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Indietracks Festival / all things C86 and indiepop!



Staly

Staly

Well-known member
Mar 30, 2004
1,076
Manchester
tinycowboy said:
Yeah, I noticed that too. Want an East Village 7"? Yes please. OK - that's £80. Wow - my East Village 'Circles' 12" must be worth quite a lot then? Well, maybe £4. :(
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Up For A Bit, of which I have 2 copies, £7.00

Sittin' Pretty, of which I need a new copy cos mine's knackered, £126
 










Flex Your Head

Flex Your Head

Well-known member
Jun 16, 2011
1,678
Seagull firmly in Eagle territory




Flex Your Head

Flex Your Head

Well-known member
Jun 16, 2011
1,678
Seagull firmly in Eagle territory
tinycowboy said:
I was lucky enough to get hold of this 7" - seemed to sell out within minutes. Hoping for more of the same from them as it's right up my street.
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I've heard that a few more times since the post above and it's really grown on me. Love it now. I had no idea they're so young too; top prospects for the future.
 


Flex Your Head

Flex Your Head

Well-known member
Jun 16, 2011
1,678
Seagull firmly in Eagle territory
Speaking of Amelia Fletcher, The Vatenary Wires and all that, Rob Pursey recently posted this on his Facebook:

"We spent a lot of the past year helping Ian Damaged put together the singles compilation for our old band, Heavenly, and this meant digging out photos and posters. We also found the first Heavenly video on an old U-Matic tape - an unplayable format now - so we paid a laboratory to get the video digitised. The nostalgia was pretty intense when I saw it: it was the first film I ever made. And this is how it happened, if you're interested....

We were all skint in 1991, so it needed to be a low-tech operation. I found a really nice Super-8 camera in a junk shop, and we managed to scrape together enough cash to buy four of five rolls of Super-8 film. The first Heavenly single was a very uncharacteristic five minutes long, which was a bit daunting, as we had so little film to play with. (This is one of the reasons there's a lot of jump-cut slo-mo in the video: it looks nice enough, but more importantly you cover a lot more minutes with a lot less film stock that way.)

I found a railway cutting with a viaduct that looked like a good location. It was a freight line, and I knew that no trains ran there at weekends. Amelia wasn't convinced by this. She was happy to walk along the rail, but she refused to lie on it. (This is why it's my head you see on the railway track, not hers.) Most of the rest of the filming was done on a train from Oxford station. I can't remember where it was going - it didn't really matter...

Transferring the film took hours - it needed to be on video to be edited. We couldn't afford to get it converted at a lab, so I set up a projector to run the film into a prismatic mirror box, with a video camera recording the reflected images. If anyone has tried to use a Super-8 film projector, you will know that half the time the spool falls off, or gets stuck (at which point the film starts to melt), or goes out of focus, or just overheats and stops. All this was going on while the video camera had to be kept running, kept in focus and pointing at the slightly wobbly mirror box, at the correct angle. I was there for hours. I should say that this was all happening at the Oxford Film and Video workshop in Headington, a wonderful place that enabled a lot of people who had no money to pursue their film and TV ambitions. They had a great barter system where you could earn time in the studio by doing chores, or helping other people with their film projects. (I put some shelves up and assisted with the making of a documentary about the strike at Pergamon Press.)

I had my video footage ready to go. In the edit, finally, I started to have fun. Placing the moving images over the music was like playing the bass all over again - finding a strong line that could thread itself all the way through the song without drawing attention to itself, sometimes accentuating the other rhythms, sometimes playing against them.

And there was enough footage (just).

The video got played on 120 Minutes, which went out on MTV in the middle of the night. Someone must have watched it, it was impossible to know. For me, it was even more exciting than the single coming out.
Anyway, here it is. It's lost some colour and some of the whites got bleached out when it got digitised. But it still looks like 1991."

Here it is; what a gem!
 


J

joydivisionovengloves

Well-known member
Aug 10, 2019
374
N/E Somerset
Flex Your Head said:
Ooh, who's your missus?

Sam Knee has a great Instagram account too: https://www.instagram.com/sceneinbetween/?hl=en
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29191307-CBCF-4279-8088-17EB1F3B3347.jpeg
 






tinycowboy

tinycowboy

Well-known member
Aug 9, 2008
4,002
Canterbury
joydivisionovengloves said:
Im sure people know of this book, but its a great document of proper 80's jangley guitar.

(Plus it has an ace pic of my missus on stage at Dingwalls !)

https://www.cicadabooks.co.uk/books/p/a-scene-in-between
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I've got this - one of my indie coffee table books for guests to flick through. Tell your missus that I try to play Shimmer once a week. At university, I got myself put in charge of the bar jukebox and I put this on it. People used to hate that jukebox apart from those fortunate to share my very specific tastes ("Why haven't you got "The Power" by Snap?" :yawn:).
 










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