Here are two free downloads, moved across to Bandcamp from Soundcloud:
a BBC Introducing: South session with my previous live band…
…and a studio track recorded at the same time as Lilith and In The Evil Empire
Please, feel free to pig out on all of the above.
Here’s a live performance of an unreleased song for Agony Magazine – there were 3 tracks recorded that day, so maybe more to follow at some point. It was super-efficient and lots of fun, which hopefully comes across on video.
I’ll probably be playing this number at my late-December gig:
A remastered version of the Self Possession EP is on Youtube. It features some truly diseased noises, now louder and in sharper definition. If you want a download, it can also be found on Bandcamp.
Some new details on Thur 20 Oct gig at the New Cross Inn, London – event page here:
The Asif Outlaws
Hard rocking foursome from London
“Pushing the idea of one-man and his guitar to its limits. With a noticeable Lou Reed influence, his songs move between gentle laments to attacks on his guitar that teeter on a knife-edge. Matt pulls all this of with a suave cool and a voice that echos Jeff Buckley and Nick Cave.” – CMU
£3 Entry / 7pm Doors
…& here’s the lo-fi, no-£ video that goes with it:
Mon Oct 12th: am playing a live session for Pete Jones on Radio Reverb 97.2FM tonight, which can be heard on the wireless or streamed live here. It goes out from 6-8PM, with a repeat on Friday at noon (see above). I’ll be doing songs old & new, and probably chatting a bit.
Just for a change, and because everyone loves a pundit, I fancy writing about local bands encountered recently who didn’t make me want to puke.
Well, not so much “writing” like a reviewer, more listing them in no particular order, without spoon-feeding – so you can discover their brilliance for yourself. Also, lists are how we communicate nowadays:
Man Ray Sky – incredible layered guitar/electro soundscapes and vistas
Lutine – spooky anti-folk from the dark, dark ages (their debut gig in a church was stunning)
Thee Bald Knobbers – absolutely indescribable. This link is live footage. It’s terrifying.
Shonalika Tilak – a superb singer with some extremely dark, absorbing music
Stevie and the Nobodies – crunchy guitars, smart tunes, humour
Prissy Lips – utter fucking exotic trash glam
Plurals – drones and transcendence
Broken Ears – punchy, hard-edged acoustica (fairly new outfit, but already very strong)
& the marvellous Junkboy
An interesting mixture, and that’ll do for now – apologies to any I’ve missed out, although doubtless there’ll be more… There were three very good acts at my recent launch gig, for example – check them out too. In fact, check em all out.
Seasonal fear! Here’s a new song from me at 6min26 called Dead Men Sing Us To Our Rest – very apt for the dark, hushed mortuary time of year it was shot and broadcast…
This is episode 4 of StageUp Unplugged, which went out on local TV & Virgin 159 just before Xmas, now archived to their Youtube channel. Do check it out – there’s other good stuff on there, plus it’s an interesting and worthwhile outfit: a Social Enterprise involved in mental health.
More news (and hopefully, gigs) soon.
Here’s an extract from the launch gig, as threatened – two songs (In The Evil Empire & Self Possession, which features improvisation and death-cries). It was a lovely night, and hopefully this captures some of the energy. Have a look:
Hope you enjoy watching this as much as I did making it. The record’s released in 1 month & 2 days.
This is the lyrics video to forthcoming single In The Evil Empire, due to be released on The Animal Farm in 2014.
This is a song from Berlin, recorded at the Lou Reed tribute night on December 7th, at the Coach House. The man’s work means a great deal to me, so: hope you enjoy (not the best word for this particular song perhaps).
sneak preview: live readings
Something different… In a week’s time I’m back on Nigel Staley’s programme Under The Table on Brighton & Hove Community Radio, Thursday 27th June, 6 – 7pm. (Not bad going, considering the last occasion was only a couple of months back.) This time I’ll be performing eight spoken word pieces, with ambient interludes from Susumu Yokota’s album The Boy and the Tree. The pieces will include three extracts from this novel, Leland Poet – which I’m re-releasing onto Kindle the following week, on Monday 1st July.
It’s quite a step away from strumming guitar, but there’s many hooks to grip you with.
A track of mine can be heard on Container Drivers Radio, Fri April 13th:
Playlist – Part 1
- The Beat – Stand Down Margaret
- Edwyn Collins – Carry On, Carry On
- Matt Finucane – Degenerate Son
- Rollor – Minority of the Opulent
- Spacemen 3 – Take Me To The Other Side
- Jaguar Love – Up All Night
- King Khan and The Shrines – Land of the Freak
- Flies on You – Spain
- Woodpecker Wooliams – Sparrow
- The John Knox Sex Club – The Devil’s in Your Hands
- Monoganon – Eternal See You Soon
- Pokey LaFarge – Mr. Nobody
- 3th Floor Elevators – Levitation
- The Fall – Spinetrak
Playlist – Part 2
- Dengue Fever – Glass of Wine
- Young Marble Giants – N.I.T.A.
- Netarine No 9 – Found Things
- The Donkeys – Lower The Heavens
- True Widow – Duelist
- Trapped Mice – Arthur’s Seat
- Battery Face – Pugsley
- The Monochrome Set – Ici Les Enfants
- King Tuff – Wild Desire
- Holograms – Apostate
- Cowboy 78 – The Wiseguys
- Richard Swift – Dracula (Hey Man !)
- Roberta Flack – I Told Jesus
…The programme’s up on their site for a while, so give it a listen. Apart from my song (a live acoustic track & B-side to Nemesis), there’s loads of cool stuff on the playlist – as you can see.
Sadly the Edinburgh gig, Tuesday 16th with Rollor, isn’t happening. Such is life…
It’s been a while, but then this time of year’s rarely very dramatic.
Lately, the focus is on improvising, found sounds and field recordings – for instance, a spoken word piece I just did with a sound artist named Jamie Sturrock.
He’d produced a very eerie soundscape called water ghosts, based on noises obtained by dangling a mic into an underground cavern in Scotland. I wrote a response after sitting in the dark with it, then recorded this with him. The results, when finished, may be released at some point – but that’s out of my hands, and part of a larger ongoing project. More news on this if/when I have it.
Anyway, it’s very exciting so far; Jamie’s website (with water ghosts toward the bottom of the page) can be found here.
2012 was bipolar – but I’d do it all again
Well, that was a… colourful year. And who could ask for more? Rather that than the alternative, which is a dreary thought. Death!
So what happened? (I’m still asking myself that, so this summary is as much for my benefit as anything else.)
1) Released 2nd album. Got more, and better, reviews than #1 – which was kind of the idea.
2) Did a brief and eventful tour after release – pretty much broke even: another first. Played a fair few other gigs, mostly solo, some with…
3) A band, which orbited around the songs for roughly 8-9 months and then exploded. With hindsight, it was never going to last, but during that time we played…
4) Live on BBC Introducing: The South (and the single got a little air-time too). This was exciting.
…Besides these bare bullet-points, I’ve just kept on doing it, “it” being more songs. Met some potential collaborators in the last couple of months, had a few tantalising overtures; again, I’m not going into detail yet for fear of The Jinx; in this game, so many promising set-ups tend to evaporate without warning.
But it’s promising just the same. And it’s been a blast – on a gross venal level, the trickle of royalties makes filling in an income tax Self Assessment form such a thrill.
Joking aside, I’m still fuelling off the highs and regret none of the lows – hope you (whoever you are) likewise. Happy New Year.
Below is a piece I wrote some years ago for a fanzine (on actual paper, yet). Explanation follows.
I arrived at 221B Baker Street to find my friend Sherlock Holmes deep in consultation with a well-to-do lady of middle years, her pale worried features a sad contrast to the richness of her dress. ‘It’s my son Francis,’ she said in a voice cracked with weariness. ‘Ever since he joined this.. “rock band”, he’s been like a perfect stranger. He comes and goes at all hours, refuses his dinner, and seems to detest my husband and I – but worse yet…’
Here Holmes interrupted with a brusque gesture of his nervous fingers. ‘This band. What do they call themselves?’
‘I blush to tell you, Mr Holmes, but they are known as The Fucking Cocksuckers.’
‘Quite so. If you will permit me – ?’ Holmes stretched out a long arm and reached into the jumble of documents and periodicals on the mantelpiece. ‘Hmm. Yes, here we are – this week’s New Musical Express.. Watson, what a catalogue of horrors is here! The lubberly scum of London, the very dregs of the opium dens.. Where was it.. Ah! I quote: “spotted by yr excited reporter picking their noses in a darkened toilet with the Damp Socket Scuzz Collective (formerly We Luv Public School Records) – anti-music – anti-quotes – they wipe their arses on the smug corpse of the Old Previous Cunts – doing it for The Kids, man – tired rhetoric – I play guitar like I’m flogging my old PE teacher – drums like a scotch egg full of Iggy’s spunk…” Enough!’
‘But Mr Holmes, this is not the worst of it!’ the good lady interjected. ‘I listened to some of their.. music.. only this afternoon, and my own Francis was,’ she coughed with embarrassment, ‘..singing, after a fashion, about “snorting bones”. In somebody’s garden shed.’ Her face was ashen with horror. ‘Bones, Mr Holmes!’
Holmes looked grim indeed. ‘Mrs Glendinning, I shall be most glad to rescue your son from these villains. Watson, I would be grateful if you’d pass me the inhaler of benzedrine cough remedy.’
‘Why, have you a cold, Holmes?’
‘Just do it.’
Suitably refreshed, my friend bade the dowager Lady goodbye and stepped out to hail a cab. I found him prostrate with nervous exhaustion a few feet from the porch, his athletic frame splayed on the cobblestones. ‘Quickly Watson – the brandy,’ he croaked, gesturing feebly toward the inner pocket of his greatcoat, ‘and you’d better have some too if we’re to stand a chance of surviving the ghastly work that lies ahead of us. I trust you’ve brought your revolver.’
‘Holmes, you surely cannot anticipate any danger from these noisy children?’
My friend smiled thinly as I helped him to his feet. ‘No. But I might feel like shooting someone.’
We arrived in a swirling fog outside the lowest kind of tavern. The noises from within are beyond my power to describe – and over it all a nasal, tortured yelp as of a man crying out in mortal crisis.
We pushed inside through the heat and throng, eyes watering in the murk, minds assaulted by the din. My cheeks burn as I write it, but the music began to work within me in strange ways – my moral fibre was shaken – my resistance wavered.. I plugged my ears and pushed on, seeing the lithe form of my friend leap onto the stage!
What a scene I beheld: the preening figure that had once been Francis Strathbogie Glendinning, beloved heir of a respectable family, twitching and cursing in language that must not – must not – be repeated. Surrounding him were a group of haggard, perspiring louts, sneering in practised ennui as they mishandled their instruments; a glassy-eyed stare and a shrug was their only reaction to Holmes’ appearance. He grasped Francis’s skinny shoulder and pushed the repulsive figure aside, seizing the microphone – howls of protest rose from the crowd – with his other hand Holmes picked up a guitar and lifted it high above his head, then dashed it to the floor!
I felt a thrill of fear as he snarled, ‘Right you lightweight little shits.. I’ll show you something..’
TO BE CONTINUED
(Except it wasn’t, nor was it intended to be. It was a dig at the then-prevalent mid-00’s fashion for bands made up of crackheads and public-school wankers pretending to be ex-rent boys, weird as that seems now. Anyway, I rediscovered it by accident and thought it might be a laugh to stick it on here.)
notes from waaay underground, Sept 2012
It’s hardly an original observation, but we’re in an unprecedented place with music right now. And that’s leaving aside the hopelessly blurred question of illicit downloads (although the idea that music should be a free, inexhaustible and perpetually-available resource, like sunlight or oxygen, is utterly self-defeating). (Strawman argument, anyone? Sod it – like I said, blurred.)
What we’ve got is an ever-more-entrenched top tier – the trad music biz – with a chokehold on all outlets still, despite everything. Shrinking but sucking up all the gravy, digging in, skimming off as much short-term profit on karaoke and career-path indie as possible… and then there’s practically everyone else. Okay, there are exceptions when someone interesting somehow gets over the fence, but you know what I’m saying.
“Everyone else” being the huge semi-pro DIY mass, squashed in a corner, playing the long game. Doing it for the love of it, waiting for a break, gambling on longevity – or persistence – or bloody-mindedness – or vision, call it what you will. (If the sheer volume of ever-accumulating stuff out there on the internet hasn’t made a nonsense of ideas like “back catalogue” and “posterity”, for unknowns anyway.) This in itself isn’t a new thing; it’s the extent of the lower tier that’s new. There simply aren’t enough outlets that pay – either in terms of making a living, or the finer commodity of sustained visibility. Of course the situation could eventually stabilize, even improve; something unexpected might come along and change the game again. Until then, though…
They believe in what they’re doing, these hidden dreamers, so they roll the dice and carry on regardless.
As will I, despite the discouraging recent experience of having a backing band blow up on the launchpad. Discouraging, not fatal – with 20/20 hindsight it’s best in the long run, for reasons I needn’t go into here. Gave me ideas on how I’d like to continue, which is something; time now to get on with it.
Another year, another gamble: thankfully, the work is its own reward. Clearly lots of other people feel the same.
The 13th August update of Unpeeled has very positive things to say about Glow in the Dark – “once in a blue one, you come across something of genuine interest”, for a start – and I’ve taken the liberty of quoting the entire review on the Press page. Go to the site, though, it’s all good writing (and they clearly have excellent taste, eh? Eh?!?).
Wish me luck – or a gloriously messy death. x
GLOW IN THE DARK – album #2 – is now available from Bandcamp, Amazon, Spotify & iTunes. And the rest. My advice is get it from Bandcamp, where it comes with extras.
It’s been reviewed by Whiteboard Project, here. (Scroll down, it’s the second or third item.) It “will infuriate some and delight others […] Highly recommended”. Amen to that.
On top of this, I’m part of a brief tour from 15th – 19th August.
sour grapes or the cold, sharp wine of truth? You decide. But it’ll cost ya… well, nothing actually
There’s a debate – which can only get more heated – about whether music should be free. About the dynamic created for makers and consumers of music by the Free Culture – or Freecult, as I prefer to call them because it sounds stoopider (of course, they’re too numerous to be an actual cult, and are in most cases motivated by the prevalent tech-enabled custom of lax, myopic greed rather than any coherent ideology). To clarify, these are the people who collect music like stamps – and never listen to 90% 0f it – rather than downloaders who then buy the product, or some of it anyway. Yes: Product.
Of course money should be involved in music. It’s been inextricably entwined with art since art existed; without patronage, no Iliad, no Odyssey, no Velvet Underground, no sustainable dance/electro music *ever* beyond the first amyl nitrate whiff of excitement, no X Factor (okay, baaad joke at the end there). True, the major labels are getting what they deserve. Unfortunately, the artists aren’t; while many I know or know of haven’t any problem in principle with giving stuff away – and this includes me – to “donate” the whole lot is, in essence, shutting out loads of artists who can’t afford to do that and sustain themselves or their work. As well as carrying a stigma of bargain-basement loserdom. This stuff tends to get downplayed in the current atmosphere of Future Boomer righteousness – or it did until recently. Strange that it’s taken so long to be examined at a grass-roots level: and what it took was a common enough, albeit unthinking, admission from a National Public Radio DJ (hardly the big bad Music Biz Man).
So yeah, £££. Obviously, it’s all in who the gelt comes from… corporate sponsorship, crowd-sourcing, arms deals… and who it goes to. On any lower echelon than superstar, it’s a vexed question (and I’m sick of labouring it, so will stop biting the hand that… sort-of… feeds now). Besides which, you can chop logic about the moral pros & cons all day, but personally? On a selfish level, I don’t really give a shit.
Perseverance for pennies: gotta be done, innit? Well, up to a point. Beyond that, it’s just slaughtering the golden goose.
If I could think of a viable strategy to get round this impasse, as hopefully someone will sooner or later, I’d be a fucking entrepreneur rather than a musician. Or possibly a writer for sites like Gizmodo.com who “refuted” David Lowery with a barrage of meaningless stats. But my point about sustainability – affordability – stands. In effect, it’s like a new form of something I’d hear horror stories about from the bad old days: Pay to Play. Who in their right mind wants that? (And uh, don’t quit the day job btw – assuming you’re lucky enough to have one.)
A Footnote: speaking of Pay to Play…
Putting together a tour without the cradle of logistic and booking support, I’ve noticed something interesting. I’m sure a lot of musicians in my kind of semi-legit position have run into something similar.
The era of literal Pay to Play (in London): a lot of venues demanded an upfront fee for the privilege of gigging to six uninterested alcoholics, the scarcely-more-animate sound engineer, and maybe two mates who were just there because they wanted into the keyboard player’s pants. A promoter with a great deal of sense and integrity (and taste, obviously, as an ally of mine) urged me on several occasions: Never, ever, ever, pay to play. It just encourages the practise, which must be stamped out. It’s clearly a self-defeating way to go, and I won’t insult your intelligence by hashing over why this individual was quite right. But a lot of venues – feeling the bite, so I fling no blame – are now getting into the habit of asking for a hire fee rather than actually promote a gig. Often, in context, this is fair enough; but the implications are uncomfortable.
This may seem rather off the point of the rant above. (God, I’m starting to moan as much as that St Saviour woman…) But it’s a symptom of the same fucked economic model. One alternative is free no-frills gigs, which in theory sounds nice but in practice means variable quality-control: there, see? Free stuff sucks. Can I buy some soil off you, please?
the past: cobwebs or stardust? discuss
- A Certain Ratio – Do The Du
- Joy Division – Warsaw
- Hawkwind – Death Trap
- Adrian Sherwood – Boogaloo
- The Lovely Eggs – Watermelons
- Monkeys In Love – I’m Alan
- Can – And More
- Sky Architects – Cave In
- Gespenst – The Bloodline
- The Fall – R.O.D.
- Althea and Donna – Uptown Top Ranking
- Power Switchblade – Keep it Light
- Jake Bugg – Taste It
- Empty Vessels – Monkey
- Stanley – Obstacles
- There Will Be Fireworks – Harmonium Song
- New Order – Vanishing Point
- X – Johnny Hit and Run Pauline
- Kingsley and Perrey – Unidentified Flying Object
- Bauhaus – Spy in the Cab
- Human Don’t be Angry – Asklippio
- Porcelain Raft – Put Me To Sleep
- Mugstar – Serra
- Ennio Morricone – L Estasi Dell Oro
- Signalsundertests – Kapelle
Thanks, as always, are in order. The song was recorded live at Rooz Studios, nr Old St in London, as part of an EP/album thing (it’s complicated). I’m told it was available in shops, back when that sort of thing mattered. Anyway, it’s a blast from the recent-ish past; my principles are unswerved, my delusions intact. (And the new band? Now almost equal in its ferocity.) If nothing else, it’s a nice fit with Hawkwind and The Fall: give the programme a listen.
Okay, the live session on BBC Introducing: South is going out this Sunday, from 7 – 9 pm. We’re playing 4 songs and doing an interview. EDIT: 1st song goes out at 7:05.
Link to their webpage here. Info:
BBC Introducing: The South, 7-9pm Sunday evenings
BBC Sussex and BBC Surrey & BBC Radio Solent
Listen in Brighton on 95.3 FM
Listen in Sussex & Surrey 104-104.8 FM
Listen in Solent & Hampshire on 96.1 FM
Listen in Dorset on 103.8 FM L
Text during the show on 81333 your normal rates apply, but you must start your text with the word ‘radio’
…I can promise the unpredictable, the colourful, the atom-smashing. Give us a listen, do!