Career overview from 1985-2017 of former Barracuda's lead vocalist Jeremy Gluck. 14 tracks CDR. DL includes 6 bonus remixes by Youth, Mick Harvey and more.
'In January 1985, a month after the dissolution of The Barracudas, wasting no time I began recording what over the next nearly forty years would become a sprawling body of solo work. I recruited Barracudas bassist Jim Dickson, the late Marts Andrups, and a number of others, and recorded the Life Ahead Corporation EP for Trust Records, a label co-managed by Dave Barker, whose Glass Modern many years later now releases I Am Time; The Rich Man's Burden - which fellow Barracudas founder Robin Wills memorably called "seven years of frustration in seven minutes", with its Stooges' Funhouse sax and motorik riff, produced by Eric Debris of legendary French punk pioneers Metal Urbain, I've always loved for its unhinged, surly squalls of sound. The seeds of that song had perhaps been sown with Burning Skulls Rise, written and recorded in 1982 on a primitive cassette studio in his Earls Court bedsit with Lipstick Killers' guitarist Mark Taylor (and later covered by Lydia Lunch and Rowland S. Howard); re-recorded in what I consider an inferior version for the eponymous EP, it is this raw demo that captures the dispeptic spirit of the beast, rejoicing in lower-than-lo-fi sounds worthy of Lester Bangs' brilliant phrase "carburater dung". On its heels came the Civilisation Machine EP for former Barracudas label Closer, and featuring Jim Dickson, and Motorhead co-founder Lucas Fox on drums; Lucas also produced the EP, which finished with strange, dark Walk to the Sea. The Burning Skulls Rise EP, released in 1988, which followed I Knew Buffalo Bill, opened with Sorrow Drive, a melancholy ballad written with the late, beloved Nikki Sudden, boasting my best lyrical quip, "Now I know why they call Main Street a drag". The two other, later, collaborations with Nikki here, No Sound, and Threw It Away, are bookended by Road of Broken Dreams, a 2008 cover of Sudden's wonderful song, enjoying the backing of Italian combo Circo Fantasma, who went so far as to later release an album consisting largely of inventive homages to songs written by Nikki, Rowland S. Howard, and myself.
Thereafter I released cascades of creations both offline and on, a skim of which this compilation collects, its title track a collaboration with once-Saint Michael Bayliss recorded around Y2K. Gone For Good came of my love for NYC cult act Band of Outsiders, whose leader Marc Jeffrey I met when the band toured the UK to promote their Flicknife Records releases; I spent some time with Marc in NYC around 1988, and when he visited the UK many years later we adjourned to Huw Rees' lovely little studio in my adopted hometown of Swansea and put down the track.
Other Lives? A collaboration with brilliant outlier ambient Swansea duo Zone, with whom I recorded several tracks released on their albums. During my years of frantic online electronic music collaboration I encountered the late, gentle and wonderful American underground artist Dave Fuglewicz; we recorded numbers of tracks, of which Sleep on the Edge remains my favourite. The Carbon Manual, a Krautrock ambient spoken word project, was borne of a show in Bristol after which two fellows approached me to record with them a garage punk single; Iain Weir and Cliff Gee lacked nothing in enthusiasm but I was tapped for garage punk and when they mentioned their Krautrock demos I asked to hear them; a day later dozens were sent to me, from which I selected a number we could work on with a view to my adding spoken word material. It was a propitious meeting of minds, and we produced an album and more; our last recording together, laid down in Iain's refurbished shed crammed with analog recording relics, was Kali Yuga Has Come, which combines the guys' characteristically astute backing with my text and a short poem of Advaita antiquity.
Phase47, one of several projects of L.A. mastering engineer Don Tyler - with whom I also worked as Softworld, and Plasticon - provided the remarkable minimalist electronica backing for Travel In Peace, one of many texts and/or poems Don crafted soundscapes for, and which embodies our sound art vision. And there it was: almost forty years of hyperactivity, lacking nothing in variety and everything in consistency, these snapshots of which you will judge for good or ill. You can't be in two places at once when you're nowhere at all, but while you're nowhere you can still do something: this compilation is the proof.'
Jeremy Gluck
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Career overview from 1985-2017 of former Barracuda's lead vocalist Jeremy Gluck. DL includes 6 bonus remixes by Youth, Mick Harvey and more.
"In January 1985, a month after the dissolution of The Barracudas, wasting no time I began recording what over the next nearly forty years would become a sprawling body of solo work. I recruited Barracudas bassist Jim Dickson, the late Marts Andrups, and a number of others, and recorded the Life Ahead Corporation EP for Trust Records, a label co-managed by Dave Barker, whose Glass Modern many years later now releases I Am Time; The Rich Man's Burden - which fellow Barracudas founder Robin Wills memorably called "seven years of frustration in seven minutes", with its Stooges' Funhouse sax and motorik riff, produced by Eric Debris of legendary French punk pioneers Metal Urbain, I've always loved for its unhinged, surly squalls of sound. The seeds of that song had perhaps been sown with Burning Skulls Rise, written and recorded in 1982 on a primitive cassette studio in his Earls Court bedsit with Lipstick Killers' guitarist Mark Taylor (and later covered by Lydia Lunch and Rowland S. Howard); re-recorded in what I consider an inferior version for the eponymous EP, it is this raw demo that captures the dispeptic spirit of the beast, rejoicing in lower-than-lo-fi sounds worthy of Lester Bangs' brilliant phrase "carburater dung". On its heels came the Civilisation Machine EP for former Barracudas label Closer, and featuring Jim Dickson, and Motorhead co-founder Lucas Fox on drums; Lucas also produced the EP, which finished with strange, dark Walk to the Sea. The Burning Skulls Rise EP, released in 1988, which followed I Knew Buffalo Bill, opened with Sorrow Drive, a melancholy ballad written with the late, beloved Nikki Sudden, boasting my best lyrical quip, "Now I know why they call Main Street a drag". The two other, later, collaborations with Nikki here, No Sound, and Threw It Away, are bookended by Road of Broken Dreams, a 2008 cover of Sudden's wonderful song, enjoying the backing of Italian combo Circo Fantasma, who went so far as to later release an album consisting largely of inventive homages to songs written by Nikki, Rowland S. Howard, and myself.
Thereafter I released cascades of creations both offline and on, a skim of which this compilation collects, its title track a collaboration with once-Saint Michael Bayliss recorded around Y2K. Gone For Good came of my love for NYC cult act Band of Outsiders, whose leader Marc Jeffrey I met when the band toured the UK to promote their Flicknife Records releases; I spent some time with Marc in NYC around 1988, and when he visited the UK many years later we adjourned to Huw Rees' lovely little studio in my adopted hometown of Swansea and put down the track.
Other Lives? A collaboration with brilliant outlier ambient Swansea duo Zone, with whom I recorded several tracks released on their albums. During my years of frantic online electronic music collaboration I encountered the late, gentle and wonderful American underground artist Dave Fuglewicz; we recorded numbers of tracks, of which Sleep on the Edge remains my favourite. The Carbon Manual, a Krautrock ambient spoken word project, was borne of a show in Bristol after which two fellows approached me to record with them a garage punk single; Iain Weir and Cliff Gee lacked nothing in enthusiasm but I was tapped for garage punk and when they mentioned their Krautrock demos I asked to hear them; a day later dozens were sent to me, from which I selected a number we could work on with a view to my adding spoken word material. It was a propitious meeting of minds, and we produced an album and more; our last recording together, laid down in Iain's refurbished shed crammed with analog recording relics, was Kali Yuga Has Come, which combines the guys' characteristically astute backing with my text and a short poem of Advaita antiquity.
Phase47, one of several projects of L.A. mastering engineer Don Tyler - with whom I also worked as Softworld, and Plasticon - provided the remarkable minimalist electronica backing for Travel In Peace, one of many texts and/or poems Don crafted soundscapes for, and which embodies our sound art vision. And there it was: almost forty years of hyperactivity, lacking nothing in variety and everything in consistency, these snapshots of which you will judge for good or ill. You can't be in two places at once when you're nowhere at all, but while you're nowhere you can still do something: this compilation is the proof."
Jeremy Gluck
Such a joy to see live at Pappy & Harriet's and here's to your 70th - may the next trip around the sun bring you the joy you have brought us
jeffclewis
London's Modern Woman meld proggy folk-rock and wiry post-punk into an adventurous and elastic sound all their own on this new EP. Bandcamp New & Notable Sep 21, 2021
WOW! They hit it out of the park with this compilation! It's so much better than I had imagined!especially love Gentle Spring, Soundwire, Secret Shine, Tufthunter, Hit Parade,Mystic Village... too many to name! Birdienumnums
