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Newsletter 1.12

June, 1997

Editorial

Hello again and welcome to another Newsletter. Firstly, this will be the last Newsletter mailed out to subscribers. Those of you who have subscribed will find enclosed a credit note for the remaining two issues. Needless to say, the WMO label will continue and future Newsletters will be posted on the Internet as usual. Anybody who doesn't have Internet access and wishes to still receive a transcript of future Newsletters should send sae/irc to WMO at the usual address and any orders received up to 31st December will be honored.

Swim

New releases are due from dol-lop Cryptic Audio Rag CD (WM16) on 16th June and Colin Newman's Bastard (W3) on 14th July. Both of these can be ordered from WMO us and are available in your local UK shop via RTM and now finally in the US via ADA.

First up though is dol-lop, the 22 year-old Japanese DJJYoshio Maeda. Cryptic Audio is his first solo release. The album takes us through sublime jazz breaks (spot the Miles sample!) To ruptured hip-hop rhythms while ocean-floor basslines meet twisted melodic idents. (well that's what the press release says!—ed.) Yoshi runs his own label in tokyo, Metrojuice, with Tomoki and Toshio. Metrojuice can be contacted via www.muse.or.jp/metrojuice. There are also 2x12's available. The vinyl version reverses the CD running order in a conceptual nod to the inverse possibilities inherent in the project's name.

Finally, this month sees the release of Colin's long overdue sixth solo album, Bastard. Colin has issued the following interview f.a.q. for the press:

Q. Are you calling me a bastard?
A. Why, are you calling me a bastard? The title of the album is not necessarily self-referential. Although having said that... The title is more to do with the stew of influences Malka and I absorbed during the making of the record.
Q. What have you been doing since the release of it seems in 1988? What took you so long?
A. After the last album I became disinterested in being a pop star. I wanted to develop the idea of working in a partnership in which I was not the main focus. Out of this partnership with Malka came the Oracle album (in conjunction with Freezone man DJ Morpheus), Malka's records, Rosh Ballata and Hide and the Immersion projects (Oscillating, 2nd Immersion, Full Immersion plus live work, DJing and a sound installation at The Irish Museum Of Modern Art in Dublin.)
Q. Why no records as Colin Newman?
A. There was one. I released the Voice 12" in 1995. Until I started recording the new album I wondered why I would need to release the material under my own name when I was involved in the projects Ii've just mentioned. I was also wary of the album being seen as defining Swim rather than being another part of Swim. We specifically needed to develop an identity for what a Colin Newman record should be in the late 1990's.
Q. Do you sing on the record?
A. No.
Q. Are you being awkward?
A. No. I originally sang on a few of the tracks then made a conscious decision to take the vocals off.
Q. Why?
A. Vocal music can't help but be defined by the voice. People who haven't heard what I've been involved with in the last 10 years may assume that my album will be a bit like Wire without the other blokes. It isn't.
Q. But now Wire and their britpop spawn fill as many column inches as ever why not cash-in?
A. You've answered that one for me. Contrary to idle rumour I¹m more than happy to witness the resurgence in popularity of the late 70's Wire style as it was, after all our baby. As much as I love that sound, I made those records a long time ago.
Q. How did you feel about Bruce Gilbert working with Justine from Eelastica?
A. Bruce is an old friend, he works when and with who he likes as do I. Malka has been my main working partner for the last ten years. None of the members of Wire want to bury the project, however Swim is now my main priority, it has allowed me the freedom that being in an established rock band could never allow.
Q. Over what period was the album actually made?
A. January 96 to March 97. At the same time we were working on Malka's record (Hide mini-album) as well as all the Immersion stuff.
Q. The album is very diverse.
A. The album reflects a lot of the music we were listening to in that period. We loved the idea of people twisting what rock music was and what it should become. Kranky and Thrill Jockey, amongst others, were releasing records that we identified with conceptually but felt slightly unsatisfied by. Post-rock was a superb concept but it had one serious flaw.
Q. Which was?
A. Most of it didn't rock!
Q. So, does your album rock?
A. Like (a-hem) a bastard!
Q. What about the other styles on Bastard? G-deep for instance.
A. Originally, Malka and I weren't going to put that track on the album but as luck would have it, half way through mixing it Gez (Varley, g-Man) called us up only to start raving about what he heard coming down the phone! It was then that we decided G-deep was in.
Q. So, is Bastard just an Immersion album with guitars all over it?
A. Yes and no. Immersion informs everything that Malka and I do but the album has its own distinctive voice.
Q. So anyway, enough about the album. What everybody really wants to know is what is your favorite colour and do you have a message to your fans?
A.
Q. Colin! Come back! Please...

Forthcoming releases from Swim this year are the debut Ronnie & Clyde CD in October and a Pablo's Eye CD in October/November.

Graham

Graham made his first live solo appearance 26th April at The Nursery, Fylkingen, Sweden, as part of an Ash International Mesmer Variations live performance. Performing with Graham was C.M. Von Hausswolf and Ash controller Mike Harding.

Graham appears on a new CD by Swedish group Pro-Seed entitled Acoustic Agenda. He wrote lyrics and sings on three tracks one of which is the Pro-Seed version of Wir's Naked, Whooping And Such-Like. This CD can be ordered by writing to: recordings under construction, Helenborgsgaten 38, 11732 Stockholm Sweden. Tel +45 8 84 80 20. email: ruc@bnoll2.se

He Said Omala have also compiled a new CD of 4 remixes from the Catch Supposes CD. Entitled, Matching Crosses, the album also includes a new track My Wheels Came Off. As yet no news of a release date but this will be available via RTM/disc and WMO.

Bruce

Mr. Gilbert has provided a remix for a track on the forthcoming Scala CD single to be release by Too Pure. On the live front, Bruce has appeared at The Impakt Festival, Theater Kikker, Utrecht on May 8th. The theme for the evening was Radio Waves. Bruce's performance took place behind a wall of old radio sets, which were suitably kicked into the audience by Bruce after his performance ended ala Pink Floyd! On the festival front Bruce is to appear at the annual Sonar Festival in Barcelona held between 12th and 14th June.

Wir

We have finally been informed by Touch that they are to release the final recordings of Wir. The two tracks, The First Letter and Sexy And Rich (Janet) were recorded at ORF studios, Vienna in 1993, whilst they were there for I Saw You. These two tracks are to be released on an as yet untitled digi-pack CD (Touch Tone 8) and will hopefully be released late August/early September. More news when we get it.

Coda

So finally we would like to thank all subscribers for your support over the past few years. As explained at the top we are still around in the ether (Internet) and WMO releases will still be appearing with P'o scheduled next with Dugga Dugga Dugga and Wire Coatings to follow in the autumn.

Anybody wishing to make orders on any of the goods we stocked should contact the following bodies direct:

Mute Bank Mail Order
429 Harrow Road
London W10 4RE UK

Touch/Ash International
13 Osward Road
London SW17 7SS UK

Swim
Po Box 3459
London Sw19 6ES UK

4AD/Beggars Banquet
15-19 Alma Road
London Sw18 1AA

Origin
Box 9223
S-120273 Stockholm Sweden

MNW Zone
Box 272
S-18523 Vaxholm Sweden

Mucho gracias to Simon, Charles, Kevin, PK, Mike, Jon, Dave, Maggi, Andrew, Howard, Malka and of course, the boys!

This newsletter © 1997 WMO limited.

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