Podcast
C86 Show - Indie Pop
Hosted by thec86show · EN
Channelling the spirit of Indie Pop!
93episodes
Episodes
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Steve Nieve - Elvis Costello & The Attractions - Plus Kessada
Mar 2901:01:06Tap to summarizeSteve Nieve in conversation with David Eastaugh https://events.liveit.io/west-hampstead-arts-club/steve-nieve-kessada/ https://www.stevenieve.com/solo-albums Musician and composer. In a career spanning more than 40 years, Nieve has been a member of Elvis Costello's backing bands the Attractions and the Imposters, as well as Madness. He has also experienced success as a prolific session musician, featured on a wide array of other artists' recordings. In 2003, he was inducted into the Rock and Roll Hall of Fame as a member of Elvis Costello and the Attractions.
Transcribe →Andy Prince
Mar 2800:43:22Tap to summarizeAndy Prince in conversation with David Eastaugh https://soundcloud.com/andrew-prince https://www.youtube.com/watch?v=Dna3ykpRUyY https://www.facebook.com/andyprincemusic/?locale=en_GB Experienced bassist and composer Andy Prince writes and performs evocative instrumentals on the Chapman stick. During his musical career, Andy has played bass with many well known bands and solo artists, including Sham 69, Toyah Wilcox, Damo Suzuki, Classix Nouveaux, Rikki and the Last Days of Earth, Jimmy Edwards and the Profile, Random Hold.
Transcribe →Maggie Holland
Mar 2600:51:14Tap to summarizeMaggie Holland in conversation with David Eastaugh https://www.maggieholland.scot/ English singer and songwriter and became involved in the local folk club scene in the late 1960s. She has played in a number of bands and formed a number of collaborations with other artists, but has become well known in recent times as a solo artist and songwriter. She enjoys singing songs with meaningful words and has named her major influences as Bob Dylan, Al Stewart, Dave Evans, Leon Rosselson, Billy Bragg, Bruce Cockburn and Robb Johnson.
Transcribe →Michael Jung - Alice Donut
Mar 2501:03:00Tap to summarizeMichael Jung in conversation with David Eastaugh http://www.alicedonut.com/ Alice Donut formed in 1986 after the demise of the Sea Beasts, a band at Columbia University, the name soon trimmed from the initial Alice Donut Liver Henry Moore, a play on Alice Doesn't Live Here Anymore. Ted Houghton, Tomas Antona, Dave Giffen and Tom Meltzer recruited drummer Stephen Moses and quickly found a substantial audience at CBGB. Guitarist Michael Jung soon replaced Meltzer. The band's first commercial release was the Donut Comes Alive album, released in 1988 on Jello Biafra's Alternative Tentacles label, followed in 1989 with Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life.
Transcribe →Jason Collins/Umbrellabird - The Seers
Mar 2201:14:33Tap to summarizeJason Collins/Umbrellabird in conversation with David Eastaugh https://www.youtube.com/watch?v=Y5uCjjeIi68 The Roots of the Seers lie in two places; Bristol (obviously) and Billericay (not so obviously). Leigh Wildman grew up in Billericay and it was there he met Jason Collins, a guitarist from nearby Brentwood. They had spent some time in bands around the Essex region and they, along with a few friends, had decided to up sticks and try somewhere else. At the suggestion of one of their number, Bristol was decided upon, and a mini Essex invasion took place in the summer of 1984. Adrian Blackmore, or Age, as he was known, had been in the second wave of Bristol’s punk scene, too young to be in bands like the Cortinas, but old enough to be won over by punk’s energy. He picked up the drums quickly and formed Lunatic Fringe with fellow Bristol Punk stalwarts Bear Hackenbush and John Finch. The Bristol punk scene in 1984 was a more cider fuelled version of what Crass was peddling, with a very much Do it yourself vibe. Bands squatted venues like the old Beetle Centre on Stokes Croft and encouraged the squatting of disused houses, which many lived in. It was in one of these squatted houses, Turdy Way, named for the amount of dog shit in the house when it was first squatted, that the Essex invasion landed. After a single and some tracks on a few compilation albums, Age had left Lunatic Fringe (very amicably) and started jamming with Leigh and another of the Essex invasion, Marc Hymas, in a loose knit band called Death Machine. Influenced by T-Rex and Hawkwind, they played a few gigs at the Demolition Ballroom (the name given to the squatted Beetle Centre). After a while, Marc decided he wanted to do something else and played Saxophone with Pigbag sound-a-likes Animal Magic. Leigh and Age decided they liked playing together and enlisted Jason on bass guitar and vocals. Getting more focused, and deciding to add some shared influences in the form of 60’s Garage bands they enrolled a singer, Dean Strange, with Jason providing backing vocals.
Transcribe →Richard Barbieri - Japan, Porcupine Tree, Steve Hogarth No-Man, The Dolphin Brothers, Rain Tree Crow
Mar 2001:20:17Tap to summarizeRichard Barbieri in conversation with David Eastaugh https://richardbarbieri.bandcamp.com/ ‘Hauntings’ is Richard Barbieri’s first studio album since 2021’s ‘Under A Spell’ and deepens the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark and uplifting in equal measure, ‘Hauntings’ is influenced by a nostalgia for the past and future, and for things that didn’t happen yet still manage to haunt the mind and soul. What is real and what is simulation? Richard Barbieri remains one of contemporary music’s most distinctive voices. Emerging as a key architect of the late ’70s/’80s synthesiser revolution with David Sylvian’s art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music and left a lasting mark on artists from The Human League and Duran Duran to Gary Numan and Talk Talk. His subsequent and ongoing tenure with Steven Wilson’s legendary progressive outfit Porcupine Tree across albums such as In Absentia (2002), Fear Of A Blank Planet (2007) and, most recently, Closure/Continuation (2022) further affirmed his status as one of the most intuitive and unique musicians of his generation. The album finds Barbieri at the height of his powers, his deft keyboard and sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London and drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, “Traveler” and “A New Simulation” bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs and electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums and percussion), Percy Jones (bass guitar) and Luca Calabrese (trumpet).
Transcribe →Momus
Mar 1801:24:23Tap to summarizeMomus in conversation with David Eastaugh https://imomus.com/ https://www.youtube.com/channel/UCwH79Z9-WQe2jwaHCK_Cgpg https://momus3.bandcamp.com/ Nicholas John Currie more popularly known under the artist name Momus (after the Greek god of mockery), is a Scottish musician and writer. For over forty years he has been releasing albums on labels in the United Kingdom, the United States, and Japan. In his lyrics and his other writing he makes use of continental philosophy, and has built up a personal world he says is "dominated by values like diversity, orientalism, and a respect for otherness".[2]
Transcribe →Roddy Bottum - Faith No More & Imperial Teen
Mar 1601:02:11Tap to summarizeRoddy Bottum in conversation with David Eastaugh https://www.amazon.co.uk/Royal-We-Memoir-Roddy-Bottum/dp/1636142699 THE ROYAL WE is a poetic survey of a time set in a magical city that once was and is no more. It is a memoir written by Roddy Bottum, a musician and artist, that documents through prose his coming of age and out of the closet in 1980s San Francisco, a charged era of bicycle messengers, punk rock, street witches, wheatgrass, and rebellion. The book follows his travels from Los Angeles, growing up gay with no role models, to San Francisco, where he formed Faith No More and went on to tour the world relentlessly, surviving heroin addiction and the plight of AIDS, to become a queer icon. The book is an elevated wallop of tongue and insight, much more than a tell-all. There are personal tales of historical pinnacles like Kurt and Courtney, Guns N' Roses, and recaps of gold records and arena rock - but it's the testimonies of tragedy and addiction and preposterous life-spins that make this work so unique and intriguing. Bottum writes about his dark and harrowing past in a clear-eyed voice that is utterly devoid of self-pity, and his emboldened and confident pronouncements of achievement and unorthodox heroism flow in an unstoppable train that's both captivating and inspirational. A remarkable portrayal of a creative individual in emergence, a gay man figuring out how to be a gay man, and a detailed look at the nuance of 1980s pre-tech boom San Francisco, The Royal We will be greatly appreciated by people who loved Kathleen Hanna's Rebel Girl, Patti Smith's Just Kids, Hua Hsu's Stay True, and other memoirs about the artist's life.
Transcribe →Rob Tannenbaum - CBGB - A New York City Soundtrack 1975-1986, 4CD
Mar 1301:25:41Tap to summarizeRob Tannenbaum in conversation with David Eastaugh https://www.cherryred.co.uk/various-artists-cbgb-a-new-york-city-soundtrack-1975-1986-4cd?srsltid=AfmBOoohm1glA9ey7r6K1osC9drIJOO4YZT5Q0P6y6vXPapBUTVMN2ig “CBGB was a place for the dirty people.” - Jimmy Destri of Blondie “Afterwards, I took off and went crosstown to CBGB’s, the stronghold of the unknown, to be with my own people.” - Patti Smith In December 1973 Hilly Kristal changed the name of his roots music bar from Hilly’s on the Bowery to CBGB and altered his musical policy to hire mostly rock bands. He was indifferent to many of them (“No one is going to like you guys, but I’ll have you back,” he told Joey Ramone), blissfully unaware of how important his scruffy little club would soon become. In the span of only 15 months, the five groups that comprise the CBGB’s pantheon all debuted: Television in March 1974, followed by Ramones in August and Blondie in October, then Patti Smith in February 1975 and Talking Heads four months later. Those five groups all quickly got record deals and became popular enough to outgrow CBGB’s. By the fall of 1977, Smith was the only one who was still playing there. What succeeded the Big Five was an array of new and retro styles, all of which feature here: No Wave (Sonic Youth, Mars, DNA, Bush Tetras), post-punk (Ritual Tension, Unknown Gender, Khmer Rouge), mutant funk and R&B (James Chance & The Contortions, Mink DeVille), art-rock bands (R.L. Crutchfield’s Dark Day, The Revelons, Erasers, Jeff and Jane Hudson) hardcore punk (Minor Threat, Bad Brains, Vatican Commandos, Beastie Boys), and lots of power pop (Sorrows, The dBs, The Rudies, The Miamis, The Paley Brothers) . The club’s best-known bands are present on this compilation but we’ve also revived interest in dozens of unfairly forgotten acts that, for a moment in time, made an album, EP, 45, or even a demo that crackled with innovation, wit, and joy. CBGB no longer exists, at least not in the physical plane, but what happened between those soot-filled, beer-stinking walls continues to reverberate around the world.
Transcribe →Dominic Blaazer - A Riot Of Colour, Peter Stuyvesant Hitlist, Smoothy, The Chills
Mar 901:28:52Tap to summarizeDominic Blaazer in conversation with David Eastaugh https://www.youtube.com/watch?v=LXMB0fZMhxw https://www.youtube.com/watch?v=ef0Cw6j70H4 https://dominicblaazer.bandcamp.com/
Transcribe →