Art: Spirit Of Ibiza ’89 / How Balearic Beats Liberated London

This is an exhibition starting this Thursday (well the private view is then) at The Printspace on Kingsland Road in London’s Shoreditch showcasing the work of photographer Dave Swindells, Nightlife Editor at Time Out Magazine for over 22 years, and someone we have (er) borrowed heavily from over the last few years of Test Pressing (hence feeling obliged to tell anyone within five square miles of the gallery to go take a look). We love what he did and everything he captured. The reason these pictures, and the articles and videos we post, are so invaluable in our opinion is that they capture exactly what was happening rather than someones dusty memories so this one comes recommended. Go check.

Here’s what the website says….

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In this exhibition, Swindells presents a series of images giving us a once in a lifetime view into the Second Summer of Love (a period in 1988-89 when electronic dance music exploded in Britain’s club scene). His images focus on how ‘Balearic Beats’ – a multifaceted and unique fusion of rock, funky reggae, Eurodisco and Chicago house – as well as the ecstasy-fuelled clubbing style of life experienced in Ibiza, gave DJs the inspiration to create a freer and unrestricted club scene in London.

These images show the nightlife of Ibiza in the late ‘80s, with its open-air dance floors for those hot Mediterranean nights, drawing an all-ages, polysexual crowd in an easy-going hippie-inspired atmosphere. This atmosphere was nonetheless self-consciously stylish (unlike many of the dressed-down Brits). The clubbing culture to this time was very different too. ‘In these photos you won’t see people texting or tweeting, videoing their mates or posting on Facebook,’ explains Swindells. ‘Nobody had mobile phones, and the only person likely to be taking pictures was the club’s own photographer. So there was nothing else to do but live in the moment, enjoy the parties or watch other people having fun while dancing the whole night’.

If you are interested in more of what club culture in Ibiza and London was like at this time you should visit ‘Spirit of Ibiza 89′ at theprintspace Gallery from Friday 29 April to Wednesday 18 May 2011. The opening times are from Monday to Friday 9am –7pm at theprintspace Gallery on 74 Kingsland Road, Shoreditch, London E2 8DL.

The opening night will be on Thursday 28 April from 7pm to 9.30pm. Admission is free and theprintspace hopes to see everyone there.

Afterward the exhibition will continue at the International Music Summit in Ibiza.

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So there you have it, get along if you are in the area.

[Apiento]

Art: Golden Sun Movement presents ‘ON’ / Acid House Art and 21st Century Psychedelia

Alright we are a bit slow covering this one (blame the sun), but it’s a good one and needs a mention. The work of (producer and true balearic head) Leo Zero, Luke Insect and (acid houser that never stopped moving) Dave Little is on show at the IG Gallery as we speak. What makes it worth a special mention is the online shop is now open with some class prints on sale from the chaps. Check the Spectrum print below from Dave Little from an edition of 25 signed by the artist for a taste of what is available. There is more from all the artists at the shop so click here if you want to see more.

[Apiento]

Art: Fiorucci Made Me Hardcore / Mark Leckey

I’ve been meaning to post this one for ages. This is like art made for us by us. Mark Leckey is from Birkenhead in the Wirral and is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, including this one – Fiorucci Made Me Hardcore from 1999.

[Apiento]

Exhibition: Laurie Anderson, Trisha Brown, Gordon Matta-Clark / Pioneers of the Downtown Scene, New York 1970s

Today me and the boy (my 13 year old son) visited the new Barbican exhibition. Apparently a lot of the work comes from the time that the downtown NY scene came together across the mediums of art, music, dance and architecture (often all in the same piece). By the way, excuse the bad iPhone photos below but you’re not really allowed to take them so you have to sneak the snaps.

From a music perspective there are some nice pieces to get into from Laurie Anderson. There is ‘The Handphone Table’ (above), a table where you place your elbows into small holes and place your hands over your ears so the sound of a poem travels through your arms. It’s a nice idea and you get more of a feeling of the poem being read, kind of blobs of sound, than are actually able to hear it.

Laurie Anderson also has an installation called ‘The Electric Chair’ where a Farfisa organ has a chord held by a heavy vice placed upon it, while two fluorescent lighting tubes and a spinning turning chair are all mic’d up to create an ever changing sculpture of light, crackles and movement. It’s nice. I think it was created for this exhibition and is based upon the above drawing.

One of our other favourite parts of the show was one of it’s centre points, Trisha Brown’s ‘Walking On The Wall’, which was originally created in 1971. Five dancers are suspended on the wall via a system of harnesses, ropes and a girder and move around two walls in a sort of geometric fashion – stepping over each other and walking backwards and forwards. It’s very peaceful to watch and in the boys words ‘though slow it’s pretty entertaining.’ The Guardian said ‘A walk on the wall side… This exhibition is worth the trip for Trisha Brown alone.’ Couldn’t agree more.

Another key piece of the show is Gordon Matta-Clark’s ‘Splitting’ where he took a house in New Jersey and in his words ‘does a dance with the building’. Slowly breaking it into two parts and pushing one part back on its own foundations. Special mention also to his lovely shots of 70s graffiti from the like of Lee (below). Apparently he had an affinity and solidarity with young people obsessed with defacing public property. I like him.

We’ve picked out the obvious parts of the show but there’s lots to get into and to me it felt like an important part of that musical lineage that we love.

For more information on dates, times and how to get there click here to go to The Barbican website.

[Apiento]

Interview: Dog Eat Dog

Soody Sisco, Martha Fiskin and Linda Pitt made up the core of Dog Eat Dog, an early 80s punk funk band out of NYC who were sassy, smart and fun. Think along the lines of Liquid Liquid or ESG and you are on the right lines. Claremont 56 have been lucky enough to get their hands on unreleased recordings from the band consisting of live tracks and studio sessions which will be released mid-March in a lovely Keith Haring sleeve. As massive fans of that era in New York we asked the band if we could interview them and talk about those times and they kindly said yes…

Photography: Paula Court

So who met who first? Where were you living? Were you at college when you met? What were you studying?

Soody: Linda and I went to High School together in Piscataway, New Jersey. We met working on a school publication. I went to college with Martha. A friend introduced me to David Wald and then David brought in Kevin.

Linda: Soody and I met up during High School. We met up again in our last year of college, there we met Martha. I studied art.

Martha: I met Soody and Linda at college in New Jersey. I studied art: studio and history.

What initially made you think ‘ok. lets form a band?’ Were you inspired by other people out there. Who was that?

Soody: We lived in the East Village, NYC in 1980. All of our friends were in bands.

Linda: After college Soody and I were briefly roommates in Brooklyn. I remember watching the Miss America pageant on TV. There was a sax in the apartment, I picked it up, I made sound… If Talking Heads (art students), The Ramones and our friends Liquid Idiot could all form bands, so could we.

Martha: It was an exciting time. You could pick up an instrument and start a band.

What clubs were you initially going into?

Soody: Tier 3, Max’s Kansas City (where Linda worked), Mudd Club and CBGB.

Linda: I worked at Max’s Kansas City pre-band. CBGB’s was around the corner from home.

Martha: Club 57, CBGB, Tier 3, Max’s, Mudd Club, Hurrah’s and The Roxy. We walked to all these places. New York did seem smaller in those days.

Were you part of that whole Mudd Club scene, hanging out there or just playing gigs?

Soody: A bit of both.

Linda: We went to the Mudd Club a lot but never felt part of the scene.

Martha: I was in a group art show there.

I guess you were quite involved in that art scene that ran alongside the music scene at that time? If so how? Did you see those two scenes as linked?

Soody: Yes, Linda and I were hanging posters that we collaborated on.

Linda: Definitely linked. Take Club 57, a small venue on St Marks Place in the EV, art, performance, music, movies, a showcase for everyone. Al Diaz our percussionist did the SAMO graffiti with Basquiat. Soody and I made art flyers that we wheat pasted around the neighborhood (see above). By chance the guy with the guitar is Richard Hell. We all did our own personnel art as well.

Martha: We all made stuff; various media.

Seems a lot of people involved in the music scene came from an art background and then did the music thing as an outlet for their creative sides. Was this the way it was for you?

Soody: Yes.

Linda: Yessssss.

Martha: Absolutely.

What were your favourite places to play at that time?

Linda: CB’s had the best sound and the infamous dressing room. We once played at 4am in a basement on Chrystie Street that turned out to be a Chinese gambling parlor.

So you played at CBGB’s. Was that another hang out? 

Soody: Yes, it was in our neighborhood.

Linda: Went there a lot. I loved the matinees.

Martha: Sure. What a sound system!

So the music – it seems to have a very funky edge. The congas and the percussion have that Latin thing going on. What were you influenced by? Or was it just a New York thing to have that Latin sound as you grew up surrounded by it?

Soody: It was a popular sound at the time and our early percussionist, Al Diaz, is Hispanic.

Linda: Don’t be fooled by the cow bell.

Martha: Love love love drums. Latin, African, dub…

How do you fit in with the other No Wave bands? Were you having out with ESG, Liquid Liquid etc or did you feel aside from them?

Soody: We were friends with Liquid Liquid.

Linda: Liquid Liquid are our friends. I only met ESG once but they seem incredibly nice. We were part of the noise NY and Naive Rhythm scene so I always felt we were all in the same boat.

Martha: Totally in with Liquid Liquid and Konk.

Who were you favourite bands to go and see back then and why?

Soody: Hmmm, there were a lot. Of the local bands we would go see our friends a lot. I loved DNA.

Linda: The Ramones were always fun, and any band that was recommended that I knew nothing about. There were a lot of new bands and most music at the time was fun.

Martha: Fela, DNA, some big soul shows, all our friends.

I like the review I saw from the Soho News that says ‘the melodies are carried by a very amateurish saxophone player’. Surely that was the whole point – to play like you couldn’t? You know deconstructing your abilities and almost looking at it in a different way… Was that something you were about?

Soody: We couldn’t play!

Linda: I believe the words are self taught. We played out shortly after we started playing our instruments.

Martha: We were inspired neophytes.

The music really benefits from having that raw, captured live thing. Well some of it was obviously recorded live, but when in the studio was it a live run through or did you try and record separately.

Soody: Everything is recorded live, either in studio or performance.

Linda: I remember late nights hardly able to stay awake.

Martha: Down and dirty, low-budget and raw. In a good way.

How come you never got signed to Sire, Ze or one of the other labels picking up bands at that time? I presume that scene was picked over pretty heavily…

Soody: We just didn’t get an offer in the short period we were around.

Linda: We almost got signed to 99 records.

Martha: It would have been 99 if anyone signed us. Maybe Rough Trade or ROIR.

Boring question but how did you hook up with Keith Haring for the Dog Eat Dog piece he did. Were you mates with him?

Soody: Keith Haring was a downtown artist and easy enough to run into. We just asked him if he would do a poster because the dog was one of his favorite motifs. He was very sweet and said he would do it and made an extra for us to add future dates to.

Linda: He was part of the Club 57 scene. I think he went to school with Julie who was working with Martha at the time.

Martha: Keith was a friend from the neighborhood. His work was everywhere.

Going back to the clubs – where else were you hanging out? Were DJs important to you as people or did you more enjoy the art/punk/live scene. What about Paradise Garage, Funhouse etc…

Soody: I don’t think DJs were the entity they are today back then.

Linda: I like music live and went to places we could get in for free which was most. Peppermint Lounge, Danceteria (where I caught Madonna’s first show), loved the dancing boys, Irving Plaza, Tramps, jazz clubs names long forgotten. There was The Empire of Soul Club, Warren and the Empress spun B sides of soul 45’s at various venues.

Martha: The Empire State Soul Club was great!

Were you into hip-hop? Before it went head long down that drum machine beat route it seems the scene you were in (Fab 5 Freddy, Futura etc) was very hip-hop. I think your music is pretty B-boy…

Soody: We loved the rap scene and frequented the Roxy Roller Rink in Chelsea for rap/breakdance shows.

Linda: B-boy, I like it. Loved the early scene. Roxy was our place to go.

Martha: Checking out rap and hip hop at Roxy. Thanks for the comparison.

At the time did you look at the success of some bands around you and think about making your music slightly more commercial or were you not interested in that?

Soody: We would have loved some success.

Linda: Commercial, never wanted that as an option.

Martha: We enjoyed our artistic freedom then, but a wider audience is always great.

What happened with the band in the end? Do you still play together? Is it more of a historical thing or do you have plans to go play in the studio again?

Soody: Oy Vey, play again? We discussed the possibility, but would need to REALLY dust ourselves off!

Linda: Historical, well you never know…

Martha: No plans, but you never know…

What do you all do now?

Soody: I am a museum curator and textile designer.

Linda: Photo retoucher to the stars! That means publishing.

Martha: I work in the film business.

What music do you listen to these days?

Soody: A lot of 70s glitter and 80s punk, always The Ramones, actually too much to list!

Linda: Lots of radio, WFMU and WWOZ, still can’t get enough of Neil Young.

Martha: The Clash, LCD Soundsystem, Spiritualized, Greg Dulli’s various bands and more.

Cheers guys.

Thanks for the interview!

Dog Eat Dog is out mid-March on Claremont 56. You can order it here.

Design: Tomato – Red Top Haiku (The Return)

Another installment of our very irregular art and design corner. Here’s Dylan from the Tomato design agency (more from him soon) with more red top haiku.

[Apiento]

Just Because 013: New York New York

Props to Rob J for finding this thread. If you like paint, walls and trains, or old men talking about NYC and it’s neighbourhoods, click the link and dig through.

[Apiento]