AUGUST 13th ... through the decades!!!
Rummaging through time is fun!
On the 13th of August 1979 I am up the Marquee for THE RUTS, with Tour De Force supporting. The Ruts are doing two nights, and I’ll be tomorrow, as it were.
13th August 1990 doesn’t seem to have been much fun. My gig book lists me as being up the Bull & Gate seeing Call Me A Taxi and ‘someone equally shite’!
13th August 1993 and we have some indie grunginess from SCARLET IN HEAVEN and some pre-Britpop melodic class from the exciting TINY MONROE. (All the pics of both bands will be up in a gallery for paid subscribers today.)
Scarlet In Heaven.
Tiny Monroe.
Over to Livejournal we go!
AUGUST 13TH
Many thanks to Lucy (Psychophile), Greg (The Naked And The Dead) and Andre (Nihil Communications) for the CDs. Reviews will be up this week. Meanwhile here’s some done for last month’s Starvox which have now been moved to their archives.
VIDI AQUAM
‘Queen Of Spades’
VA
This isn’t new, but if they’re new to you I guess that counts and I have been playing this non-stop at night for quite some time, so it has had a definite effect, offering a more balanced, basic counterpoint to much of the heavily streamlined and well-nourished material I’ve received.
It’s an exercise in frugality but works time and time again, stuck midway between musical signposts suggesting Industrial, Ambient or Ethereal destinations, and with a credible past – including Jeanne D’Arc and Camerata Mediolanense - they’ll not let you down, wherever you end up.
These are scene people, as they also have their print zine, and have often organised events in Italy. They make their records, obviously for the love it, without any grand outlay. They are prime representatives or the very essence of Goth of the sleepy, miasmic variety, and a simple majesty comes through on these six brittle tracks.
‘Intro’ has depressive gloom and string synth simplicity like a bad fairytale, with a nice motif running through which makes me think, hmmm, Angel episode soundtrack.
This very measured, rather than flowing, approach helps to maintain a graceful contemplatative feel. It’s a piquant blend, for when you walk those city streets in the early hours, convinced you’re in your own video game, where menace lurks round every corner but you don’t give a fuck because you’re lost in the sounds.
‘Le Silence’ strews clattering percussion across the chillier depths wild, fractured vocals - anyone remember KaS Product? – but there’s a couple of small gaps in momentum and it ends poorly. ‘I Dannati’ has very attractive keyboards, the vocals are confidently powered out despite a lack of strength, giving it a very moving groundswell and a tribal ‘Queen Of Contrast’ is like a lo-fi Creatures; too orthodox for ambient, yet too deep for ethereal. Small, slow-paced, even when the shrill guitar appears, there’s a beat but no rhythm, and another unnecessarily abrupt end. By singing in English Serena lacks inflection, and just has emphasised intonation, as Anja once did in Xmal, creating atonal distraction.
‘Lost In Time’ is a funny one. An odd sound is achieved from word go, like a sci-fi Gregorian treat, with the bolshy vocal placement reminding me of early Danse Society, and not many bands do that. It’s an interesting, fulfilling interlude, but with a link to the past. There’s a lot of the original Goth sounds at work here, yet ‘Fuge del Nulla’ has very pretty, ethereal vocals, and creates a nicely disembodied, modern sound.
A highly personalised sound, you can rely on this for artistic substance. It feels cold, but marble can create something beautiful. I hope, in time, they can carve it out.
VIDI AQUAM
http://go.to/vidiaquam
ROSA SELVAGGIA - Zine
http://www.rosaselvaggia.com
WATERGLASS
Wisdom Like Silence
Watertight
Such has been their whispered reputation, and torturous history (see website for full details, along with an entertaining recent tour diary), that it was always going to be a question of will-they, won’t-they, mixed with a tinge of do-they-even-exist? They have, they didn’t, and they do. What they do next is anyone’s guess.
Any comparisons that come at them, from Cure or Cranes to the great Morcheeba, have one thing in common - nobody mentions anything duff. The band have no spurious release baggage to turn people off, as no-one really knows how they’ve changed through time, so despite having existed for 11 years it’s like beholding a new band, and people are anticipating this record.
When guitars skew behind deceptively powerful vocals and a melody nags in the opener ‘Departure’ you relax, for this is a big tight modern sound, and the trick is that while the vocals are not too clear, they’re strong enough to really draw you in with a curious intensity, and the music sensibly swims round it to accommodate this appeal. ‘Longshore Drift’ makes me utter only one of two comparisons I feel drawn to make - The Sundays, with added vigour. Again, this isn’t even a great song, being indie with strings, knobbly bass, and messy guitar, but Victoria’s vocal delivery really bites, and the melody lingers long.
It’ll be ‘Lover’ which makes the most immediate impact. They don’t start too obvious, while the voice comes to the boil, then bursts like one, offering total vocal dominance, in an unpleasant tale, with aching resignation and, thankfully, defiance, that greatest of spirits. However, when they really remind you of old, fey indie bands things aren’t so good. ‘Star Of The Sea’ has almost casual vocals, with a high, flossy delivery, cuts alarmingly badly to a second phase that is pure repetition, and by comparison to others is a bit of a stinker. ‘Return’ is sleepy mush, and ‘Forget Myself’ is also sunny and airy, so a stark fact soon emerges. Waterglass work best, almost majestically, with misery.
However we can celebrate the variety for this is an album which grows better with time, and already has a fine vintage. ‘Transcendence’ is slow and bizarrely wobbly, but strangely serene, ‘Sympathy’ refreshingly snotty, ‘Fading Fast’ has a lovely Julee Cruise feel to it and someone’s certainly been at the Badalamenti, with the sonorous bass caresses much in evidence behind the withdrawn, wispy vocals, and overall emotive dream quality. ‘Staring At The Sun’ is plain playful, almost deliberately pedestrian., cracking open briefly with a lovely feel, and filled with plenty of delightful moments, the secret of any great song, and a great snarling end.
It’s impressive, with a subtle Goth relevance, but mainly an old Indie resonance, going back to the time when Shoegazing all but killed off melodic indie through lack of inspiration. Since then Indie got swamped with malodorous Britpop/Dadrock and individualism was ignored by old journalists stuck in dayjobs endlessly promoting all they felt happy reviewing. (Hence Stereophonics, Starsailor, The Music et al.) This doesn’t make it easy for most bands, so Waterglass still have a long, uphill struggle ahead of them.
Of course for people too young to remember a time when Indie bands of quality could soon make themselves known, such things are irrelevant. The only thing that matters is the music and its use, and this is perfect for anyone who likes a bit of phosphorous in your coffee?
WATERGLASS
http://www.waterglass.co.uk
THE 69 EYES
Paris Kills
It isn’t a popular thought, but if bands could only learn to be proud to be Goth instead of exploiting the audience that exists, then loudly, and defensively, proclaiming themselves ‘alternative rock’ or, even worse, mumbling pettily that they never want to categorise themselves, they might actually get somewhere. The 69 Eyes are happy to nail themselves to the Goth mast in Finland and have managed to top their national charts with no comeback. A lesson to us all, perhaps?
There has been a comeback, naturally. I lied. Some people dislike what they’ve achieved because they’ve done it a way which eased themselves into contention, even admitting their sound is somewhat AOR, but so were The S*s*e*s, and nobody wet themselves about that. If you want to be successful, without exceptional luck on your side, you need big vocals and a big sound, because that’s what the radio actually plays. Try it any other way and you’re a fool because the only options available are to be a prickly, adventurous underground thing, and happy with that, or move into a more restrictive arena and possibly sell a lot of records. Previously…The 69 Eyes borte a strking similarity to S*s*e*rs circa Vision Thing with guitar interjections a la Cult at their best, which saw both areas collide, but now there are subtle changes at work.
Musically, this isn’t something they deviate from here, but the warmer sound and spacious, rhythmic-based production gives this lightness of being and accessible power. Straight away they win you over, if you have no axes to bury in their heads, with the seriously addictive ‘Crashing High’, boasting lots of pausing, with exquisite, almost purring touches, then whoosh, off they go again. A chorus, you think! My God, a veritable chorus!!! And it works…
The vocals are worth mentioning because they follow a consistent course through the album, and may sound rather familiar. Eldritch’s voice always started deep, grazed and delved downwards into his scrawny ribcage where it rattled. Jyrki’s start mottled, the throat constricted, giving each syllable its moment in the spotlight, but then he punches words up and out like a geyser. Where Eldritch was a sore, addled academic, Jyrki has clearly been influenced but here is an old head on young shoulders. In ‘Dance D’Amour’ he’s like a curious, knowing host guiding us through a romantic twilight, as the music fits cosily around his presence. He has shadows in his voice, and I’d like to see them flutter a bit more.
‘Don’t Turn our Back On Fear’ is positively stadiumesque, I kid you not, with low slung riffs, even lower vocals and neon keyboard lighting as away they cruise, with big, bright gymnastic, low-fat Goth. Where this actually stumbles is vocally, because you need emphasis and it sound so wispy. A conventional vocal delivery would have really made the most of the lyrics, and the feel, but here the band come over as rather restrained, and the album doesn’t often take you on any great journey of the mind. The music comforts, but you never get seized and dragged along, screaming, which I think we all enjoy from time to time.
This happens on most songs, and may be because the guitars take a muted presence - when they go for power it’s everyone raising the tempo – but they do make a point about having an 80’s keyboard sound, opulent but sparse, rather than sleek and bleak as in cold futurism. Weirdly, these are laid on by Jonny Lee Michaels, their producer. So how much of what we’re hearing is what they are capable of is open to doubt.
It isn’t all of one tone, as ‘Grey is a starker blighter, with a nice mailed first of guitar – whether these are buy Timo Timo or Bazie I know not - getting in a few good shots, and ‘Betty Blue’ has a bright rocky flair, with seriously flame-grilled vocals. I wouldn’t be surprised to see a lot more of this coming out later. ‘Still Waters Run Deep’ is beautifully elegant, with supple keyboards, with the riff belting in, on an identical course of action, ‘Forever More’ has grand storm-tossed guitar with the ghost of Billy Idol bouncing through and ‘Stigmata’ is a joyous mess, where they get wild, Boom!
This is Goth, Jim, but not as you know it, and we really do need this kind of success replicated by other bands worldwide.
http://www.69eyes.com
Wednesday, August 13th, 2003
CAT SITTING (DAY 3)
The somewhat chubby Lucy made the rare friendly demand to have her stomach tickled this morning but this was just a ruse to trick the Mercer who was then deluged with demands from Sammy throughout the day and regardless of whether I was going to feed him or not, every time I left the room I would return to find Shelly zonked out on the computer chair. When things clouded over, Toffee at least deigned to visit and lay on the back of the sofa clearly monitoring the weather situation. The moment it brightened he gave me a dismissive sneer and glided from the house. As if this wasn’t enough Lucy started to ignore me, until I heard a rigorous tapping and went to investigate. There in front a blackboard she had produced from God knows where, she sat, with the words ‘When Are You Going To Review Those CDs?’ writ large, and heavy with menace. ‘I’m doing them, ‘ I protested, ‘I’m doing them all.’ Some for Blu and some for here. First one here tomorrow, if only to shut Lucy up. And she’s got fleas!!!! In this weather that’s baaaaaad news.
Friday, August 13th, 2004
News from Myssouri:
“Myssouri will be played tonite on XM radio’s ‘unsigned band’ show. Here is the link.”
http://www.xmradio.com/programming/channel_page.jsp?ch=52
I urgently need the help of someone in Paris who knows their way round antiques/flea markets or collector’s shops. Can anyone from Paris who does please email me at mercerm@supanet.com - or if anyone knows someone in Paris can they please ask them to contact me? It is a strange and interesting request I have to make.
My girlfriend Lynda’s favourite show ever is Les Miserables, featuring her favourite songs of all time, and it is also her favourite book. For our anniversary, coming in early September, we always get each other silly gifts but I also like to get her something symbolic.
I want to get some old French coins, from the 1800-1850 period (but no earlier, or later), which would have been used by the characters, and they don’t need to be in the good or excellent categories which means coin sellers sell them for a lot of money. In fact the older and more used the better, as long as they’re not rubbed smooth.
I would like at least ONE version of each coin which was available at the time, and hopefully three of each. I don’t know how many that would be, obviously a one franc coin and then the centimes of various denominations. Maybe there were ten franc coins? (I have no idea.) Maybe some coins were silver, some bronze, some tin?
Is it possible for someone to look round their local markets and shops that sell coins and work out roughly how much it would cost to get a few of each different value coin which was available?
I would be happy to pay two or three pounds for a good version of each type of coin, and then maybe a pound a coin for any which are pretty average condition.
ALSO….is it possible to go in antique shops or markets and see if a purse can be found which women (or men, come to that) would have kept money in? I doubt many cheap ones are sold or even survived (if they were cheap leather), but you never know what turns up on antiques stalls. Again, because I don’t want a fancy one or good one, I wouldn’t expect a stall in a market to charge more than ten pounds.
If nothing else there maybe some small military pouches which people leaving the army would have retained to wear on belts. One in crap condition one would be perfect and shouldn’t cost much. Lynda’s favourite character is a woman called Fantine who is poor, so she would only have had the cheapest kind of purse, like a pouch.
Could someone please have a look and let me know what is available? I am sure there must be a few coin shops in Paris, just like there are in London, and antiques markets always have that sort of thing on sale.
AND….if they have any stalls selling old jewellery, like a pendant or earrings which come from that period but are really boring looking, so that they don’t charge much money could you please let me know? I know Lynda would get a kick out of being able to wear something from the period. What it looks like isn’t important. Just something cheap and obviously something a woman would have worn?
In total I want to spend about £50 - 75. A small purse or pouch with a dozen coins inside, and a small decorative pin? That should be possible, shouldn’t it?
Cheers!
Mick
Saturday, August 13th, 2005
Too hot today to cope, so a review tomorrow and then maybe nothing until I get home on Wednesday as it will be too difficult to put anything up.
SACK TRICK
SHEEP IN KISS MAKE UP
ST
To many people KISS are just an overblown, hoary rock concept maintained by old men heavily reliant on image that have released too many bad albums which take sexual contrivance to new levels of mediocrity, but that would be an entirely too accurate assumption. What you maybe don’t understand is that they have also created some of the best albums ever.
Marilyn Manson wasn’t the first person to shrewdly cobble together past greats. He merged Alice Cooper and David Bowie, wrapped in cool Goth imagery, and marketed like a Metal product. KISS looked around at the early 70’s greats and knew what was working better in clubs than their own fledgling efforts. So they used Alice, Iggy and The New York Dolls, putting image, sleek energy and heavy choruses into short songs. That’s why “Kiss”, “Hotter Than Hell”,”Dressed To Kill”, “Kiss Alive” and half of “Destroyer” would improve any record collection.
Then aidanmcg sends me this, and it’s mental. Using absurdly varied styles, with insane vocal characters, there’s no way they can hide just how good, and enjoyably silly, many of the Kiss songs chosen are. ‘Shout It Out Loud’ is nerds on testosterone with the right clomping stance and flint-like guitar, then they turn ‘Love Gun’ into a wonderful spacey dub which is wholly unexpected and it works wonderfully. ‘I’m A Legend Tonight’ is done in the style of a flabby mariachi band, ‘Almost Human’ is a bloated sack of shit with a cool understanding of the lighter guitar style Kiss utilised, and ‘Deuce’ sounds unnervingly like very early Alice. ‘Beth’ is Randy Newman in a nappy, ‘All Hell’s Broken Loose’ is a gabba version of ‘I Shot The Sheriff’ and ‘Audio Video’ is slick pomp-pop.
‘Stanley The Parrot’ is nicely weird, ‘Love Her All I Can’ has lovely pop airiness, and ‘War Machine’ is Yokel AOR!!!!!!!!!! ‘I Still Love You’ has to be the ghost of Barry White and I’m afraid ‘The Elder’ is as grotesque as the original, with recorders, a Brian Blessed tribute and simpering acoustic spew everywhere.
One Aidan sent this I also found another Kiss covers album, by Hayseed Dixie (a cool joke in itself) who are a true Appalachian hillbilly band. That’s waiting for me when I get home, which is a scary prospect, but in the meantime this is a crazy album, which is exactly what’s required.
Cloven-ready goodness.
http://www.sacktrick.com/
- you have to see this
August 13th, 2007
09:33 pm
TRAUMA PET
1
Lineout Records
The guitar neatly lifts your scalp and the band walk about inside, prodding. That’s the basic effect and this, the press release reveals, is because the band are encompassing some tougher rock sensibilities.
Rock, eh? Ah, my favourite! (Stifles yawn before playing.) Letting the guitar glower too much in ‘1’, before returning to a grumpy bass is as every bit as expected as the swanning around Gothic Metal bands do, or the pristine hackneyed meaningless twaddle Industrial bands are so prone to think seems darkly enticing. Where Trauma Pet don’t let this mire them is that they actually know how to keep everything flowing smoothly, instead of in a lumpen fashion, which always afflicts the previously named genres. It’s what you might call thickened atmospheric rock, the vocals providing the quixotic twinges, the guitar actually coming through precise as a razor, where most would rely on hijacked Led Zep riffs. It’s toppy, with attitude and if the vocals tend to get a bit lost, but it’s a hefty sound, more than capably delivered.
‘Love The Abuse’ then goes for woozy electronics and taut indie seizures which is interesting, plus on what proves to be a diverting EP (which also includes some nice pics and a lascivious video for ‘1’) Seize remix ‘Controlled Hysteria’ with heavy android footprints, and XP8 tackle ‘The Darkness Inside’, pushing the dance through a twirled nozzle.
Entertaining stuff.
http://www.trauma-pet.com
http://www.myspace.com/traumapet
http://community.livejournal.com/_traumapet_/
http://www.lineoutrecords.com
http://www.myspace.com/lineoutrecords
http://www.neo-vision.co.uk
– that video
August 13th, 201008:20 pm
ESPEJOS MUERTOS
ESPEJOS MUERTOS EP
Download/Zorch Factory
AWESOME BAND ALERT!!! And I really do mean awesome as this is utterly FANTASTIC. A Chilean band apparently possessing a dramatic live ability even when doing acoustic shows (their photos certainly indicate visual style and wit) and playing what they refer to as “Rock de Cementerios” they’re a strange amalgam of post-punk, goth and hardcore, with an extraordinary guitar feel, and gorgeously atmospheric songs. This first EP, available on CD in Chile only, was released last year and there’s an album planned for this, which has to be worth keeping eyes and ears out for.
‘El Jardin De Los Suicidas’ sprawls mischievously, the vocals out front and grazed, imploring over the raw guitar and punky thrust then they switch to a mini break with spoken vocals, whereupon backing vocals work coolly alongside tingling, delicate guitar, the same instrument then dominates cleverly as the rest fall back and it jangles and hammers to a close. It’s brilliant and not unlike a Gothy version of Naked Raygun, which is actually an irresistible combination.
More deft guitar detonations send ‘El Es Una Maquina’ out into a cold world with more orderly vocals from Casimiro de las Calaveras (who also plays guitar), Nathalie Carmín’s bobbling bass and crisply craft drums courtesy of Graciela Rosanegra, with a catchy refrain enlivening a slightly morose direction, and there’s plenty more guitar energy. The jagged but artistically compressed ‘Bilis Negra’ has melodic vocals to the fore, and relentless drum impact with traces elements of Nirvana in the bitter brew.
Being a trio they have that extra power normal bands lack. The drums get more room, Nathalie’s bass gets to turn and glow and in ‘Se Que Mañana’ Graciela also throws in magnificent backing vocals as Casimiro displays his most discreet guitar touches while pushing his vocals through in the most powerful and yet relaxed manner.
Four songs brimming with vitality and variety. All of it quite brilliant.
http://www.myspace.com/espejosmuertos
Do we have any flyers?
1986
1988
And onto Facebook we do go…
13 August 2011 at 23 09
Turns out my scanner, which I adore, is too damn old for my new pc. Answer - I will set up the old pc setup on one side of the office, the new one all cocky on the desk by itself. I can then scan and pop onto the external drive which will act as a go-between. Not perfect, but something to do with a port and storms.
13 August 2011 at 23 07 ·
1989 photo quiz starts tomorrow some time in the early afternoon on my glorious wall. Once I have stopped swearing at furniture in the office, probably. Not the band, Furniture, I hasten to add. I liked them.
13 August 2015 at 19 33 ·
Don’t forget Juliet’s great radio show tonight at 9pm (UK time) - music by female artists.
Event page: https://www.facebook.com/events/1587107278216873/
Listen here: wickedspinsradio.org (and you can sign into the chat simply by typing in a name there, you don’t have to register)
13 August 2016 at 17 38 ·
Bit embarrassing! I laid out the 100 CENTIMETRES course for the Cat Olympics, sure it was perfect. “That’s too big!” Lynda observed. I wasn’t convinced. “Is it?” ‘That’s not 100 centimetres. It’s only meant to be a metre.’”Is it?” I’m sceptical. ‘A metre is 100 centimetres,’ she explains. “IS IT???” asks a moron. :D
13 August 2016
The 100 CENTIMETRES results are in from the Cat Olympics 2016. Incidents galore!!!! https://www.facebook.com/Catolympics2016/photos/...
The one they’ve all been waiting for - where Kings, or Queens, of Speed excel. A few problems with the course itself but then onto non-stop action!
Look at the face of innocent expectation!
13 August 2017 at 00 30 ·
Sat in the garden trying to watch the shooting stars and while the keen-eyed Lynda jubilantly saw eight even the short-sighted squinting Mick saw three, and they were the most vivid I’d ever seen. And yes, I wished.
13 August 2017
I’ll be watching the end of the World Championship athletics tonight so the radio show resumes next Sunday. Meanwhile, broadcast #160 is uploaded, containing plenty of rare material.
THE BLUEBELLS - Young At Heart
THE ROSE OF AVALANCHE - Always
THE MODERN LOVERS - Dignified And Old
THE LAST DANCE - Once Beautiful
DAVID E. WILLIAMS - The One Who Doesn’t Die
THE STRANGLERS - Everybody Loves You When You’re Dead
THE CURE - I Want To Be Old
THE CHAMELEONS - Thursday’s Child
VAN DER GRAAF GENERATOR - All That Before
TALKING HEADS - Girlfriend Is Better
AMATEUR TRANSPLANTS - Careless Surgeon
DJ CUMMERBUND - Earth, Wind & Ozzys
MARIANNE FAITHFULL - As Tears Go By
THE MEN - The Worst Sideshow Ever
WARPAINT - Keep It Healthy
LIVING WITH EATING DISORDERS - Horsemilk
TOY DOLLS - Nellie The Elephant
DAVID BOWIE - Waiting For My Man
SAILOR - A Glass Of Champagne
THE SMITHS - There is A Light That Never Goes Out
NEIL YOUNG - Old Man
HALDOL - Universal Leash
LEE HAZELWOOD - My Autumn’s Done Come
DANIELLE DAX - When I Was Young
GINGER WILDHEART - The Pendine Incident
NEW ORDER - Ceremony
FAIRPORT CONVENTION (with JULIANNE REGAN) - Who Knows Where The Time Goes
13 August 2019 at 01 06 ·
1982 and the great ACTION PACT are at the BBC doing what I believe is the second Peel session they did. That would make this August 7th, 1982.
13 August 2019 at 16 54
And so to THE ADVERTS. Photos taken at the Music Machine in late 1979. Anyone know the correct date???
13 August 2020
I’m sticking with Fort Salem but it’s pretty dull, moving so slowly I expect a lot of people give up after four episodes. Several things REALLY annoy me. The way they stamp their feet to express delight, even when standing. It looks moronic. Now we’ve seen how they can land safely during a battle, with their special drug levitation thing. That takes so long enemies could simply shoot them! And why do the old witches walk along in choreographed silence, other to save on speaking roles? Tsk!
The Mixcloud trending charts do my head in. If it’s just based on listeners then my current show should be Top 10 easily in all their charts, even Top 5, and first in Indie!!! Instead it’s this. New Wave - 19th, Punk - 24th, Dark - 24th, Post-Punk - 28th, Indie - 44th. So it must be something else, but I don’t know what. Bizarre. Anyway, tons of great songs in this so have a listen.
13 August · 2020
Just got up and while delighted to see it’s finally rained it can’t have lasted more than half an hour. How is that fair?
13 August · 2020
If we don’t get rain for several days running how will we be able to moan that we never get any hot weather? So unfair!
13 August · 2020
Casper’s flaked out. Can’t even be bothered talking to me. Can’t blame him I suppose...
13 August · 2020
Casper draped over my chest again, the new nightly ritual. The dozy Husky snoozes in the background.
13 August 2021
Has anyone visited this weird Marble Arch Mound thing, and if so is it worth doing? Lynda’s in town tomorrow and as this is only a temporary sight/site I wondered if maybe she should swing by and try it?
13 August 2021
Brazen!
13 August 2021
A fresh look for Autumn?
13 August 2021
13 August 2021
Definitely unusual!
‘Hip hip hooray, it’s the Burryman’s Day’
13 August 2021
13 August 2022
No radio show tomorrow as it’s just too bloody hot sitting at this computer putting it all together. Stay cool everyone.
13 August 2022
Kinda cute. I guess...
13 August 2023
The future is HERE! Take note Kim Igoe, Mr Cynical!
13 August 2024
I keep getting nonsensical emails that claim I have won a ‘milk frother’! Exciting times...
13 August 2024
Not content with winning a ‘milk frother’ my emails now tell me I’ve also scored a Shein Mystery Box, whatever that is. On the downside I have received a warning that I only have 25% of my cloud storage left. This is particularly troubling as I don’t even have cloud storage.
13 August 2024
As we would expect the average videos posted from our recent Cat Olympics 2024 at https://www.youtube.com/@lyndabarrett8185/videos get somewhere between 50 and 200 views. Normal stuff. The Boxing video is fast approaching four and a half thousand! Obviously the youtube algorithm is recommending this to actual boxing fans.
13th August 2025
So Lynda completed another ‘new thing’ today as she’s certainly never been part of an Art Exhibition before, an event organised by the group she started with in late February. I think she was a bit surprised when she got there to find they’d organised most of her work into a sort of display of its own at the front of the stage.
ON THIS DAY ... in 1981 - Tim Harrison of THE DANCING DID and Theo Shend of THE CRAVATS are embroiled in skulduggery for my fanzine, as Punk and Goth ghosts unite.
More tomorrow.
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