyne (Manchester) Witchwood
2nd Buckley (Chester) Tivoli
3rd Bath, Green Park Tavern
4th London, Boston Arms

You can buy Subhumans stuff in the Iron Man Shop here: http://stores.ebay.co.uk/Iron-Man-Shop

Punks Alive presents an afternoon of Punk / Crust

Last Under The Sun / War/System / Hatework Conspiracy / Senseless / P.N.W
at The Adam and Eve, 102 Bradford Street, Digbeth, Birmingham, B12 0JD,

Sunday 12th February 2012
2pm til 6pm
£3 in on the door…. plus stalls.

Bring friends.

You can buy Dufus albums and all sorts of other stuff in The Iron Man Shop on eBay

Subhumans, Scarred Society, Meat Hook, The Knobbers

at Adam & Eve, 201 Bradford Street, Digbeth, Birmingham

26th February 2012

advance tickets available from www.angryscenesrecords.co.uk

£6 before 8pm

£7 after

www.theadam.co.uk

Buy Subhumans albums and all sorts of other punk stuff in The Iron Man Shop on eBay

Friday, 3rd February 2012

The Adam & Eve, 201 Bradford Street, Digbeth, Birmingham, B12 0JD
www.theadam.co.uk

8pm til 4am

Mr Nice is returning to Birmingham and the Adam & Eve.

During the mid 1980s, Howard Marks had forty-three aliases, eighty-nine phone lines, and twenty five companies trading throughout the world. Bars, recording studios, offshore banks: all were money-laundering vehicles serving the core activity: dope dealing.

Marks began to deal during a postgraduate philosophy course at Oxford and was soon moving large quantities of hashish into Europe and America in the equipment of touring rock bands. The academic life began to lose its allure. At the height of his career, he was smuggling consignments of up to thirty tons from Pakistan and Thailand to America and Canada and had contact with organisations as diverse as the CIA, MI6, the IRA, and the Mafia.

After many years and a world-wide operation by the Drug Enforcement Agency, he was busted and sentenced to twenty five years in prison at the United States Federal Penitentiary, Terre Haute, Indiana, the site of America’s only Federal Death Row.
He was released on parole in April 1995 after serving seven years of his sentence….and now he’s coming to the Adam!

Tickets £7 Buy Your Tickets Here

IMB6002 P.A.I.N featuring Howard Marks : “Let Me Grow More Weed” CD single Buy it here,

Download it from iTunes here or watch the video below.

You may be interested to know that some ten years ago Howard Marks and the Propaganga and Information Network (P.A.I.N.) recorded a song called “Let me grow more weed.” The song was released by Birmingham based record label Iron Man Records. The record aimed to introduce the legalisation of Cannabis into a more common arena for discussion and targeted the unconverted, the people who would not normally take an interest in the cause. Howard and the band threw down the gauntlet to the Government. They believe Cannabis should be legalised and will not stand aside ever. Howard Marks’ book “Mr. Nice” is a best seller, his articles in magazines have become notorious. He stands at the front line of the cause to legalise drugs and people are listening. P.A.I.N. on a more underground level, are also on the front-line of many different causes and social comment, one of them being the legalisation of Cannabis. “Let me grow more weed” has a message for all to read: Cannabis should be legalised.

“I have tried every way I can think of to accelerate the day of Cannabis legalisation, thereby ceasing the torture of Cannabis smokers. I’ve flooded the country with the good herb, I’ve stood for Parliament, and I’ve skinned up in police stations. None of it has worked. I needed help. I got it from P.A.I.N., the best guys in the world” – Howard Marks (2000)

The most recent release on Iron Man Records for immediate free download in full audio for review or airplay.

Last Under The Sun – Hooligan Jihad 5 song EP (Released through Iron Man Records, Birmingham 2011)

The band has been described as “Fast Chaotic Hardcore Punk Rock” from Birmingham England. Last Under The Sun includes members of Police Bastard, Selfless, Jilted Generation and Lokey.

Free full download of all tracks available here: http://lastunderthesun.bandcamp.com/

Simon Reeves – Bass
Mark Badger – Vocals / Guitar
Seano Porno – Vocals / Guitar
Simon James – Drums

Recorded, Mixed, Produced and Mastered by Simon Reeves at Framework Recording Studios, Musoplex, Birmingham, England between July and August 2010

The presskit including what people have said about the band so far is here: http://www.sonicbids.com/lastunderthesun

The band have a website here: http://www.reverbnation.com/lastunderthesun

Discography:

“All Agents Defect” 30 song Demo 2001 (Digital Download only on Last.FM)

“Windfall” 8 Song Album recorded 2001 released May 2004 (Iron Man Records)

“All Empires Crumble” 5 song EP recorded 2004 released May 2005 (Iron Man Records)

“Gone” 17 Song Album recorded Sept 2005 released 2010 (Iron Man Records)

“Hooligan Jihad” 5 song EP recorded August 2010 released 2011 (Iron Man Records) as digital download only.

Reviews worth mentioning:

Hooligan Jihad Reviewed by Mike Brown, Kemptation

Videos