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Archive for January, 2009

diskant rewind: Etch-a-Sketch Yr Fear of AIDS #6

Posted: January 20th, 2009, by Dave Stockwell

(Originally posted September 2004)

Etch-a-Sketch Yr Fear of AIDS by Dave Stockwell

[Before I begin ranting, let me just clarify that I am in no way a Metallica fan, and nor was I ever one. But…]

Fuck! I think I’ve finally found a film that I can safely say YOU HAVE TO FUCKING WATCH THIS about for 2004. It’s the Metallica documentary, Some Kind of Monster. I tell you, it’s the new This Is Spinal Tap.

No, seriously. You know how Tap was just crammed full of classic, unbelievable moments, hilarious quotes, and godawful haircuts? You know how there’re moments where you find yourself exclaiming out loud at the sheer ridiculousness of it all, and then there’s others where you’re howling in painful laughter? Well, SkoM probably matches it in all of these regards. It’s so much more than I was expecting. This thing was made during the recording of their new album, just after bassist Jason Newsted quit, and saw the entire band go into therapy, James Hetfield check in and out of rehab, and an awful lot of squabbling, sulking, repressed anger, and an insane amount of money spent on doing nothing.

I tell you, this film has got everything. I was going to reel off a list of highlights, but there’s just so goddamned many. I could write for hours. There’s the interview with Newsted, who’s hilariously candid about how he got bullied as ‘the new boy’ for a full ten years before he finally had enough; which is boosted by Hetfield saying that he’d driven him out because he felt threatened by Newsted’s desire to promote his other musical project, whilst merrily recalling that he never let the fella have any creative input at all into Metallica. There’s the bit whilst everyone sits around in the studio for A YEAR waiting for Hetfield to work up the botheredness to come back to work; during which Ulrich finds the time have a therapy session with Dave Mustaine, who breaks down in tears about how he considers himself an utter failure since he got sacked as Metallica guitarist back in ’82 (note: Mustaine has sold fifteen million albums in Megadeth). And when Hetfield deigns to come back, you get to see him sulking like a baby when the others dare to listen to tapes of sessions outside of the strict noon-’til-4pm schedule that he has to work by. Then there’s the band’s laughable attempts to work together on lyric-writing, which reaps some of the worst teenage poetry you’ll ever have the misfortune to hear outside of a GCSE English class populated by tragic Goths. Oh yeah, and there’s the awful lumpen riffs all over the place…

And this is just scratching the surface. There are just so many classic moments.

Continue reading »

diskant rewind: Etch-a-Sketch Yr Fear of AIDS #5

Posted: January 16th, 2009, by Dave Stockwell

(Originally posted March 2004)

Etch-a-Sketch Yr Fear of AIDS by Dave Stockwell

It always feels awkward to launch straight into a bunch of barely-related rants masquerading as reviews for these column things, but how the hell do you introduce a series of moans about music as disparate as I’ve found fit to write about this time around?

I was wondering whether I should protest that my favourite film of 2003, All The Real Girls (enjoy the fucking waiting for anything to happen if you click on that link), didn’t even get a mention in diskant’s round-up of last year’s films, but it all seems a bit pointless now. Or earlier today I was wondering about the socio-political implications of Friendster on a community/scene, but that’s probably because almost all of diskant’s staff members have been mugged by this particular online popularity contest, and it’s hugely distracting when you’re trying to write shit like this. Plus, I get to count Will Oldham amongst my friends, so nerr. Ahem. Whatever.

Anyway, this Growing album, The Sky’s Run Into The Sea, on Kranky/Southern has been hanging around waiting for me to review since last October, so maybe now’s the time to actually get around to it. Fittingly, following January’s tribute to Sunn 0))), here’s another band mightily influenced by shotgun enthusiast Dylan Carson’s Earth project and its massively detuned guitars. A mysterious art trio, Growing comes across as much more of a minimalist art project than a band. Their ‘songs’ are drone pieces that shift from textured rumblings of electric guitars into cymbal crashes, or the occasional startling, scratchy melody. Sometimes, as the first track exemplifies, this works fantastically – we shift from an opening gambit of five minutes of soothing ambience into an appropriately stoned chugtastic* riff by a very loud guitar, which quickly fades out into the same riff played on an unplugged guitar. All very affecting. But there are some moments on the album that just grate – some of the textures of the distorted guitars are more annoyingly fuzzy than warm and entrancing, and the movement of the last song into a folk melody hazily sung by a few folks but dominated by a yowling guitar is actually not very good at all. I’m sure that the guitar is supposed to be reminiscent of Jimi Hendrix’s infamous shagging the Stars & Stripes up the arse, but to these ears it sounds like he was reincarnated as a stillborn baby that’s playing with someone else’s mucky shitter. Not good. Bad, bad. Which is a shame, because about half of this double LP is class.

Continue reading »

2008, yum yum

Posted: January 14th, 2009, by Pascal Ansell

– – ALBUMS – –


Flying Lotus – Los Angeles. Real headphone hip hop. Massive beats and dirty samples – it’s rare to call a rap album beautiful but this sets the yardstick. Yum Yum Flying Lotus.

Volcano – Paperwork. Read my review!

Flake Brown – Help the Overdog – ditto. Good old, peculiar folk.

Gang Gang Dance – Saint Dymphna. Wildy danceable – a dizzying 11 tracks. Grime track Princes surprised the hell out of me but is the album’s best.

Not Too Shabby:

Bjork – Volta. Good tunes but where the hell were Chris Corsano or Brian Chippendale ?

Jonquil – Lions

Vampire Weekend – Vampire Weekend

Gushpanka – Gushpanka

– – GIGS – –

Brudenell Social Club = my new home:

Acid Mothers Temple,

Oxes + Bilge Pump,



Dalek + Zach Hill


Charlottefield – Wheatsheaf, Oxford, 12th Jan (last gig??)

Volcano! – The Library, Leeds

DJ Yoda’s Magic Cinema Show – Oxford Academy

– – 3 GOOD THINGS – –



Flying Lotus

– – 3 BAD THINGS – –

Damon Che – Drums,

Gene Doyle – Guitar,

Jason Jouver – Bass

(WHAT are Don Cab doing???!?!)

Desert: Delia Smith’s How to Cook Book 1, singing Dream of Gerontious, Thame Choral Society and the Bernwode Singers, an England-free World Cup = great and unbiased viewing, Sweden, Czech Republic: teaching English + tasty Czech beer, Leeds Uni, interviewing Zach Hill, Leeds Festival Chorus, Oxfam Headingley, Room 237, Scandinavian Soc, North Hill Court, Samba and Reggaeton, Exodus at the West Indian Centre, Leeds University Union Music Library, Reggae Reggae Cookbook, Moscow Philharmonic + sardines at Leeds Town Hall, meeting Judith Bingham (blog here), Viva Cuba’s house band, BBC Manchester, Poulenc: Gloria

UK DIY wants your zines

Posted: January 13th, 2009, by Marceline Smith

From the lovely folks at UK DIY:

Zine makers from across the UK are invited to send a copy of their most recent zine to be included in a forthcoming exhibition at Turnpike Gallery in Greater Manchester. The exhibition, UK DIY, explores the emergence of alternative, subversive, political craft taking place across the UK as a new generation reclaim and re-define craft, adding a distinctive tongue-in-cheek edge, and features craft that crosses over with music, science, technology, activism and street culture. The exhibition runs from 14 February – 25 April 2009.

Zines should be posted to UK DIY, Turnpike Gallery, Civic Square, Leigh, Greater Manchester, WN7 1EB. Please include your name and the town/city where you live. Please note that we are unable to return zines at the end of the exhibition.

Deadline for submissions: Monday 9 February 2009.

For more information please contact Louise Clennell, Gallery Co-ordinator, 01942 404469, email l.clennell AT wlct.org or visit www.ukdiycraft.com

diskant rewind: Etch-a-Sketch Yr Fear of AIDS #4

Posted: January 13th, 2009, by Dave Stockwell

(Originally posted January 2004)

Etch-a-Sketch Yr Fear of AIDS by Dave Stockwell


Metal’s shit, isn’t it?

I mean, it’s just a lot of ugly chest-beating and testosterone thrown around most of the time, and when it’s not, it’s this awful po-faced ‘serious evil’ bollocks. I mean, all that crap about hidden subliminal satanic messages being audible when you play Kiss’ ‘Destroyer’ album or Black Oak Arkansas backwards – what all the cultural commentators neglected to mention was that the only reason you’d play a metal record backwards was because it probably sounded better than going forwards.

And then you’ve got black metal – the prime exponents of such are generally held to be Dimmu Borgir, a band that was once described to me as ‘The Backstreet Boys of metal’. I mean, come on! I spent the entirety of the 90s taking the piss out of people into metal, and its newfound ‘credibility’ hasn’t changed my mind a bit – I still think that Slayer suck shit, despite any protestations from well-meaning friends.

Unfortunately, Southern Lord has managed to blow my theory to pieces in the space of little over a year of exposure to their darkest manifestations. The primary source behind all this can be found in the output of SL’s finest, Sunn0))). Ostensibly SL gurus Greg Anderson and Stephen O’Malley, Sunn0))) is in essence the sound of two massively detuned guitars playing Sabbath riffs at about 20 beats per minute. And that’s pretty much it on their second album ’00-Void’ (their first release ‘The Grimmrobe Demos’ is kind of hard to get hold of); there’re four songs, each around 15 minutes long. No hooks, no discernable versus and choruses, no goddamned drums! Just pure slow-crunching riffs submerged in low-end drones that seem to increase the density of the air in the room you’re in, if you turn the volume up high enough.

As they say themselves, ‘The Sunn0))) mission is to create trance-like soundscapes with the ultimate low end/bottom frequencies intended to massage the listener’s intestines into an act of defecation.’ Joking aside, the beauty of Sunn0))) is their dedication to taking the blueprint established by Dylan Carson’s legendary Earth project and pushing at the boundaries of what you can do with extreme low-end signals created by guitars. On last year’s ‘3: Flight of the Behemoth’, they perfected their guitar-only approach on the first two songs, then invited Merzbow to remix the next couple of tracks, and then put drums and even some vocals all over the climactic closer! Though Masami Akita’s piano samples occasionally sound a little clumsy over such refined noise, the rest of the album is little short of absolutely fabulous. Involving enough to demand your attention at all times, yet droning and repetitive enough to push you into some kind of meditative state, ‘Flight of the Behemoth’ is an hour of pretty much utter bliss if you’re in the mood for it.

Continue reading »

Overspill Poets

Posted: January 12th, 2009, by Mandy Williams

Overspill Poets were first conceived in a Tyneside flat by guitarist George Kitching and singer Tim Taylor before Kitching progressed to nineties Kitchenware outfit Hug. After a long gestation this new reincarnation sees the pair deliver a promo CD of material for their new album due out later this year.


It’s very much an alt-country affair. I played this in my car on a long journey and found it to be ideal road trip soundtrack but perhaps more suited to a sun drenched Interstate 5 than the rainy M62. The gorgeous ‘Neon Lights,’ begins the first leg.  London’s gear when you grew up round here,’ sings Taylor over huge curling slide guitar licks that skate off into ad hoc riffs. ‘Sound of Sirens’ starts a little like Jersey rock but the voice ensures it stays more within the realm of Teenage Fanclub. Mid journey ‘Summer,’ changes route with a reggae/dub mix without veering far from their trademark enticing beat driven melodies. While the Dylanesque ‘Boxing Gloves,’ finds ‘the neighbourhood curtains twitching again as he buys you roses and sleeps with your friends.’ I’m always a sucker for a song that name checks Holly Golightly and the reference to Hazey Jane makes me think of the Nick Drake quality of the vocal. There’s a little pit-stop for my favourite track ‘Ricochets.’ It’s actually quite a simple song but one that engages immediately as the instruments rebound to reflect the title and compliment the lyrics, ‘bind it to me with promises, live in transit to the edge.’ ‘Independence Day’ has an upbeat Ryans Adams feel to it. With ‘Walking Tall’ and ‘Northern Star’ we are now firmly dwelling in the house of Americana. The former with a psych perspective, the latter has an authoritative hook. Next they muse on finding ‘Inner Space,’ ‘I don’t need a volunteer to bang a drum and bend my ear, pull me out of here before I lose another year.’ The vocal now reveals a deeper timbre. Journeys end comes with ‘Vital Signs,’ a bluesy piece – think Ry Cooder meets The Doors with the backing track from ‘Loose Fit.’


Throughout the collection of songs Taylor’s distinctive vocals tower above the attendant instrumentation and keep the resultant sound firmly on this side of the Atlantic. Whether understated or extravagant, Overspill poets make a promising return with a richly crafted piece which comes from the heart.




Take note!

Posted: January 11th, 2009, by Marceline Smith

Or, some random stuff I have dredged out of my inbox/RSS reader/brain.

– Sometime diskant contributor Fraser Campbell‘s comedy sketch show The Magic Glue aired on Radio Scotland this weekend and you can have a listen on iPlayer for the next week by clicking that link. I’m guessing it’s their usual amusing mix of stuff about bams and neds but why not listen and find out.

Sweeping The Nation is looking for guest bloggers “to write a decent amount of words about a single album released during the Noughties, explaining why it’s so good and why everyone deserves to hear it”. On you go.

– Ben at Stereo Sanctity has finally finished writing about his top 30 records of 2008. It’s amazing to read such genuine enthusiasm about so many records I’ve never even heard of, and all from last year! It’s unlikely I listened to 30 new albums in the last 3 years, let alone had a paragraph’s worth of interesting thoughts about them. Go have a read, plus there’s MP3s too!

Voo – ‘Dates, facts & Figures'(album)/Same Mistakes’ (single) – Spank Records

Posted: January 10th, 2009, by Mandy Williams

There are some great bands coming out of Liverpool at the moment who don’t sound like they come from there. To my mind that’s a good thing, I long ago tired of Sixties pretenders. Frontrunners include Wave Machines, Hot Club De Paris, 28 Costumes and this band Voo, who I discovered at Liverpool Music Week 2007. Their debut album has been out for a while now and they have just released a new single in anticipation to their sophomore offering. Having recently received it though, I think the first album is worthy of some press.

Fans of jingle jangle pop suffused with nineties college rock look no further. Voo provide that deadly mix of intricate and beauteous guitar work with light touch vocals, unswerving bass and percussion.

Think Death Cab for Cutie meets Teenage Fanclub with some Lemonheads thrown in. ‘For Sake of Space,’ boasts an enticing swirling guitar line that hooks you and has you humming ‘the music lived for the last time today.’ ‘Shape & Size,’ contains synth work reminiscent of Grandaddy and possesses the unshakable vigorous quality of Pavement.

‘On The Return,’ is a former single of layered resonance. ‘Favourite Films (the films we like)’ sounds like Polytechnic meets The Shins, which is always welcome in my house. While ‘The Constant Threat of Falling Buildings,’ is an upbeat stop start piece that ends the album in style.

Their single ‘Same Mistakes,’ is from the forthcoming album ‘Songs We Used to dance To.’  It gallops along with the urgency of The Spinto Band. It is of course interspersed with telltale Voo, a sense of beat driven harmony. I actually prefer the b-side ‘What Will Happen and When’ which meanders and draws you in. ‘The music’s loud enough to drown me out…to cover this up,’ they intone. The new album can’t come soon enough for me. Voo wrap you in a blanket of low-fi sound. They’ll keep you warm in winter.





by Mandy Williams

Ron Asheton

Posted: January 6th, 2009, by Chris Summerlin

Synchronicity is the experience of two or more events which are causally unrelated occurring together in a meaningful manner. In order to count as synchronicity, the events should be unlikely to occur together by chance

A post-Xmas browse of charity shops turned up a copy of Gimme Danger by Joe Ambrose, the biography of Iggy Pop, for a pound. I bought it and set about reading it. The introduction details how the author was present at the J Mascis & The Fog show in Shepherd’s Bush in 2001 where the band encored with Stooges covers joined by Stooges founder Ron Asheton. It led to an unfortunate incident where Bobby Gillespie brained some kid for (rightfully) vocally slagging his onstage Iggy impression.

I was at that show too. It was something of a pivotal night for me. Through a weird series of events I ended up breaking up with my long term girlfriend as a result of going to the show. I met someone else there and then got some bizarre life advice from none other than Mike Watt who mentions the incident in his tour diary from the time.  I saw the Fog 3 times on that tour (once with Asheton) and they played Stooges songs for the encore every time and completely blew me away and re-introduced me to the Stooges back catalogue with vigour.

A short while afterwards I went to see Asheton Asheton Mascis Watt – the Stooges reformation Pt I (Iggyless) at the LA2, a show notable mainly for being awesome but also for sowing the seeds of the Dinosaur Jr reunion when Lou Barlow got up unannounced to sing I Wanna Be Your Dog.

Never one to miss the chance to make a buck, Iggy finally reformed The Stooges (with Mike Watt replacing the late Dave Alexander who Iggy had fired in 1970 and who died in 1975) in 2003 and I was lucky enough to catch them play Funhouse in it’s entirety at the Odeon in Hammersmith in 2005. I still think that’s the best gig I have ever seen. They absolutely killed it. I gushed about it on Diskant back then: http://www.diskant.net/blog/2005/10/10/the-stooges-hammersmith-odeon-30805/

It looked a bit like this:

I’m on the left somewhere. Probably laying on the ground.

The Iggy biog has made it something of a Stooges Xmas period for me. Even before I bought the book, at the first proper practise with a new band we did a little bit of TV Eye for fun.

Then last night on the way to the supermarket, my housemate and I were chatting about how awesome the Thurston Moore ATP ( http://www.diskant.net/features/atp-2006/ ) was and how we snuck in to both Stooges shows by waving the wrong wristbands at the security accompanied by some Ben Kenobi mental force that made them see them as the right colour. Getting a bonus Stooges show (on the cusp of my birthday) somehow made us all go mental. The first Stooges show was hardly sedate though, I’d dislocated my knee on the first day of being there and was in huge amounts of pain trying to stay upright in the front when Iggy stagedived on my head and it popped out again. I loved it. At the end of the second show, covered in beer and sweat, I managed to get this like a total fanboy:

I was so stoked. Then to top it all off I got to see the MC5 straight afterwards.

After getting back from the supermarket last night, my friend Lucinda texted me out of the blue to say

“Iggy Pop is advertising car insurance! X”

This seemed in keeping with Joe Ambrose’s book. I’ve long suspected that despite his claims and reputation to the contrary, Jim Osterberg is a regular American who sees his counter cultural standing as a marketable tool like any other. Ambrose is a man after my own heart when it comes to the Stooges (with the glaring exception of calling Raw Power their “undisputed best” LP). Despite the book being about Iggy, it’s a must read for fans of the other other Stooges, specifically Ron.

Iggy went out of his way to discredit Ron and his brother Scott and their input into the band. He used his superior public position to slowly whittle away his former bandmates’ reputations, saying at one point that they “couldn’t put together a home aquarium” (much less an album of the power of Funhouse) without his involvement. This is despite quotes to the contrary that credit the music on Funhouse and their self-titled LP to Ron. He took to berating Ron for living with his mother and seemed to delight in throwing an occasional carrot the brothers way only to turn his back on them again when something more lucrative showed up.

I thought it might be fun to write an Iggy de-bunking article for Diskant and I started planning it in the bath last night as I read about the dissolving of the Stooges in the 70s amid disinterest and crippling drug addictions. Iggy interests me immensely. He’s probably the greatest performer ever and is (was) a concise and brilliant lyricist. However, he is also a careerist and a schemer who would sell his own mother’s feet to get a break, who only turned to his former bandmates after it became apparent that the general public was more interested in a Stooges revival than in Iggy performing with Sum41 or Green Day – yet more choices made by Iggy to cling hold of a ‘career’ in the ‘biz’. As a constant reader of Mike Watt’s journals (I even got sacked for it once) it is very easy to read between the lines and see Osterberg as a diva, travelling to gigs on his own in a limo (while the band get the van), separate dressing rooms, fine wines, efficient de-briefings – anything to maintain the brand of Iggy Pop.

I wrote on Diskant once of my excitement that The Stooges were going to make another record. I regret my excitement. The Weirdness couldn’t be more aptly named. It is absolutely awful in every respect. We think of The Stooges as counter cultural figures in the terms of today, but really these guys are old school pro rockers, no matter how outrageous their reputation. The underground back then was far from it. Even the furthest reaches of strangeness were on major labels and made their music as part of the industry and hustled for money to maintain that. To expect these guys to have come through 30 years selling their trade to make a buck with their good taste intact was asking too much. I wanted to love it though. It seems to me like they recorded it in the style of Funhouse with a credible no-nonsense engineer (Steve Albini) and then dealt with the results and the subsequent mixing in the same way as Iggy might have dealt with a stab at commercialism in the 1980s. So they record everything live, warts-and-all and then mix it according to a hierachy of ego, so the vocals have to be up front and loud even if they weren’t recorded with that in mind. And let’s not mention the bass. Or lack of. Or the lyrics, or lack of. It seems popular to blame Albini for the way the record sounds but I’ve never heard him mix something like this before. The stench of Iggy Pop’s ego is all over the thing. I don’t blame Ron. His riffs are pretty good in fact.

However, even with the new songs in tow they remained an absolutely devastating live act. Iggy may have had some of the finest backing musicians around throughout his career (I recommend checking out the 4 piece Stooges-style line-up with Eric Schermerhorn on guitar from the 90s) but somehow the Stooges songs never sound as good as when the Asheton brothers are playing them. And that’s with or without Iggy as the Mascis shows proved.

With all this Stooge-thought in my head it was absolutely bizarre and upsetting to hear the news today that Ron Asheton had been found dead (of a suspected heart attack) at his home in Ann Arbor, Michigan aged 60.

When you consider that Ron was always the (relatively) clean-living Stooge, it’s ironic that he should bow out before his brother, Iggy or latter-era Stooge James Williamson.

Ambrose’s incorrect (IMO) assertion that the Stooges’ finest moment was Raw Power does at least include great praise for Ron’s bass playing after Iggy and Williamson unceremoniously demoted Ron to the bass role. Even then they only did so after moving to England on David Bowie’s coin and failing to find any natives to do the job (or take their shit for long enough). But where Ron was a great bassist, he was an unbelievable guitar player. Ron Asheton was no Jimi Hendrix (and you can often hear moments on record where his hand overtakes his brain) but by stripping down the playing of Hendrix and the first wave of British bands in the US (like Cream or The Who) but keeping the raw sonic element he was the bridge between the far out rock of the 60s and underground rock music as we know it today. He understood, whether by instinct or design, that regardless of technical ability the sound of the electric guitar alone was a political statement in itself. It’s worth remembering that whilst Jimi Hendrix opened doors to every noodling pub blues band you’ve ever heard, there were some people who were just as excited by the noises between the notes as the notes themselves and that’s where Ron (and Hendrix too I suspect) fitted in.

Whereas his peers littered their playing with tell-tale signs of the era, Ron’s two-footed gung-ho approach and truly revolutionary ways of broadening the band’s sound with drone-based riffs and overdriven two-fingered chords still sound contemporary.

As mentioned, his story is one of frustrating under-achievement that (despite his ‘underground’ credentials) is mirrored across the genres of music. Post-Stooges he played in New Order (not the UK band) and Destroy All Monsters before coming full circle and involving himself in Stooges-related projects with J Mascis and Wylde Rattz who provided the modern Stooges re-recordings heard on Todd Haynes’ film Velvet Goldmine. He even acted in some low budget trashy horror movies that you can read more about on the IMDB.

Meanwhile, Iggy toured the world as the Godfather Of Punk with a succession of guitar players playing Ron’s riffs but somehow not quite as good. Ron’s dry wit and cynicism is his saving grace. Embittered though he undoubtedly was, he was never short of a sharp quip about his former bandmate or his current comparable predicament. It must have been very satisfying to be able to re-emerge and command so much attention for playing Stooges songs without Iggy himself at the start of the millenium and even more gratifying that the public wanted a Stooges reunion infinitely more than another Iggy solo record.

Two of my favourite experiences in my life were the aforementioned Funhouse London show and also getting the chance to ‘be’ Ron in a Stooges tribute band a few years back in Nottingham. We played a Xmas show and a wedding as The Sneinton Stooges. I got to dress in aviator shades and a Nazi hat and play through 2 amp stacks on 10. It was the best. It also improved my guitar playing endlessly. Ron might have sounded simple and to the point but simple and to the point is often the hardest to do.

So, January 6 2009 sees the end of the greatest rock band of all time. The Stooges are no more. I hope Jim Osterberg thought the same thing when he found out the news and not “I wonder what James Williamson is doing?”.

That’s harsh on Iggy though. I figure the reason he dissed Ron so much is the same reason he reunited with him: he knows Ron is the greatest.


  Ron Asheton, Detroit Grande Ballroom, 1970



Posted: January 4th, 2009, by Dave Stockwell

Sorry for the lack of fun or looking back at 2008 in this post, but on New Year’s Day 2009, the following equipment was stolen from Souvaris’ gear storage space in Nottingham:

Fender Musicmaster

1 x 1978 Fender Musicmaster (serial number S811832) –  Original black finish sanded down to natural wood. Brand new black scratchplate with distinctive 2x white single coil pickups, 2 x white knobs and 1x white 3-way selector switch (all custom installed). Guitar has black Fender typeface on headstock and piece of silver gaffer tape on rear holding an allen key. Large gouge in back of neck from when I lobbed it across the stage at Toynbee Hall Arts Cafe when we supported Explosions in the Sky back in 2003. Neck has been sanded down from original gloss finish. In a black soft case bag.

1 x Black Ibanez Stratocaster-style guitar – All-black guitar, relatively new. 2 x black humbucker pickups. Black headstock. In a black soft case.

1 x Korg Triton Classic Keyboard – Silver – Large, with several signs of wear and tear. Couple of the knobs missing, a big fat scratch above the pitch bend, a cigarette burn over on the right hand side.

1 x Clavia Nord Lead Keyboard, Mark 1 – Red – Medium-sized with distinctive red body. Several keys do not make any sound and keyboard overall has to be “coaxed into life” to function properly.

1 x Behringer 4 track mixer

2 x guitar pedals (a boss overdrive and a blue delay pedal missing battery cover)

1 x Gator keyboard case

If you hear anything about any of this stuff, please let me know. Anything at all… we desperately need to get this stuff back. I’ve had the Musicmaster since 1999 and it has huge sentimental value (if no real actual value due to various homemade ‘customisations’). It’ is also tremendously unique due to the pickup/selector switch arrangement and sanded down neck.

Simmo has had his entire keyboard setup stolen, and we have no idea how to even begin to afford to replace it, let alone reproducing the unique sounds stored in the Triton that powered the vast majority of our music.

You can email us at ichbinsimmo at gmail dot com, or call Simmo on 07807 221082. Please pass info about the stolen stuff on to anyone you can think of (especially musicians in and around the Nottingham area), and feel free to repost this on message boards, etc.