Welcome to a much quieter newsletter than last time. No more rainforests needed for this one!
Colin's writing for The Guardian newspaper continued on June 8th with the following:
Work in Progress: Colin Newman, musician
If anyone had told me a year ago that I would spend the first six months of this year engaged in various activities with my old cohorts Wire, I would have at least expressed mild surprise. No, make that dumb disbelief. Such has been the pattern of my so-called professional life that I've travelled far from my erstwhile roots. Yet it's interesting to indulge in some familiar musical interplay while gently nudging the 'old jalopy' into a more rewarding (and familiar to me) contemporary arena.
Wire now stands at the end of a pretty frantically active period by its own stop-start standards. It's actually played live 15 times this year, including a US tour, and it's only June! So what's going on? Here is a band who have only actually worked together for less than ten years of their 23-year (count 'em!) history, who have never had any kind of hit record, and who no longer have (nor have any interest in) a record deal. Yet they can fill the Royal Festival Hall and ram certain high-profile us venues way beyond their fire capacities with audiences of which a considerable number are less than half their own (not that inconsiderable) age. It's a mystery and an enigma to us all, yet is perhaps proof positive that an ensemble who have only ever tried to make an impression (somewhat naively perhaps) by just being as good and diverse as they can be, can have a lasting effect beyond being an 'influence'.
So what's next? For me, I'm off to Sonar, an electronic music festival in Barcelona to do a little DJ set to present my label Swim then after that I may or may not be touring North America again, this time in my DJ guise. And for Wire there will be a re-convening later in the year to see if we can cook up some more delights; meanwhile Wire's own pinkflag.com mail-order label will be releasing the third in its current series—a version of the US set recorded and mixed at Steve Albini's 'Electric' studio in Chicago.
© The Guardian
Immersion made a brief jaunt to the USA to play at the Knitting Factory, New York City on 24th & 25th August, 2000 with Alex Patterson/The Orb.
Labradford's Festival of Drifting concluded it's five day jaunt at the end of June.
Following on from 1998's The Falconer, Chris Petit's and Iain Sinclair's new film Asylum was shown on Channel 4 on 22nd June, 2000. Like the previous film, Bruce provided the soundtrack for this. Narration is by Susan Stenger.
Graham's DJ-ing came into play at the Norberg festival, Sweden held on the 20-23rd July, 2000. The festival promotion describes the festival site as:
'... unique, because we have found the most beautiful and unreal site, in Sweden's most important mining area ever—Norberg!
The festival itself, is to be held both inside and around the closed mine 'mimer—shaft 3' and the old power plant. We assure you, it's going to be fantastic to experience the symbiosis of music, nature, art and heavy industry on the bottom of the cradle!'
This newsletter © 2000 WMO limited, except from other publications or stated authors which remain the copyright of the original copyright holders. All reviews are the opinion of the stated writers.