Clark Kent's Rock and Roll Revue #015 Deadcuts / Shoplifter Records / One Unique Signal
'As for inspiration, I take more from hip hop than I do from rock music these days.' - Mark Keds a.k.a Solange Era of Deadcuts
Clark Kent's Rock and Roll Revue is sub-edited by Kate Shall
John Clay a.k.a Clark Kent
Tons of cool shit in this latest upload!
Mark Keds of Deadcuts returns to this publication to chat about his latest single release. Phil Davies gives us the lowdown on Gordon Rapheal's label, Shoplifter Records, and the concluding part of last issues interview with One Unique Signal is here...celebrate!
Mark Keds of Deadcuts discusses their new 7 inch...
Happy snap by Patricia Pericic
Mark Keds a.k.a Solange Era Lead singer of Deadcuts
Points raised: Lyrical interpretation, inspiration and the writing and structuring of songs... and more!
Let’s begin with Caution Exorcists. The song structure is quite interesting. It’s another wall of sound effort from you guys. Where does that sound come from?
Solange Era a.k.a Mark Keds
I guess it's the way we layer rhythm and melody.
It's like chapters in a book.
Chapters in a book? Go on...
We weave the music around the lyrics, it's always a journey for us and even though we keep the songs short, usually under 2 1/2 minutes, they're epic.
I am a massive fan of tunes being either rather short or sporadic and lengthy. More of a guideline as we know all rules are made for the breaking, eh? Is the sound inspired by a specific artist or band? I hear The Cult in there...or are you driven solely by the lyrics? Perhaps you ought to talk about them?
I'm the same and some songs do lend themselves to length and repetition - its something Deadcuts will definitely explore in the future. These are early nights for the band though - I write every day and that's probably the reason I avoid repetition at the moment - many of our songs have a chorus but it will only occur once or the melody will reappear but the lyrical content will be different. The other thing is, writing with Jerome round at Nina Antonia's flat, we're restricted with the time we get to play - noise, neighbors, nightmares etc., so it's part of our skill in that I'll turn up with my diary and we always write at least one song from start to completion so we can record it and play it at the rest of the band.
As for inspiration, I take more from hip hop than I do from rock music these days. There's definitely no artist I aspire to be other than myself.
I take more from film, Kenneth Anger, soundscapes and the city at night. I want to make it sound otherworldly yet human.
Regarding the 7 inch: Does it matter to you if people can work out your lyrics, or are you interested in the interpretations that spring from them?
Well the next single comes with a lyric sheet... This time though, I love that sometimes I can hear a song one way for years and it might be totally different from the words actually being sung. Youtube comments are great for that shit. I'm happy that people listen to the music I'm making, and what they take from it is totally up to them.
Tell us about about the line, ‘How many times do I have to die in your ams?’. It really sticks out.
I was walking from the station to Jerome's, usually I've prepared a couple of pieces and I had my book with me just no idea what I'd been writing the past couple of days and that line just popped into my head. So i arrived with that one line and we took it from there. Don't ask me where it comes from - some lines are just there in the ether aching to be sung...
Has it taken on more of a meaning over time, or is it something you want the audience to actively participate in?
Like a Rorschach test?
Exactly. Totally subjective ain't it? (Btw my apologies - I get easily distracted here in stepney - just put Jerome on the last train).
Shall we continue in the morning or perhaps later when Jerome's back near a puter?
We're nearly done, so let it roll man...the last interview was somewhat Jeromecentric, which is great, but let's shine the light on you for a while. So, penultimate question: Tell me about the artwork for the release. What inspired it?
Cool cool. Well the artwork is by Sophie Macdonald who I collaborated with on the Lams and the Bring Your Own Poison club nights and LP. As for the inspiration, I'd say there's definite hints of German expressionism, though you'd really have to ask the lady herself.
Egon Schiele is a big infuence on her current work.
Pray For Jail cover art By S. Macdonald
Tell her to send me a message. I'd be happy to chat to her about her art. Great cover work. O.K., last question: What advice would you give to any bands who want to make a living in the music business?
Will do. Yeah, she's a real gem that one. Very talented lady.
Advice? Trust your instincts, always have faith in yourself and never sign anything without a decent lawyer giving it a proper butchers aight.
Thank you for your time Deadcuts! A pleasure as always.
Yeah nice one bruv. Great questions...enjoyed.
This weeks guest submission is provided by Phil Davis:
Phil Davies plays bass in Bristolian band Welcome Back Delta.
And now, he gives the lowdown on Gordon Rapheal's Record Label Shoplifter Records
Phil Davies shredding through chords...Yeah!
Welcome to the world of Shoplifter Records - Volume. It’s a medley of all weird and wonderful artists upon the label, packed into an easily digestible 12 track album. To say it begins a little on the scatty side would be an understatement. Opening Track ‘I Said’ by Sarah Maguire is a flustered mix of synth and guitars. Initially a little jarring, but it’s got an undeniably catchy magic about it. This is the spirit of the whole album, with some real gems buried here. You’ve just got to be prepared to dig deep enough.
Don’t get me wrong- every album comes with its obligatory total bag o’ shite, but there are a few decent tracks here to make you stand up and take notice. Third track ‘View From Blue’ by Analogue Poodle sound fantastically close to Screaming Trees, and that’s a fact that can only go down smooth. Throw some frantic guitar solos in there and you’ve got one of the real highlights of the album.
‘Distress’ by Audac is a mesmerizingly spacious track with some delicately woven guitars and vocals dotted over its thumping bass driven core. To compliment this further, the latter half of the album gives us the mesmerizingly eerie Satellites. Somewhere between Radiohead and A Perfect Circle, this Spanish speaking enigma just sounds brilliant. Every instrument is perfectly in balance and the whole track really does hold an air of wonder. The album finishes with straight up prog-rock by Calendar. It’s an energetic and solid sounding closer. Some nice gang vocals and driving drum beat ensures it encases the listener’s attention.
All in all it’s a nice presentation of what the label has to offer, with some real talent and refreshing direction just waiting to be discovered.
Phil Davies band is called Welcome Back Delta Listen to them now.
PART TWO OF THE ONE UNIQUE SIGNAL INTERVIEW
'If you see us live and stand anywhere near the front, you WILL at some point experience James Messenger playing guitar on your face' - Nick Keech
One Unique Signal
Points Raised: Jim Beal wades in on mission statements and the band's history, and Nick Keech gives his views on drone rock...
Continued from part one...
Hello. To chuck ones hat in the ring; 1. Mission statement? We’ve never sat down and written a manifesto, if we were to try it could possibly take an age and we’d probably not all agree with it anyway, although Berlin might make it in there somehow....
2. Alongside of the early OUS days James M. Dan and I had been sculpting musical understanding in both a song based 3 piece 'Manana Manana', and also as part of a larger abstract improvisation collective; Bobby Horseshoe (studio based - track multi layering - random instrumentation - 1 shot recordings - mixfests) . https://soundcloud.com/bobby-horseshoe. When OUS were in need of fresh blood, it was a logical (and portentous) step to converge the twain. Being in OUS has opened many musical doors to all of us and keeps doing so, which is extremely healthy – working in different musical contexts provides more stock for the OUS pot. Super group is a great description if you were to replace the word super with “A” ……….. smileyface
More later I hope.
One Unique Signal
And in closing, let's hear something from those who've not yet spoken. Jimmy James, Daniel Davis: Why should people buy your new album?
Because stealing is just plain wrong!
Hahaha! Excellent having you guys on the cyber-sofa. Till next time and...hey, wait, when is your next London show?
Well John, I don't believe we have any shows planned, but we'll keep you in the loop.
Damn right you will. Hope you get loads of new listeners via Aether. Bye for now!
I should probably say from the off that we wouldn't put ourselves forward as a drone rock band. There's common ground for sure, but we are a little too aurally animated and changeable to fit into that corner. If you see us live and stand anywhere near the front, you WILL at some point experience James Messenger playing guitar on your face...And yes, I said on not in. Drone is about intent and feeling just like any other music. It's easy to spot the fakers.
James almost walked right through me at the first gig I saw you at (The Telescopes)...he was a lot more restrained the other week! Cheers for the clarification Nick!
NEXT TIME: All sorts really. Legendary producer of The Strokes, Gordon Raphael has been interviewed for this revue. Don't be a fool. Subscribe today :)