[NetBehaviour] Berlin Aug. 24th: SLEAFORD MODS, CHARLES MONEYPEN, JOKE LANZ
manuela.benetton at gmail.com
Wed Aug 21 13:18:03 CEST 2013
With apologies for x-posting
*Saturday, 24th August 2013 at West Germany*
Old Spice Fucker presents:
*SLEAFORD MODS (Nottingham)*
*CHARLES MONEYPENNY (London)*
*STEVE UNDERWOOD (Nottingham)*
*JOKE LANZ (Berlin)*
Sleaford Mods: Two scowling men from the Nottingham area, making aggro punk
poetry that sounds like the bastard child of John Cooper Clarke’s Beasley
Street grown up on hard knocks, rave culture and the Wu-Tang Clan. Jason
Williamson is the voice: a big man with an angry face, used to be one of
that “door-swings-open, swagger-to-the-bar-crew” but now grown older and
wiser. His delivery is venomous, confrontational, but often funny and
delighting in twists of language: eyeballing the “scaly-faced booze
pricks”, the geezers with their “concrete dagger swaggers”, and saving
special contempt for “the cunt with the gut and the Buzz Lightyear haircut,
calling all the workers plebs”.
Williamson was born in Grantham in Lincolnshire, and lived in London and
San Francisco, bouncing through a process of jobs and bands, before despair
set in and he found his way back to the East Midlands. There, he founded
Sleaford Mods, which began as a solo project but has now expanded to a duo,
with co-conspirator Andrew Fearn handling bass guitar and beats.
Sleaford Mods released five albums on Nottingham label Deadly Beefburger
before getting the attention of Steve Underwood of UK label Harbinger
Sound. Harbinger is best known as a noise and industrial label, releasing
new and archive material from the likes of Ramleh, Smegma and Hair Police.
But Underwood heard something in Sleaford Mods’ attitude that he liked.
Hence Austerity Dogs, a vinyl collection of new and old tracks of an
appropriately austere stripe – the soul loops of some of the early material
stripped away, replaced by a flinty bedrock of lurking bass guitar and
lo-rent drum machine.
For Williamson, Sleaford Mods is a mission, an assault on a music culture
that celebrates the clichéd and banal. “Expression has to be more than a
skinny looker with a fucking Les Paul, or some careerist band who had their
ups and downs but finally took off, blah blah. You go to work, come home,
read something, and its usually riddled with images like that. That Jaimie
bloke from The Kills, bashing his guitar onstage – it’s an image that’s
been placed before you over and over. ‘Elegantly wasted’. High-fashion
dogshit. So obvious.”
- Fact Magazine
Skalitzer Strasse 133,
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