Die geheimen Tageb├╝cher von einer verderbten Existenz

Behind these gates you will hear my thoughts screaming like nerves under the sun and feel my emotion laughing to the empty ether.
Welcome Dear Wanderer, make yourself at home.
The road is long and tortuous and I hope you enjoy yourself.

Fraternally Yours,
Poison Creeper

Wednesday, 31 October 2007

The Royal Family and the Poor

Perhaps the most misunderstood band to record for Factory, The Royal Family And The Poor remain for many an (oc)cult enigma, releasing only four albums in two decades, and rarely performing live after 1984. In fact the oblique band moniker masks the identity of just one man, Mike Keane, whose chequered history is a complicated tale of perseverance in the face of adversity.

The first version of the band formed in Liverpool in 1978, after Keane moved into a shared house in Toxteth with Arthur McDonald, an art graduate with an enduring interest in the Avant Garde and Situationism. As Keane recalls:

I was about 18 at the time, and Arthur was a bit older than me, about 28. I was already pretty aware but he sort of introduced me to a lot of ideas which stimulated me. I got this old synthesizer and put it through a record player, which produced a horrendous noise. Then Arthur just started reciting texts over the top of it.
In late 1979 the pair recorded a crude tape of Mike's synth noise overlaid with Situationist raps, extracted by McDonald from The Revolution Of Everyday Life. A copy sent to Factory Records in Manchester tickled Tony Wilson's fancy, and the band were invited to record for the label. Wilson also saddled the pair with their unwieldy name inspired by Fred and Judy Vermorel's Sex Pistols book The Inside Story, and which Keane has retained down the decades.

Joined by bassist Nathan McGough and drummer Phil Hurst, the nascent band played a couple of Factory gigs in early 1980, and at the Moonlight Club in London in April, where they shared a bill with Crawling Chaos, Section 25 and Joy Division. The NME review was scathing:

The Royal Family know nothing about music, but probably read a lot of books. Their performance was apparently improvised. They were better than Crawling Chaos who came after them, because their set was shorter. The singer wore a long black overcoat and shaggy hair. He has adopted the mantle of Prince Brian. Brian's forte is declaiming 'provocative' sentences, usually with his back to a grateful audience... He vouchsafed that "All politics is fascism" and went well beyond his level of competence in claiming that "Every man and woman is a star."
Undaunted, the band recorded one side of the Factory Quartet album at Graveyard Studio. Originally intended as a double 10" package, by way of a sequel to the celebrated Factory Sample of 1978. The album appeared on double 12" format at the end of the year as FACT 24, featuring a single side each by the Durutti Column, Blurt, Kevin Hewick and RTAFP. Produced by Martin Hannett and engineered by Chris Nagle, The Royal Family contributed three proper tracks as well as three short dirges, none of which had much connection with rock and roll. Instead, Vaneigem Mix, Death Factory and Rackets offered freeform post-punk avant rock overlaid with Situationist oratory, all of it recorded as live. Indeed Death Factory was little more than a jam, with guitar from Ambrose Reynolds, but still ended up on the album in place of a better track called Somewhere In Africa, now lost.

Again, reviews were harsh. In the NME Adrian Thrills dismissed the music as a joke, with pompous lyrics and Can-ish music "delivered with all the inaccessibility and conceit of the Pop Group at their worst." Dave McCullough of Sounds found even less to praise, describing the group as "stupendously redundant" pitched "somewhere between very bad Pop Group and even worse Cabaret Voltaire" and pronouncing them guilty of "esteemed Oxbridgeyness." In truth the material has not aged too well, but for several weeks in early 1981 Factory's patchy sampler topped the independent chart, and for better or worse put The Royal Family on the map.

Incidently, the Polaroid of 'Andrew during the performance' reproduced on the inner sleeve of FACT 24 is actually a snap of Arthur McDonald in a van outside Rafters in Manchester. While waiting to soundcheck Keane, McDonald and a friend were involved in a fracas with bouncers, which resulted in McDonald refusing to play. Keane and McGough struggled through the set with a drummer, before a plainly disgusted Pete Shelley, while a skulking Arthur posed for snaps outside. Another Factory in-joke demystified!

In August 1981 a 12" single was recorded, with Donald Johnson of A Certain Ratio occupying the producer's chair, and the drumming stool following the departure of Phil Hurst. Tony Wilson co-produced the track but went uncredited on the label. Art on 45 is best described as Situationist P-funk, with a backing track reminiscent of I'd Like To See You Again-era ACR. Mike Keane recorded two solo tracks for the flipside, Dream and Dominion, produced by Peter Hook of New Order and described by the label as 'poignant methadrine solace'. The combination made for a fairly schizophrenic ep, released in February 1982 as FAC 43. Keane also recorded a lengthy meditative piece called Midnight Symphony for inclusion on a Zoo Records compilation, although finally the label considered the end result too left field.

Nathan McGough left soon after, going on to play percussion in the Pale Fountains, and later managing Kalima and Happy Mondays. He and McDonald also set up a club in Liverpool, Plato's Ballroom, staging gigs by Cabaret Voltaire, Durutti Column, China Crisis, and the last live show by the original RFATP, for which Keane and McDonald performed with backing tapes. Soon afterwards the pair parted amidst some acrimony, as Keane recalls:

We did some gigs and then he decided he wanted The Royal Family to be the most obscure band in the world. He just said he wasn't going to do anything else. He moved to Newcastle, I think. And I think he realised we were never going to make any money. I had really enjoyed what we had done, so I carried on with backing tapes, called myself the Legend Agency and did a tour of Britain with China Crisis.
The China Crisis tour, in May and June 1982, was in support of CC's first album, Difficult Shapes And Passive Rhythms. The generous headliners also financed the recording of Keane's backing tapes at Amazon Studios in May, while Gary Daley collaborated on full recordings of a couple of tracks, including Dawn Song and the excellent I Love You, aka Restrained In A Moment. Although Keane played some twenty dates with China Crisis, he was unable to showcase his material at the all-important London show, and failed to attract any reviews, save for one short notice in Breakout:

Mike's lyrics are personal and involving, the absence of live musicians laying emphasis on them, bringing them out to their full. The taped drumbox and guitar accompaniment is uncluttered, a bare musical framework to pad the sometimes harsh, sometimes sorrowful vocals. Hardly euphoric stuff - the armpit of reality, if you'll excuse the expression! If you want escapism, look elsewhere.
Armpit of reality? Hardly. By now Keane's musical style was fairly settled, and is typified by I Love You (Restrained in a Moment), an affecting, accomplished ballad written under a tree in Princes Park. He seemed unable to decide on a brand name, however, and following the China Crisis tour ditched The Legend Agency in favour of The Project. In this guise he played several hometown dates, and thanks to a tape passed on by Eddie Lundon of China Crisis was picked up by infamous management guru Stevo, then handling chart stars Soft Cell and Matt Johnson (aka The The) under the Some Bizzare umbrella. A showcase at the Left Bank venue in Liverpool was reviewed favourably in the NME:

It's not your usual electronic deep deep buzz, but layer upon layer of textured expansive sound. He's got one outrageously beautiful song, I Love You, a barely noticeable acoustic strum over a sensual swirl of landscaping keyboards and a background of haunting female vocals... The Project is an acutely sensitive romantic, and if there isn't a place left somewhere for people like him, then this old pop world of ours will be a greyer place.
Stevo was confident that The Project could crack the chart with I Love You, already been recorded with Gary Daley. In January 1983 Keane went into Trident Studio in London with Matt Johnson to cut two more songs, Moonfish Is Here and the vocodered Motherland, both somewhat darker than the planned a-side. After Keane submitted these to Some Bizzare Stevo developed cold feet, and decided that The Project would be better off licensed to a major. This probably made sense: the strategy had worked well enough for The The, and later reaped dividends for stablemates Psychic TV, Test Department and Cabaret Voltaire. But in a fit of pique Keane told Stevo to shove the mooted deal, and walked away.

With hindsight, it is debateable whether a talent as wayward as Mike Keane would have lasted long on a major, even though he was clearly capable of writing mainstream material. Furthermore Keane had also developed a severe heroin habit, which no doubt put Stevo on guard. Nevertheless, flipping the bird to Some Bizzare was a rash move, and one which saw Keane's career slide back to square one. With no recording deal, a self produced cassette called Visions sold only locally, and before long Keane was playing support to now forgotten local bands. This despite the fact that he was still writing material of the standard of Someone Somewhere, which survives only in live form from a date at Stafford Polytechnic in May 1983.

Shortly afterwards Mike Keane suffered a spiritual crisis, quit Liverpool, and headed south to Winchester with the intention of walking all one hundred miles of the Pilgrims' Way to Canterbury:

It was a lot more complex than just a walk, and for me was an utterly transforming experience. It lasted from the end of June to the end of August. I lived in a tent, on nettle soup, fruit and a small amount of rice, and I decided that until I got the answers I was looking for I would not stop wandering. All the issues in my life either had to be resolved for once and for all, or I would keep on wandering until I died. During the pilgrimage I had a few big fights with the universe, and decided to make a clean break with the music scene.
But it was not to be. Soon after returning to his Liverpool squat, Factory ran Keane to ground and proposed an album. The offer was made largely on the instigation of Rob Gretton, and was conditional on the album being produced in Manchester by Peter Hook. With some trepidation Keane decided to give music another go, and put together a new version of The Royal Family, which drew on the talents of violinist John Neesham (of Walking Seeds and Mel-o-Tones), and keyboard player Lita Hira from labelmates Stockholm Monsters.

Work on the debut album began at Strawberry Studios in Stockport in February 1984, with Hook assisted by engineers Mike Johnson and Chris 'CJ' Jones. At the time Keane was a little frustrated that the production team spent no little effort and money testing out drum programmes, but their technological know-how adds a definite rhythmic punch to tracks such as Dark And Light, Radio Egypt and Discipline. Elsewhere I Love You, Dawn Song, Moonfish Is Here and Motherland are the versions recorded earlier with Gary Daley and Matt Johnson respectively, although at Stevo's request Johnson' backing vocals were replaced.

Before the album appeared, the band undertook a short UK tour with Stockholm Monsters. Once again, a certain musical schizophrenia was in evidence, as Dave Roberts noted in a Sounds review from Manchester:

The set started promisingly enough, with some nicely uptempo ditties, a hippy/folk song complete with electro drums [Something Someone] and another called I Love You... That was, until a couple of mates joined in the fray. The ensuing experimental/progressive profusion sounded like Hawkwind on a bad trip. Lasting at least twenty minutes, it did as much for the Royal Family as a Vicki Hodge 'revelation', and as much for the Poor as Margaret Thatcher's government.
Temple Of The 13th Tribe appeared in November 1984 as FACT 95, with Keane-designed artwork and a free booklet of texts and images. Reviews were positive, Sounds drawing comparisons with Earth Opera, The Passage and Yello, while Melody Maker discerned 'something peculiarly sharp and honest about its intentions', though noting that Keane 'walks too close to anarchy to be a "nice" artist.' Sales are hard to estimate, but were probably in the region of 3,000 copies, most of these in Europe and America. It should have sold more, but with the earlier Situationist slant now replaced by an overt occult direction, the core Factory audience was probably confused, while more casual listeners were no doubt put off by the popular misconception that all with an interest in magick, Druidism and Qabbalah inhabit the lunatic fringe, and are no different from satanists, vampire slayers and legend trippers. Inevitably, this is a factor which will always colour judgment of the music of The Royal Family and the Poor, as Keane himself recognises:

It has alienated me. Most people in Liverpool seem to think I'm some sort of black magician or fascist. And I've learned the hard way just how few genuine occultists there are out there. Most keep themselves to themselves and don't dare to 'come out', particularly in the music business. I've had my fair share of older occultists wag their fingers at me, frowning, and warn that I'll end up like Graham Bond. But I'm proud of what I've managed to achieve so far.
To promote the album the band played several London dates, including Jackson's Lane Community Centre (Highgate) in October 1984 (with Section 25), the Michael Sobell Centre (with New Order) in January 1985, and the ICA 'I Want Independents' week in March. They also supported New Order at two major dates in Edinburgh and Glasgow in February. By now the line-up had changed yet again, with Keane now joined by John Walsh, Jeff Turner, Karen Halewood and Kif Cole. Ambrose Reynolds of Pink Industry continued to assist Keane in the studio, but never played live with the band.

A second Factory album, We Love The Moon (FACT 140), was recorded at Amazon in Summer 1985, this time produced by Keane and Reynolds. A more consistent set than 13th Tribe both in terms of execution and arrangement, the album again offered a combination of electro/acoustic ballads (Visions, We Love The Moon), rhythmic tracks (Sex Goddess, Heartbeat) and more ambient pieces (Living Room Alchemy). Although begun as a band project for the studio recording, Keane ended up sacking most of the musicians midway, and completed the album with Reynolds alone. Despite the fact that the album received little press attention, it still sold respectably on release in March 1986, and an alternative mix of the title track released as a picture disc single (FAC 139) in February.

By this time relations between artist and label were strained, largely because Factory were unable (or unwilling) to provide satisfactory accounts, or finance equipment. A mooted video release on Ikon never appeared, with just British Empire gracing the Shorts video collection (FACT 137). Today Keane is happy to acknowledge that he owes Factory a good deal. But back in May 1986 the FacFacts booklet all but admitted that the relationship was over: "The records are wonderful. Our relationship with the artist isn't."

After a number of demoralising meetings with A&R men from major labels, Keane linked up with the Recloose Organisation, the label run by Bourbonese Qualk, and released the album Live 1983-85 (LOOSE 13) in October. Culled from gigs in Stafford, London, Edinburgh and Glasgow, the album was limited to just 1000 copies, but at least saw a belated release for the lost classic, Something Someone. Keane also collaborated with Qualk member Simon Crab on a number of tracks, and supported the band on a short tour of Holland in late 1986.

After a year with Recloose, Keane decided to bypass labels altogether and set up his own. The result was Gaia Communications, supported by a pressing and distribution deal with Red Rhino, and the third full RFATP studio album, In the Sea of E. Recorded quickly at various studios in Liverpool in February and March 1987, all material was written and produced by Keane and Simon Crab, with contributions from Andy Frizell and Merlin Shepherd. Like the two Factory albums it was an intricate and diverse set, ranging from electro chatter pop (Living Light, The Supersensualists) to meditational chants and scales (Gaia, Creatura) and beyond. The album appeared on Gaia in July, and was well received, although Keane admitted to Cut magazine that he was finding it hard to keep his head above water:

The hardest thing has been doing it with no money. The whole album has been done on a grand total of £1000. I've already sold most of my equipment to raise the money, but nevertheless things work in mysterious ways. If you look at all the reasons why you should give up, or why you shouldn't do anything because you haven't got any money, then you'll never get anywhere. I'm so much in debt now that it's ridiculous, but I don't care, because I know I can leave the country if I have to.
The title, incidently, came about because at the time Keane felt himself to be adrift on an 'ocean of conflict'. The album had almost been called Prostitutes From The Isle Of Glass.

Keane harboured grand designs for Gaia Communications, including an album by Robert Anton Wilson, and a chaos magic compilation with like-minded outfits such as Coil, Sleep Chamber and Chris and Cosey, and artwork by Jamie Reid. However, the compilation project fell through, and a 12" single release of Restrained In A Moment (backed with two new tracks) failed to make headway in February 1988. Undaunted, Keane borrowed £5,000 to finance a home studio of his own, and set about recording a fourth album, Songs For The Children Of Baphomet, but these plans were pole-axed by the messy collapse of Red Rhino at the end of 1988. This lead to Keane being declared bankrupt, and most of his equipment being seized by bailiffs. Unsurprisingly Mike Keane gave up on music, and The Royal Family fell silent.

Over the years Keane has lost all that he owned several times over. However in 1995 he found himself able to invest in a pc, and take advantage of the limitless opportunities afforded by the internet. The result was an extensive Gaia Communications website, and the belated release of Songs For The Children Of Baphomet (GAIA 004) in 1999. Billed as 'a celebration on the theme of magick and a tribute to the life and works of Aleister Crowley', the lavish package featured twelve new tracks and sold its numbered edition of 1999 copies thanks to excellent reviews in Melody Maker ('five stars'), Uncut ('fascinatingly bizarre') and The Wire ('stylish and poignant'). Baphomet was followed in 2001 by Anthology 1978-2001 (GAIA 005), and in 2003 by the reissue of the first three albums on remastered CDs by Boutique. A new Royal Family album is planned for 2004, all of which should ensure that Mike Keane at last gets the recognition he clearly deserves for adhering to a path and spiritual tradition he considers unique to the British Isles - singer, songwriter and bard.

James Nice, April 2003.

Friday, 26 October 2007

Remebering the Hacienda

Remebrance of one of the best Record Company EVER existed.

That night will be a stroll down to memory lane from most .
Even if we didn't live those years ourselves (is because of we are too "young" or for any other reason), we still live under the influence of bands that were able to depict the steadfasteness of life in an industrial era dominated by greyness, boredom and social and political discontent.

A group of artists that have been able to stay alive through the years and through their genuine passion for the music they made.

click here to see the event

Soon I will start with the invitations to the event.

Talking about the factry records, there will be another Factory Records Night in Bruxelles on the 15th, with Peter Hook deejaying.
Section 25, Paul Haig, The Names and some other band I can't recall now gigging.
Starts at 6pm tickets ate 22Euro, At the Rafinerie, Rue the Manchester, Bruxelles.
click here to see the event and buy tickets

Vale and I will be there, we found Ryanair tix for bruxelles for 50quid return, and we are staying in a Hostel in center of the city Click here to see the hostel
It also have separate room with en suit bathroom for an average of 20 quid per night.
We will be arriving early morning saturday (8am) and leaving in the afternoon on sunday.

it would be nice for some of you to join us.

Thursday, 25 October 2007

Thursday, 18 October 2007

Stromble Fix

Excellent german band.

Stromble Fix - Myspace
Stromble Fix - Lastfm
Stromble Fix - WebPage

For a ...

For a million daydreams
I want smell your skin
For a million nightmares
I want to make you mine
For a million tears
I want to cum again
For just one kiss
I would sell my soul

Sunday, 14 October 2007

The Book of Halloween

The Project Gutenberg EBook of The Book of Hallowe'en, by Ruth Edna Kelley

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

Title: The Book of Hallowe'en

Author: Ruth Edna Kelley

Release Date: February 21, 2007 [EBook #20644]

Language: English

Character set encoding: ISO-8859-1


Produced by Suzan Flanagan, Ted Garvin and the Online
Distributed Proofreading Team at http://www.pgdp.net

[read more, click here]

Saturday, 13 October 2007

Richard Kern with Nick Zedd

Minimal Compact

Between its foundation in 1981 and its dissolution seven years later, Minimal Compact played a crucial role in the European rock scene. Malka Spigel (bass, vocals), Samy Birnbach (vocals, texts) and Berry Sakharof (guitars, keyboards, vocals) left their native Tel-Aviv in 1981 for Amsterdam in search of an escape from the provincial attitudes of their own city. Of the trio, only Berry was a "real" musician. Malka was "learning to play the bass", while Samy was better known as a DJ and a music fan who dabbled in poetry . They recorded a 2-song demo at home, and consequently become one of the very first artists signed to the Belgian Crammed label.

During the recording for a speculative 7" in a little studio in the Belgian countryside, it became quickly evident that the trio had hit upon something worthy of development and a their first, self-titled, mini album was the fruit of this. Their burgeoning style was a heavily Middle-Eastern coloured brand of post New Wave, based on driving rhythms, scratchy guitars and their own very un- "Anglo-American" style of vocalisation. In this way they both prefigured "indie-dance" and later fascinations with so called "world music".
[Read More]

The The - Gravitate to me

I've been watching you for ages
You're like a boat without a mast
Struggling with the tide of destiny
Between the future and the past

I am the lighthouse
I am the sea
I am the air that you breathe
Gravitate to me

Through the ether
And the mists of the mind
You will come to me
To lay by my side
To stroke my hair
To cuddle my flesh
And to quell the torrents
In my subterranean depths

This world ain't strong enough
To keep us from each other
For we are kindred spirits
Born to become Earthly lovers

I am the lighthouse
I am the sea
I am your destiny
Gravitate to me

There is something within your voice
Something behind your eyes
Something inside your heart
That is beating in time with mine

I know you
From a previous incarnation
I know you
From a previous incarnation
I know you!
From a previous incarnation

Gravitate to me, gravitate to me
Gravitate to me, gravitate to me

Agentss "Agentss"

Tuesday, 9 October 2007

The Postal Workers Strike

I had to repost this and blog it because I feel its very important for everyone to know what it is really happening behind the postal strike that is happening these days.
Instead of cursing those postal workers based on the info given by the papers and media..think and read this THEN think again and see if you are of the same opinion...

It's a friend blog about the reason behind the postal workers strike, names will be omitted in order to defend those directly involved from paying the consequences of speaking out in their own defense and for doing what they have the RIGHT to do : Strike.

It had happened some postal worker have a disciplinary action towards them because of that.
They are not allowed to say anything to those breaking the strike but the favour has not been returned and those striking are risking severe disciplinary action on top of loosing money out of their wages.


Y'know, I don't blog at all. I don't think my thoughts or opinions are of the slightest interest to anyone, but, on this rarest of occasions, I feel compelled to say something

At work, online and on MySpace, I'm hearing no end of shit about the Postal Strike. No, I know I'm not a postie, but my SO is, and it strikes me that most of the comments about it are based on ill informed half truths and whispers.

So, in the name of the public's right to know, consider this a public information bulletin. Here are the reasons why 130,000-odd posties are aggrieved enough to strike.

The Communication Workers Union are striking, because of actions by Royal Mail. Truth.

"But isn't it just about pay?" I hear you cry!! "That's what it says on the news"

Yes, they are striking about pay. The Postal Worker have been offered a 2.5% rise whilst the managers have been offered 7.3% over two years. Why should they accept an offer like that? Talk about crumbs from a rich man's table!!

The chairmen of RM have stated, in some ill-advised attempt at camaraderie, that they had taken a pay freeze to help out the company!!
It must be hard to keep up with the cost of living when you have to take a pay freeze. Imagine having to freeze at £1M. How will these poor people cope? I'm sure that your average postie's heart bleeds to learn that! Mine sure did!!

They are striking about modernisation which could see the loss of 40,000 jobs.

They are also striking because Royal Mail are now scrapping their pensions.

"OK, so they're badly treated. Why should I care, it doesn't affect me?" I hear you exclaim.

Well, believe it or not, it's going to affect you, the customer, too. Did you hear that on the news? No?? Well, get this…..

RM wants them to deliver more door to door leaflets to you. You know all that junk that you get but don't want? Your postie delivers lots of that. I don't want it. You probably don't want it. I'm sure as hell that most posties don't want to deliver it.

However, there is currently a sweetener in the deal as they posties get paid to deliver it, which helps a bit when you have a mortgage and a family to feed. It's not mandatory, they don't have to deliver it if they don't want.

RM are paid a significant sum for every batch of junk mail they process. I'm sure that nobody will be surprised that they want to deliver all the trash they already do, but also a lot more trash besides, maximizing their incoming revenue, but they also want to make it mandatory for the posties to deliver all this rubbish, and they believe that the posties should deliver it FOR NOTHING. Yes, folks, RM receive payment from the companies who issue this junk mail, but they want several kilos of it to be carried around and delivered each day for no payment whatsoever!! Go on, be honest. Would you be prepared to take on extra hours at your job for no pay? No?? Me neither!! Does that surprise you? I thought not…..

Hold on, though, 'cause this is the biggie…..

I bet a lot of you have complained in recent years that your post has been arriving later. It does me. I get fairly outraged when I get home to find a red card through my door, marked "we called at 10.30, but you weren't at home." (or words to that effect) What did you expect? I work for a living, goddammitt!!

It's true, the post arrives later nowadays. This is not the choice of the postie, but a rule enforced by RM.

Currently, the sorting shift starts at 4AM. This gives allows 4 hours to get it out of the delivery office by 8AM, so you can make a reasonable assumption that it takes 4 hours to do that job. Do you agree? Good.

RM have implemented a new rule, applicable as of today (yes folks, that means it's started, it's legal, and there's nothing you can do about it) that the sorting does not start until 6AM. This means that you lucky people will receive your mail a whole two hours later than you already do! Yes, you will all be pleased to know that your postie will not be able to start delivering until 10AM, if you have a full time postie, or nearer 11AM if you have a part timer. Overtime will not start until 2PM so you may not get your post until late in the afternoon if you round is being covered on overtime.

It has also been suggested that postal job roles will not remain as they are. This means that you may not get the same postie two days running.

You might not think that this matters, "I didn't fancy my Postie anyway" you say, but hold on.

Your postie knows their round inside out and can probably deliver you a half addressed letter but this may no longer be the case. It could well transpire that no postie will have a set round any longer. You may find that you will not have the same postie each day and you may find that you have a different one every day for a month. This is not going to provide you with even a barely adequate postal service. It could even lead to lost and misdelivered mail.

Finally, you may not realise that as from the 28th October Royal Mail has scrapped Sunday and Bank Holiday collections from post boxes. This has caused dismay because it has meant that some collection drivers have lost even more working hours to go along with the later start losses. This is another point of protest.

Everybody could all sit back and say "so what", but if RM get their way with this, what else will they try in the future?

They are striking as a form of protest to persuade Royal Mail to help THE POSTIES to give YOU THE CUSTOMER a better service. They are NOT striking for a few days off or for the fun of it. It is always a difficult decision to strike, not least of all because they are all losing pay as a result, and it should come as no surprise many of them have families to feed, and but really, what other option is there.

A final thought……

"First they came for the Communists,
- but I was not a communist so I did not speak out.
Then they came for the Socialists and the Trade Unionists,
- but I was neither, so I did not speak out.
Then they came for the Jews,
- but I was not a Jew so I did not speak out.
And when they came for me, there was no one left to speak out for me."
(Pastor Martin Niem├Âller (1892–1984)

Please show them your support.

Friday, 5 October 2007

Control - The Movie -

I have just come back from the cinema.
I watched CONTROL.
Although it will never be like the book itself (obviously),I am so sorry I can't find words to explain the way I feel right now.
I will never be able to find any words.
I am shattered and speechless.
Please go and watch it and then lets talk about it.
all of you.

...When the routine bites hard
And ambitions are low
And the resentment rides high
But emotions wont grow
And were changing our ways,
Taking different roads
Then love, love will tear us apart again

Carcrash International

A fragment of a Journal in Hell - lyrics!

Paradise Lost

Come quiet day and count the cost
of another green world in paradise lost
like she said when the flood came down
"Don't pray on that hallowed ground"
Come, quiet day, come quiet world
like lovers on an ancient day
the fields are red in the power play

Come quiet earth and count the cost
of a new day pray in paradise lost

Come, quiet world, and pray for rain
see a new day dawn on the price we pay
Like she said when she lost that birth
"Don't lay on that hallowed earth"

Come, silent day, come, silent world
like lovers who want to die in their on world
the human beings are buried in the sky!

Come, quiet earth and count the cost
of a new day pray in paradise lost
come, silent world and pray for air
cos everything comes back to those who don't care

"Walk down, down, down, a lonely road to who knows where? You can say all you want - the claims of an entire order [but it's] based on the fulfillmentof a primitive injustice!" - Antonin Artaud

Come, violent day, come, violent world
like lovers who want to die in their own way
the human beings were buried in the sky!

© 1991 Childsongs



I walk alone in this burning world
I don't believe in anything
I don't believe in any one thing
Angel or Devil - do you believe in me?

Let it all fall down
Let it all fall down
Let this whole damn thing come falling down
Let it all fall down
Let it all fall down
this society has made you a stranger

I walk alone, I walk alone in this world of fire
but I believe, I believe in myself -
but sometimes , I don't see myself ...
Tell me, what is it that you see?
Angel or Devil, do you see me?

I walk the thin line, I walk alone in this nights edge,
see, I do things I know will bring me harm
but I live life, and I give all to everything
See, once I died, one cold cruel dawn
Angel or Devil, did you see me?

I walk alone, I walk alone, in this world of fire,
but I believe, I believe in myself
But sometimes, I don't see myself

© 1993 Childsongs


the Room

I go outside and take a look at the way the sun
goes up and down
I look at things a different way cos life might
only last another day
when plans I made go wrong I don't seem to ever
understand, the universe

love in the room she died in
I live in mirrors just waiting for her
love in the room she died in
just doesn't seem possible anymore

I go outside and take a look at the way
it all goes up and down
I try and see things for what they are
but they never seem the same anymore
I go outside and look at the stars and
maybe, I will understand, the meaning

I live in days just dreaming of weeks
I live in days just living for fools

If I stand aside and look at love,
the way it picks you up and pulls you down,
I'm forced to pull things from my mouth that
don't seem to mean a single thing to anyone
If I go outside and touch the sun
I only burn my fingers not my heart

© 1993


Empirical Child

The femme fatales emerged from shadows we
thought had died many years ago

You came to me at the dead of night
many years ago:
The things you wanted came out of the light
out of the night in the crying call
many years ago:
The sleeping dogs died in the dying fall

You see war as a metaphor
I see love as the whole of the law

We took a drink and stepped outside
many years ago:
Love nearly died in the century slide
God was easy but the Devil could sing
many years ago:
And love only flies on silent wings

I see love as a holy cause
I see love as the only law

Empirical Child - reach for a pen and throw me a line
Empirical Child - sing me a song where serpents shine
Empirical Child - so sad, you gained an addiction
Empirical Child - life's a gas 'till you fall for ambition

God is easy and the Devil is deep
and Heaven is a Hell that's gone to sleep
God is the reason and the Devil his cause
Life is a season and Death is a pause

Empirical Child - sing us a song, painted in blue
Empirical Child - in sad eye dominions, and some sad tune
Empirical Child - so sad, you gained an addiction
Empirical Child - Gods only son is just a deception!

© 1993 Childsongs


the Torch

'This flesh' she said 'has a tragic dolour'
'This tongue, these lips, this open flower'
Like a fool I believed in your open door
love is ironic and we just fall apart

Hey girl, I'm touched in your golden shower
like a fool I believed in your blue hour
love is erotic and loves a vicious flower
death is ironic and worlds just fall apart

The torch that shines in our eyes
is the light that shines forever
the light that blinds our eyes
touch all things we cannot see
the torch that shines so brightly
is the drug that keeps us here
the light just blinds our eyes
like the love we always fear

This torch I hold for a golden hour
like a God I believe in this other other
love is erotic, loves a deathly addict
cruelty is erotic, and I just fall apart

This love, this drug, this nascent flower
the state I'm in is my final hour
this fear of death - so inevitable
beauty if ironic and we just fall apart

© 1993 Childsongs


Every Brilliant Eye

The night doesn't cry
and maybe I'll never die!
But a does tear fall
from every brilliant eye?
And I've never cared so much!
Prayer towers rise, and the desecrated fall
and something dies, for every brilliant lie! -
And I never cried so much!
Towers open fire, we exist in light,
and who died, heart open on the razor wire? -
And come the fall of day

You're so much older than you'll ever know
died pretty in the heart and something cold
for something taken, somethings given, something slow
the heart doesn't need what the heart doesn't know

And the night doesn't die, and beauty never needs to cry
'till a tear falls down from every brilliant eye!
And a lie comes from light!
Hailing Mary's in, existing in the light
a child dies for someone's goddamn rights
and I never felt so much! -
Hate falls like rain, but we exist in lights
and who died on this one last night? -
Still comes the lay of tears

'The beings do not come out in the exterior day, they have no other power, than to burst forth in the subterranean night, where they are made, but for eternity ... ' - Antonin Artaud

And love never dies! And we never need to cry
'till a star lights up every brilliant eye!
And death comes from light!

'The place where you suffer, where you know you suffer, where you feel it ... where you maintain, the thing, which you do ... in the breast, of sadness ... ' - Antonin Artaud

© 1993 Childsongs


Darkest Days

These are some of my darkest days
these dark days just coincide with me
These dark days just pass me by and kiss me!
These are days that seem to rarely miss me
Before I loved I thought of love as a flame
now I've loved I see it as a shadow
you just hang around whenever you come around
these days

These pale days just reach out and touch my skin
these dog days just die in the falling fields
now these dark days just rarely even touch me
I could care cos they just don't deceive me

© 1993 Childsongs


Triumph of Nature
I believe in the fear of falling
I believe in the fear of death
I believe in the air I breathe
I believe in my final breath
I believe in the sound of thunder
I believe in the triumph of nature

I believe in the pain of love
I believe in the reason I bleed
I believe in the right to die
I believe in the time to end it!
I believe in the sound of thunder
I believe in the triumph of nature

I believe in the birth of night
I believe in the horror of blight
I believe in hell asumder
I believe you can rise above it
I believe in the sound of thunder
I believe in the triumph of nature

I believe in the church of dust
I believe in the fall of desire
I believe in the light of death
the light you see in your final breath
I believe in the sound of thunder
I believe in the triumph of nature

© 1993 Childsongs


And in this city, nights die, red with redium glare
on wet reflecting roads
and we pass through sewers where violence is nutured

God knows there's a heaven, God knows it's the place
tomorrow never knows, tomorrow never comes, for me.
Hand held in prayer, hand cut from stone,
cry hard and swim, play hard and win,
play hard to get -
lick his eyes with your tongue, and take his life,
scratch 'faith' on so many nameless graves
from the window of this cadillac we could
reach out for the world
this world won't spin me around
run baby run, nothing to hide, nowhere to go
this world won't spin me around

Into the nightland and out of the blues
Into the nightland and out of your deep sleep

A juggler plays to a whore in the street
in the city that never sleeps,
she hasn't found what she's looking for
she'll love, laugh, then close the door
I believe in the light, I believe in love
I believe, in the wings, she sings, she can bring
please keep your distance, learn to forget,
live and forgive, love is the law, and never regret,
scream baby, scream, city of run, we're all the same,
this world won't spin me around

From screens images floor and possess me, and as I sleep
something else comes in and takes over, not I, but others
who would hurt, and I watch as the violence begins ...
we can do anything safe behind walls and steel shutters.

© 1987 Childsongs



I go lightly
through the falling days
and all the ways, there are to preserve
the generation fall ...
... and all the stars that fall
on this crystalnight
'no rules for the silent ones'
the godless spoke ...

I talked lightly
about the falling years
and all the ways there are to deserve
the desecration fall ...
And all the rain that falls
on this crystalnight
'no rules for the broken ones'
the godless shout ...

© 1993 Childsongs

source here

Electricity - OMD

Our one source of energy
The ultimate discovery
Electric blue for me
Never more to be free
Nuclear and hep
Carbon fuels from the sea
Wasted electricity

Our one source of energy
All we need to live today
A gift for man to throw away
The chance to change has nearly gone
The alternative is only one
The final source of energy
Solar electricity

E . . .

Thursday, 4 October 2007

San Diego Serenade

I never saw the mornin' 'til I stayed up all night
I never saw the sunshine 'til you turned out the light
I never saw my hometown until I stayed away too long
I never heard the melody until I needed the song

I never saw the white line 'til I was leavin' you behind
I never knew I needed you until I was caught up in a bind
I never spoke "I love you" 'til I cursed you in vain
I never felt my heart strings until I nearly went insane

I never saw the east coast until I moved to the west
I never saw the moonlight until it shone off of your breast
I never saw your heart until someone tried to steal it, tried to steal it away
I never saw your tears until they rolled down your face

I never saw the mornin' 'til I stayed up all night
I never saw the sunshine 'til you turned out your love light babe
I never saw my hometown until I stayed away too long
I never heard the melody until I needed the song

[Tom Waits]

This makes me feel like crying....

Witchy Woman Lyrics [ Eagles/ performed by Lydia Lunch]

Raven hair and ruby lips
Sparks fly from her finger tips
Echoed voices in the night
She’s a restless spirit on an endless flight
Wooo hooo witchy woman, see how
High she flies
Woo hoo witchy woman she got
The moon in her eye
She held me spellbound in the night
Dancing shadows and firelight
Crazy laughter in another
Room and she drove herself to madness
With a silver spoon
Woo hoo witchy woman see how high she flies
Woo hoo witchy woman she got the moon in her eye
Well I know you want a lover,
Let me tell your brother, she’s been sleeping
In the devil’s bed.
And there’s some rumors going round
Someone’s underground
She can rock you in the nighttime
’til your skin turns red
Woo hoo witchy woman
See how high she flies
Woo hoo witchy woman
She got the moon in her eye

Tuesday, 2 October 2007

Last Call for Liquid Courage [lyrics - recoil ]

Sip still, gotta be enough. Wide palms slap skin, let the hitting begin! A done deal. Discarded piles of dignity. Another anonymous evening of absolute flesh. And tonight, it's got to be enough. It's got to be enough. Sip another swig, let the night fill you. Stranger pour into you. Peel back what binds you, make you strong! And it's ok, mostly. Today is tonight and tonight's enough. Swallow still some sips, Hootchie mamma you is! Him hot for poker bid. Stuck his two cents in you. Done did make bid for next time but..there's always a but at the end of nights like this. It's got to be enough. Hip, hand, thigh, back, calf, arm, ass, cheek, teeth, knee, heel, neck, elbow, ear, tongue, shoulder. You thinking it is 4am. Baby damn! What I gotta buy is all for a little pseudoaffectionado. A purry dreamic plead. Wanna lick it up? Quiz over every curve you got. Furry tongue making brown liquid slot. Enough tonight. You finally had enough. You had enough. Had enough? Enough!


[Lydia Lunch ]

Stopped. Alone...
In the Night of Space.
He's twisting inside himself
He's twisting inside.
He takes the Night Walks with the Pain Gods
through the alley's mouth.
Unseeing, He's not
Unseeing, He's not.
Transient to the Arena of Space
He comes to inflict.
Cursing at the Sons & Mothers
who never knew any better
it's always bitterness
it's always bitterness
Bitterness replaces the Pain
which poses as Pleasure.
Treasures left buried in the mud
replace the dull thud
which cackles in the Sleep Chamber
Lost in Twilight's last gleaming
I fight myself
I fight myself
with swords and words.
Encased deep within this spoiled flesh
oh Night Sickness rushes in
Oh Night Sickness rushes in
Oh Night. Sick
Pumpfucked into Oblivion
bullets squirm around inside me
feet kick the inner gut
from below
Fire eats away
I'm burning baby, so slow
Busted up by bricks, stones, sticks
shit gets in the way.
Twisting inside
Time drops dead in the space of a minute
I found someplace in Limbo
I'm trying to crawl out of
I'm trying to crawl out of
I'm trying to crawl in.

Monday, 1 October 2007

Lydia Lunch - Lady Scarface Lyrics

We had a date
12th street at eight
If you're done I'll be there don't be late
Instructed as such
Without a soft touch
If it would've mattered it didn't too much
I waited for you a minute or two

Well just what kind of a girl do you think I am

Fumbing around
A cigarette
Smoked it to the ash and then lit up again
Blowing smoke rings
Blinding the air
If you're comin baby you're just two in a rears
I'm too impatient and you're just too late
My attention span is just not that great

Then this young kinda guy walked right on by me
I couldn't have been more than 16
It's just nothing I can do you gotta understand
You see, he had this walk
I mean, down ??? and
No he wasn't going my direction so I just kinda turned an eye
I had to I was really possessed
I mean, I wasn't myself

I was so close
I crept like a cat
Visions of seduction lurking under my hat
He was so young
Such innocense
If I had control I didn't feel any yet
I couldn't be heard
Not a sound did I make
If this is the real thing there's just no need to fake

So now was the time
The crucial 8th mile
If I had to do it it would be with a smile
A tap on his back
A slip on my belt
He turned around and I knew that the ground would melt
I put on the ice
The smile was gone

Hey baby, and the rest...