31.3.21

Clister - I Aniversário, Julho 91 (Cassette)


 

Clister - I Aniversário, Julho 91 (CASSETTE)




Cassette
Org. Clister
edições clister 1991
Org. Clister
Apartado 129
2676 Odivelas Codex

Lado A:
A1 - Zé Manel Suicida - "Falar mal e deix'andar"
A2 - Ex-Votos - "Subtilezas porno-populares"
A3 - Zirkus Maximus - "Jean et Luc ecoutez moi"
Lado B:
B1 - More República Masónica - "Wild America"
B2 - Psiko Critik - "Alice"
B3 - Lucifere Fere - "Insano"
B4 - Alter-Ego - "Nova Direcção"









29.3.21

Tickets de concertos: agora a lista do Tiago Carvalho - #5


 


1992-06-20 David Byrne








1992-10-20 Young Gods






1993-05-23 Maria João Pires







26.3.21

Coil - Entrevista - em "Music From The Empty Quarter" #3 - Dezembro de 1991


 













25.3.21

Memorabilia - Ananana (autocolantes)


 12 autocolantes que encontrei aqui numa gaveta. Há mais aí pela casa. 2 não couberam no scaning.

Em excelente estado de conservação (como novos), apesar de serem dos finais dos 80s ou inícios dos 90s.







24.3.21

Memorabilia - Outfest 2017 (Barreiro) - ticket


 










22.3.21

Memorabilia - O Yuki Conjugate (ticket)


 










17.3.21

Livros sobre música que vale a pena ler - Cromo #86: J. P. Robinson - "Fanatics And Collectors"


autor: J. P. Robinson
título: Fanatics And Collectors
editora: Few Press
nº de páginas: 214
isbn: N/A - Edição de Autor
data: 2020
Edição limitada a 100 cópias, numeradas à mão - a minha é a 34/100



Este é um livro que conta várias histórias de personagens peculiares, de forma entrelaçada, ou seja, cada capítulo é uma parte de uma história que depois é retomada mais à frente, noutro capítulo. Em vários caso, as próprias vidas das personagens retratadas se entrecruzam, o que dá um certo élan ao percurso que é a leitura do livro. Os retratados, em histórias, por episódios, estão muito bem escritas, com elevado grau de sensibilidade e afecto. Essas personagens são colecionadores e fanáticos, como o título do livro explicitamente refere, mas todas estão de alguma forma, ou melhor de uma forma profunda, imersos no mundo da música. São músicos, fãs, pioneiros do colecionismo e da formação de sociedades musicais. De alguma forma são todos pioneiros. Querem nomes? Aqui vão:

William Jellett (“Jesus”), “freak” omnipresente em “todos” os concertos realizados em Londres e outros locais do Reino Unido, desde os anos 60 aos 90’s, que depois desapareceu misteriosamente. O autor descobriu que habita num asilo para idosos, já padecendo de doenças próprias da idade; Helen Oakley, a amante pioneira do jazz, no início do século, na organização e promoção de eventos relacionados, pioneira também da crítica musical (jazz), e que chegou ainda a deixar obra de referência, mas que abdicou muito desta sua vertente activa para tomar mais conta da família, cedendo o seu lugar interventivo na cena musical ao seu marido Stanley Oakley, que prosseguiu e desenvolveu a sua obra; A longa história do “punk” que é muito mais remota do que pensamos, sendo a palavra originária do século XIX e cujo significado sofreu algumas alterações ao longo dos tempos; Alexander Dorokupetz, o tipo que atirou uns ovos podres, e lhe acertou em cheio com alguns, ao Frank Sinatra, num dos seus concertos, operação cuidadosamente preparada e executada, fruto do seu ódio ao cantor, mais por via do ódio ao grupo de fãs femininas “histéricas” que pululavam por toda a América, no tempos áureos do cantor. Alexander Dorokupetz, que não existia em qualquer registo civil do país, o que constituiu um enigma durante muito tempo, pois os jornalistas caíram de imediato sobre o caso, sem conseguirem avançar muito. O autor acabou por descobri-lo também, como membro presidente de um coro, na sua reforma, e que veio a falecer em 2013.

Chuck Berry, colecionador de fãs menores para fins sexuais menos lícitos, passando por isso alguns anos com os costados na prisão. Neste aspecto é de referir que a história é toda ela (embora tenha tido outras semelhantes) sobre a sua pequena indiana Janice Escalanti, por uns tempos famosa, e que acabou por regressar à sua reserva, aí casar e “ser feliz” até aos dias de hoje.

Finalmente, se é que não me escapa algum, o primeiro colecionador de discos, neste caso de discos do início do século até aos anos 40, que chegou a juntar dezenas de milhares deles, sobretudo de jazz e blues, a música da época, 78 RPM. Irascível, como todos os colecionadores, Brian Rust, escreveu as primeiras e mais completas (algumas ainda hoje inultrapassáveis) bibliografias críticas sobre discos e a sua música. É famosa a sua prodigiosa memória – uma vez foi-lhe roubado um disco e ele acabou por descobrir quem foi, tendo provado no tribunal que era aquela a sua cópia pois na 17ª espira havia um pequeno salto sonoro, quase inaudível -.

Pelo meio Cliff Richard e Dennis Wilson acabam por ver partes menos conhecidas da sua biografia aqui desvendadas e entroncadas no espírito que paira sobre todo o livro, apesar das diferentes personagens a partir do qual é construído.

Um livro muito agradável de ler, sobre factos e personagens todos relacionados com o mundo musical e a sua História, mas que também se pode ler como uma novela com um enredo único.









16.3.21

Death In June - Entrevista no fanzine Grim Humour #2, de Setembro de 1983


 Conforme prometido no post anterior, aqui fica a entrevista dom os Death In June:

Death In June Interview

Grim Humour # 2 Sept.’83 30p

Background information: Although they only performed live occasionally, a healthy fixture on the London live circuit at the time was this group comprising former members of Crisis; a band most of those involved with the ‘zine also held aloft’s as one of the better ones to have arisen from punk. Formed in 1980 and still going now, Death in June were seen by us on many occasions around this period and made an equally large impression at a time when all those bands being deemed ‘Positive Punk’ left mostly (wry pun alert) nada by comparison. Kerry White, boyfriend of Karen Willoughby and in charge of Herne Bay’s Gower’s & Jones record shop and keeping it stocked whit a large array of independent releases (at a time when the term actually meant far more than a type of ‘alternative rock’ aimed at bedwetters going through pangs of acne-induced angst), had forged a friendship with Douglas Pearce due to the letter also working at the Rough Trade distribution warehouse in London and, well, the interview seemed inevitable. Just a shame it was conducted via the post, really. This method of interviewing bands was often employed by fanzines due to time and budget restraints, unfortunately. Whilst convenient and, indeed, vaguely comparable to those now conducted via email, they always lacked the spontaneity of a life interview. Nonetheless, they could be interesting still despite this, plus at least afforded both parties to actually articulate whatever they wanted to say in a more coherent manner. The interview was done around the time of their debut mini-album being released.

--------------------------



Original interview:

Death In June rose from the ashes of Crisis in late ’81. Their first venture onto vinyl was the 12” ‘Heaven Street’, which got some good reviews. However, they seem to have stayed very much an underground band, gigging rarely and generally keeping quite a low profile.

 

GH – Death In June have been together for quite a while yet it was only recently that you caught the attention of the music press and received critical acclaim for the mini-album, etc. Why do you think this is?

DOUG   The third release for any group is always important. We knew this and made an effort to make encroachments into the national music press. These were easily achieved and successful. It was a case of knowing that we were good, trying to make things happen and make other people know that we were good. The problem with us is that we are all quite shy, private people and don’t frequent the ‘rock and roll’ world like a lot of other bands, so we don’t get to meet and butter up a lot of journalists, etc. However, that’s the world we choose to live or, rather, operate in so we don’t have to make any adjustments. We haven’t done too badly up until now.

GH   What do you think of the music press?

DOUG   It’s there to be used. But, like anything, the vast majority of its contents are there by courtesy of major companies, professional hypers, etc. So, what’s new?

GH   Are you pleased with the album?

DOUG   Yes, it’s the most complete thing I’ve been associated with. Even though there is a lot of room for improvement and some half-realised ideas, it’s the most satisfying record I’ve ever been on. It stands head and shoulders above a lot of contemporary music.

GH   How well is the album selling?

DOUG   Far better than the previous two releases. A little bit more of an effort and we could be on (the same) level as Crisis were; which would be very satisfying as the past still haunts us in a lot of ways. I’d like this group to do a lot better than what it’s doing.

GH   Does running your own label help you to present your music better than being signed to a larger label? (Have you roused other label’s interests?) Will you use New European Recordings to promote other bands?

DOUG   As far as I know, no other labels have been interested in us. Then again, we are hardly interested in them. The idea of hawking a tape around a lot of businesses seems degrading and repulsive to us. If they are interested and they want to give us some money, then let them come to us. The drag about running your own label is the financial restriction. We could be doing so much more if we had the resources… As for promoting other bands, we have already. NER put out the first LP by The Legendary Pink Dots, Brighter Now, and provided gigs for a group called Iron In Flesh, who will hopefully soon have a 12” out. We are always looking for something to put out but there seems to be little of value.

GH   Do you like playing live? Would you say Death In June are a live band or a (studio) band?

DOUG    We dislike performing live because it places restrictions on us as people and ‘artists’. We are happier in the studio where we have more control. But, having said that, there are plans to do some more public appearances but, really, that’s all going against the grain a bit so I don’t like really know what the outcome of those will be.

GH   Did you enjoy the support to Sex Gang Children at The Marquee? Surely this could have held drawbacks, such as being tagged with the ridiculous ‘Positive Punk’ banner and (merely) gaining 0’cult status’, etc.?

DOUG   No. It was everything we expected: badly organized, no decent soundcheck, no room – the usual, in fact. As for the ‘drawbacks’ – only a fool would lump us in the ‘Positive Punk’ bracket and cult status is something we already have. That in itself is no problem. It’s only if you can’t build on it that it becomes one.

GH   Would you say that their music scene is healthier than your own, i.e. gig-wise?

DOUG   I don’t necessarily believe it’s healthier overall. It’s that the people you deal with in many of the places are more interested in what they are actually doing than just another way of making a quick buck, although I’m sure they have their fair share of those as well. The continentals appear to approach us from a different angle than the British. All our best interviews have been with foreigners.

GH   Where does the name Death In June originate from? And what does the symbol stand for?

DOUG   Death In June came about purely by chance and then we realized the ‘significance’. It means different things to different people, including us as individuals and humanity as a whole. It does refer to a specific event when ‘man’ decided to go one way instead of another. However, the symbol is this: the skull of death and the ‘6’ equals June, the sixth month.

GH    Is there a certain fascination with history in war with Death In June, as some of the songs suggest?

DOUG   There is a certain fascination, yes. However, that is really encompassed in our interest in European history and culture. Why plagiarise other cultures when there is so much of worth in our own and it’s only misplaced feelings of guilt that stop us from using our heritage. War history does form the basis for some of our songs, but not overridingly so. ‘Heaven Street’ is probably the only one that was written with those things in mind. References crop up in other things, though.

GH   Had Crisis helped in developing your current musical style?

DOUG   Since Tony and me were the major forces behind Crisis I should think that’s inevitable, but then we were going nowhere until Pat came along. We all have equal say in the routes that we take. All three of us write material. I should think it’s been a coming together of two groups successfully. Pat was in Runners From ’84, which Tony joined for a while after Crisis split. In fact, we had a guest participant with us recently who made his debut at The Marquee, who was also in Runners. He may become a full-time member.

GH   Do you feel the ‘independent’ ethic is important to the band’s career, i.e. fanzines and tapes, etc.?

DOUG   To an extent, yes. People doing things themselves can only be admired but, then again, most of the indie market was/is absolute shit.

GH   The next 12” is going to feature acoustic guitars and kettle drums. Are you aiming at a more diverse or commercial sound?

DOUG – That piece was taken out of context (Sounds article). Acoustic guitars and kettle drums are already featured on the LP, i.e. ‘Heaven Street Mk II’. In fact the next 12” will probably not feature those instruments. However, getting back to the question, I think we are going in both directions. What will appear first to the public is another question. There is some pretty odd stuff recorded already (the film soundtrack), but how (it) will see the light of day I am not sure. There are numerous possibilities.

GH   When shall we be hearing of Death In June next?

DOUG   I can’t see any new records out until the winter sometime. There will be a track on a double tape compilation, called Pleasantly Surprised, out in about a month. The track is ‘Black Radio’. As for gigs, we will probably be playing a few in early Autumn and some more in London. Then there’s Europe…

 

DEATH IN JUNE: Selected Discography

‘Heaven Street’ 12” (New European Recordings, 1981)

‘State Laughter’ 7” (NER, 1982)

The Guilty Have No Pride MLP (NER, 1983)

Burial LP (NER, 1984)

Nada! LP (NER, 1985)

The World That Summer 2LP (NER, 1986)

Oh, How We Laughed LP (Eyas Media, 1987)

Brown Book LP (NER, 1987)






9.3.21

Livros sobre música que vale a pena ler - Cromo #85: Richard Johnson - "Grim Humour - Volume 1 - 1983-1987: Highlights And Lowlights From The First 10 Issues Of This Popular UK Fanzine, Back By No Demand Whatsoever"


autor: Richard Johnson
título: Grim Humour - Volume 1 - 1983-1987: Highlights And Lowlights From The First 10 Issues Of This Popular UK Fanzine, Back By No Demand Whatsoever
editora: Fourth Dimension
nº de páginas: 350
isbn: 978-83-948138-1-9
data: 2020


AS ENTREVISTAS DE DEATH IN JUNE, THE FALL E COIL SERÃO TRANSPOSTAS PARA ESTE BLOG EM POSTERIORES POSTS




GRIM HUMOUR

VOLUME 1

1983-1987

Highlights and lowlights from the first 10 issues of this popular UK fanzine, back by no demand whatsoever

 

Published by Fourth Dimension 2020

© Richard Johnson / Grim Humour / Fourth Dimension

Everything published is © the respective contributors and cannot be reproduced without permission.

Artwork and Design by puppy38 and Richard Johnson

ISBN: 978-83-948138-1-9

Fourth Dimension Records & Publishing

 

CONTENTS

Chapter 1

Introduction – 7

Contributors / Credits – 10

Grim Humour #1

Abbo interview – 13

UK Decay New Hope for the Dead CD review (2013) – 17

Gary Glitter / Tenpole Tudor / The Defects review – 18

Chapter 2 - Grim Humour #2

Death in June interview – 29

Virgin Prune interview – 32

Killing Joke interview – 42

Rising from the Red Sands cassette review – 50

Chapter 3 - Grim Humour #3

Crass interview – 57

Public Image Limited review – 69

Flesh For Lulu interview – 74

Chapter 4 - Grim Humour #4

In The Nursery interview – 85

Record and Tape reviews – 89

The Fall interview – 91

The Cramps review – 102

Sisters of Mercy review – 102

Xmal Deutschland review – 108

Chapter 5 - Grim Humour #5

The Damned interview – 121

And Also The Trees review – 131

Mick Mercer interview – 135

Communicate and Participate – 150

Chapter 6 - Grim Humour #6

Portion Control interview – 159

And Also The Trees interview – 167

Fool’s Dance interview – 177

Cured book review – 185

400 Blows interview – 193

Chapter 7 – Grim Humour #7

Nick Cave interview – 205

The vinyl Frontier – 209

Soundtracks – 212

Sonic Youth interview – 213

More reviews – 220

Chapter 8 – Grim Humour #8

Ausgang + Rose of Avalanche review – 229

The Cure review – 231

Record Reviews - 232

The Leather Nun interview - 236

The Ramones interview - 243

Motivation – 246

Chapter 9 – Grim Humour #9

Life Would Be Grim Without Humour – 253

Cassette and Safety In Numbers fanzine

Chapter 10 – Grim Humour #10

Head of David interview – 257

Record Reviews – 265

Venus Fly Trap – 273

New Order review – 282

Big Black interview – 287

Coil interview – 304

Alternative TV interview – 314

 

Tearing Down the Barricades – 331

(pieces on Grim Humour by Andy Pearson, Harvey Francis, Steve Snelling, Mark Stevens, Karren Ablazel, Mick Mercer, James Machin and Matthew Worley)

A Final Word, by Richo – 345

Thank You’s – 347

 

The magazine, of course, also shuffled into view at a time when the musical landscape was much different from how it is now. Cassette culture reigned in the underground, John Peel’s radio show was the thing to listen to as a teenager unable to keep up with everything (blank cassette at the ready to record anything of interest, no less), flexidiscs were sometimes produced to document, very cheaply, new artists via giveaways with publications (two even appeared with Grim Humour irself in the early editions), vinyl was truly king (long before, of course, becoming a vogue trend of limited editions mostly dominated by the majors or boutique labels), record shops were places to hang out at, live music was generally affordable, a variety of different youth factions existed and occasionally looked horns, independent music hadn’t been completely turned into yet another wholly makestable commodity nullifying its original meaning )’indie’ as such, thankfully, wasn’t around when GH started and certainly was not synonymous with lame guitar music), weekly papers existed that were devoted to music, the Thatcher/Reagan political presence fuelled an even greater sense of hopelessness which itself, it could be argued, inspired many to kick against it, low-budget horror films created a huge public furore, and certain groups entries into the charts embraced and occasionally clever, wry or even more colourful descent into a possible sense of abandonment not really seen since. Basically, it was a different world, without the instant accessibility of the download. YouTube or ‘social networking’ sites reducing everything to a level where little effort is involved in discovering exciting new worlds and which, in turn, operates at a pace now so fast that disposability looms an even larger presence than ever…

But don’t get me wrong. There’s no misty-eyed sentimentality at work here. There’s much to be said in favour of many things presently unfolding around us, plus it´s likewise interesting to note that certain artists who helped to soundtrack Grim Humour are still not only very much active but also continue to create astounding and inspiring new work. Rather, I merely want to emphasise the ways in which the parameters have shifted in more recent times. The world wasn´t completely different when GH existed… but it was different enough and this in itself created an environment perfect for certain people thus inclined to, well, do something as they foundered to get a foothold.

Grim Humour was but just one speck on a landscape where fanzines formed a significant part of a network that could be readily tapped into in order to discover more about certain areas of music and some of the ideas propelling then. Titles such as Tone Death, Vague, Panache, Kill Your Pet Puppy, Chainsaw, Artificial Life, Murder By Guitar, NMX, Ablaze!, Abstract and Rox! Constituted a mere handful of titles to be found in the early 1980s. Sometimes they ere found at gigs, sold at the Better Badges stall in London, or punted directly from a carrier bag stuffed full of them. They could also be found in decent record shops, although few could match the stock forever on sale at the Rough Trade Shop in Talbot Road (who’d also willingly take on Grim Humour’zines following some kind of deal in the shop’s backroom). Whilst there’s little use in pretending each and every fanzine scribe got on with each other or even, in many cases, the groups they covered, it cannot be denied that what

 

INTRODUCTION

Grim Humour was as underground magazine, or ‘fanzine’ – call it what you will – that existed between 1983 and 1993. It run for a total of eighteen editions during its ten-year existence and was responsible for documenting a significant number of bands largely aligned with or inspired by punk or post-punk music as well as their cousins in industrial culture, the other reaches of electronic music and so on. It also published features on writers, filmmakers and film directors, columns, editorials that often spiraled into crevices foaming with vitriol, cartoon strips, occasional artwork and a vast black tide of reviews largely scribed whilst pepped up on adrenalin, frustration and gallons of cheap beer. Throughout its lifetime it was widely recognized as one of the largest and most popular UK publications of its kind, garnered a mountain of praise, equally attracted much in the way of criticism or even downright envy, and helped pave the way for several other concerns by a few of those responsible for putting it together. Above all, it was always far more than just a mere ‘fanzine’.

Something that probably warrants mentioning is that Grim Humour followed a tradition of underground magazines assembled as much from old cut ‘n’ paste techniques as teenage passion and a yearning to find a foothold in the world unfurling around us. It began before DTP technology was available in every home and at a time when buying glue came wedded to nefarious connotations (that’s the subtle doffing of the cap out the way to a certain early punk fanzine). With no computer programmes to assist us, we had to suffice with sheets of A3 paper, a couple of battered Smith-Corona typewriters, scissors, Pritt-stick, Letraset and a pile of comics, magazines and photocopies to cut up and crumbled as soon as we applied it, sometimes the pasted cut-outs peeled at their corners and sometimes we had to make do with a leaky black pen to help fill in the gaps. It was always enjoyable, though, and never once lost this slant even as it began to dabble with DTP technology in those final editions before it folded, took a six year break and transmogrified into the equally hap-hazard Adverse Effect (which still, after four published editions between 2000 and 2005, loosely exists today as a mainly online mag).

 

They together did made for a great source of information for those craving more than whatever was offered by the weeklies. Despite often being badly written or appearing like they’d been put together over a drunken weekend, there were countless titles clearly produced by those articulate and impassioned enough to perfectly reflect the energy of the times. Where Grim Humour fitted in with all this is up to others to decide, but there was certainly a period of several years where, helped along by national distribution courtesy of Southern Records, it at least seemed as though it resided amongst the cream.

 

++++++++++++++++++++++++++++++++

 

What follows in this compendium is brief background information to each edition of Grim Humour, reprints of several of the original pages, a significant number of re-edited highlights (interviews, features, reviews, etc.) given over to additional information and new editorial comments (in italics, as opposed to those original editorial comments that, simply, are not) where it is either necessary or simply feels right, and a perhaps slightly carefree smattering of pieces previously unpublished or even written more recently. Whilst the original pages have been reprinted exactly as first published (unless stated otherwise due to, for instance, ink colour changes), the reworked highlights (and, indeed, lowlights) have been tweaked to banish previous typos or mistakes without compromising their original form too heavily. When the ‘zine started nobody involved could, in any sense, especially ‘write’ and had no illusions otherwise. The proliferation of grammar and spelling mistakes pay testament to this in the original publications, but it is apparent that, thankfully and naturally, such matters got better with each passing edition. All the same, outside the reprinted original pages, it is impossible to attack this material without deploying the, uh, deft hand of experience. I hope readers will find this acceptable and that the (cough) ‘magic’ of the original writing will not have been compromised too heavily. Likewise, I hope you, being but one of the said readers, will notice the improvements marking every step of the way from the first edition to the tenth one, where this particular collection ends? The confidence gained throughout this course should be more than evident as the later editions here begin to galvanise a style, or even attitude, pushed even further from #11 on, but there’ll be more of that in the next volume, should I ever get to it (and I certainly hope to).

As I write, my work on a project long thought about, discussed and then inevitably buried and procrastinated over has only just commenced. I can only hope you’ll find it as enjoyable as I presently am.

Richo

 

Editor: Richard Johnson (a.k.a. ‘Richo’)

Sub-Editors: Andy Pearson, Rob Hale, Andy Jones, Jim Crosland

Original contributors: Karen Willoughby-White, Kerry White, Harvey Francis (a.k.a. ‘Havoc’), Gary Levermore, Gerald Houghton (R.I.P.), Hassni Malik, Mark Stevens (a.k.a. Anton Black), Andrea Johnson, Mick Mercer, Jan R. Bruun, Tom Vague,

Molly, Ian.

Acknowledgments for the book: Mark Stevens (invaluable proofreading/editing help and contributor), Michael Everett (a.k.a. ‘puppy38’, design), Andy Pearson (editing and contributor), Marcin Barski (initial artwork assistance), Mick Mercer, Steve Snelling, Karren Ablazel, Matthew Worley, Harvey Francis, Mark Perry, Klive Humberstone, Steven Burrows, Alex Novak, Gary Warner, Stuart Curran, Peter Gardner, Steve Spoon.

All photos credited (where known) accordingly.

Apologies if anybody has been overlooked. Please let me know if you feel you have been.

Special thank you to Iwona Palka (support and perseverance beyond the call of duty).

Thanks also to those who’ve offered help or even indirectly encouraging and motivating everything, including Darren Crawford, Mark Stevens and Wojtek Kozielski.

Please note that all of the opinions expressed within this book revert to the individuals responsible for them and not Grim Humour/Fourth Dimension or those amongst the board of editors.

All writing not otherwise credited is by Richard Johnson.








5.3.21

Cartão da Symbiose dem acumulação de pontos - memorabilia


 Ao fim de 13 compras tinhas direito a um disco de borla (havia valores limite).

Aqui, neste caso, parece que fiquei a arder pois só faltava 2 para ter um de borla.

Já não me lembro o que se passou...










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