The Cliffs of Insanity

Another Throwback Thursday confection for all my homies.

Some time ago, we were pleasantly surprised to find ourselves in contact with Barry Andrews via the Internet. He further astonished us by agreeing to an Interview! So, with an abundance of fan input, we put together a "small collection" of the most pertinent questions and fairly alarmed him with a Lengthy Interrogation. Undaunted, Mr. Andrews expressed himself as he most usually does: with eloquence and not a small amount of wit.

Shriek Questions

The Band

• How did you meet Dave Allen, Carl Marsh, and Martyn Barker? How did the band come together?
  Errr, met Dave thru Sara Lee –(Bassist w. League of Gentlemen –Leeds connection) He rang me on leaving Go4, Carl wrote him a letter (ever the literary one) and I brought Mart in when we needed a proper drummer –I knew him from Clare Hirst, the sax –player who I was going out with and who played in The Emotional Spies w. Mart. ( I think that’s right ??)

• Did Shriekback try to create an image with your music and visuals? If so, were you successful?
  Sure we tried, I think we had our moments.

• Were you surprised with the positive response to last year’s album, "Naked Apes and Pond Life"?
  Very much so. I’d disowned the whole project and was off bashing bits of metal (rather than other band members). Had it not been for Lu and Martyn it would never have come out. The fact that it was sonically the least user-friendly of all our work made it doubly suprising that it was getting good reviews (the old ‘fuck em if they can’t take a joke’ ethic again I guess)

• Is that what got you to thinking of the possibility of a new Shriekback project sometime in the future? There’s rumour that both Carl and Dave are involved with the new Shriek project. Would you care to comment?
  Dave was in London with a big expense account to abuse, so the Shrieks (class of 85) duly obliged. It was a heady mixture of lurid cocktails, free money and that ineluctable chemistry of 4 old pervs with something still to prove. It looks very likely that we will do Another One. With D & C.

• What are the Seven Pillars of Shriekback?
  They were a series of principles by which we intended to focus our, at the time, dissipated and addled energies in order to create a rock band.  Have totally forgotten what they were, though..

• Tell us about the Shriek logo. Whose idea was it and does it have a particular meaning. If so, what?
  It was Al Macdowell’s design –our sympatico Art Person (last seen being head of production design on the Fight Club film –howabouthat?).   I think it was to do with cyclical energy (otherwise known as going round in circles –hmm, be careful what you visualise).

• Do you still have contact with Sarah and Wendy? What are they doing these days?
  Oh yes, very much so. Seeing them this Friday, actually. Wendy’s a homeopathic practitioner (with 2 kids) about to Move to The Country. And Sarah manages recording engineers and producers.

• Are you enthusiastic about the resurgence of Shriekback’s popularity?
  Now there’s a leading question, with a certain ambiguity. I certainly like the idea of making some more music both with, and without, the Chaps. A Shriek-Renaissance would be handy. Is it happening? Maybe. You tell me… I don’t get out much.

Shriek Works

• Why do so many Shriek songs resonate with a subtle (and sometimes not-so-subtle) spiritual energy, both sacred and profane?​
  Aww, get outta here. Do they? Cheers. Nice one.  Like Jah Wobble (whom God Preserve) said: 'You either make music to see God, or to make money, and if it’s making money then you end up like a million other people all trying to get lucky with a beat.' That’s not exactly relevant really though, is it? I love the idea of touching people in That Place. That’s the main idea, of course.

• Looking back on the albums the Shrieks have made, do you have a personal favourite and, if so, why? Do you have any favourite Shriekback songs? Any you dislike?
  Care, because we really had no idea what we were doing but we couldn’t help doing it. It was discovering a place where we / I could legitimately and comfortably express ourselves. Finding a Voice, all that.. The end of a hard, messy road of adolescent angst and it was Going To Be Alright after all. Still does sound like that to me, as it goes.

SONGS:

• Evaporation because it was the first time I got the underwater, Lee Perry, ‘it’s dark but don’t be afraid’ thing to happen. Nice ‘tune’ (meaning melody).


• Black Light Trap because it’s so ..Large. Lots going on. Architectural vibe. Big creaky Gormenghast thing with disco. Sounds like Shriekback and absolutely noone else.


• This Big Hush - A big scary fantastic Love affair in the snows of 85 and everything impossibly vivid. Well that’s what I was doing. Add your own recollections, of course.

DISLIKED:

• Get Down Tonight (what were we thinking of? oh yeah, making money , that’s right)


• Mercy Dash the single (the intoxication of trying to sound like someone else - don’t do it, kids, especially not with machines that you don’t understand.)  Still, that’s it, not bad over 8 albums, is it?

• What songs were made into videos?
  Nemesis, Get Down Tonight, Lined Up...

• Any hope of a video compilation? Speaking of videos, who conceptualised the ‘Nemesis’ video?
  Probably not, who could possibly have the ‘masters’? and they were all dodgy apart from Nemesis.  I did all the ‘conceptualising’, Al McDowell did the visualising, Tony VandenEnde (the ostensible director) made it happen.

Projects

• There is word of a new compilation album of obscure and unreleased material coming out sometime in March entitled "Aberrations 81-4". In what countries will this be available? Is there anything further you would care to offer to your listeners regarding this album?
  The territories are down to who wants it –where we can get licensing deals. The States will be covered by Nail Records, we think…  It will be available from Mauve Records mail order if all else fails.  It’s an interesting car-boot sale of weirdness, 9 never before released songs also remixes, live bits etc. Copious sleeve-notes by Marsh and I. We’re going to include ‘Naked Apes’ in the package, so it’s cracking good value for anyone who never got the latter.

• Will we ever see the BBC recordings released?
  Hope so, we’re looking into the Legalities (not the name of a soul band).

• Michael Mann used the Shrieks’ music extensively in ‘Miami Vice’ and in the movie ‘Manhunter’. Did you ever meet him and do you foresee any future collaborations?
  No and No. Shame: I especially liked it when they were chasing the Miami coke-baron round the harbour in speed-boats, white 80’s trousers flapping and Shrieks are singing some weirdshit in Sanskrit (Running on the Rocks). Obviously made sense to Mike.

Personal Questions

Music

• Tell us about your Illuminati project.
  Doomed doomed, emotionally overwrought Guitar driven rock, Humungous female vocal, ravishing melodies. Me trying to be ‘non-ironic’ and ‘not weird’. Don’t fight your nature, that’s what I learnt. Still have the album in the can. Maybe release it someday.

• What music do you listen to? What do you think of today’s pop music scene?

ANDREWS PLAYLIST 2001

1. Beethoven ‘Creatures of Prometheus’


2. Planxty (Irish trad) ‘The Woman I loved so well’ ‘After the Break’


3. Nick Cave ‘The Boatman’s Song’ ‘Murder Ballads’


4. Arvo Part 'Cantus for Benjamin Britten' 'Festina Lente'


5. John Cooper Clarke ‘Snap Crackle and Bop’


6. Slade ‘Greatest Hits’


7. Underworld ‘Everything Everything’


8. Mouse on Mars ‘niun niggung’

• Will we ever see a collection of your solo work?
  Dunno, it’s nearly all only on cassette so it would be a hissy kind of a thang.

• Will we see anymore from The Caretakers, the Refugees, or some other project yet to come to light?
  Caretakers are Bruce Mcrae and Carlo Asciutti, both of whom are complicated men to get hold of. Bruce is in Canada and Carlo’s in East Dulwich – which might as well be Canada. Come on guys, the World needs you… sigh, what can you do with ‘em?

• What prompted the song ‘Win a Night out with a Well-Known Paranoiac’?
  The Adolescent angst of which I spoke and my snotty scruffy persona, (at 22-23) & resistance to authority which wound up all the right people sufficiently to support a – that’s right - paranoid world view. I liked the idea of a spoken song like Patti Smith’s 'Piss Factory'. It’s funnier though-especially the bit about the 'Underwater Toilet.'

History

• When did you develop an interest in music?
  The parent’s collection of 78’s on the wind-up record player (fuck-I’m old) me alone in the attic playing ‘Shifting Whispering Sands’ and 'Indian Love call'. The rest is history.

• Most of what we’ve heard about your departure from XTC has been from sources in relation to that band. In fact, in the liner notes of the recent XTC box set, Andy Partridge laments your leaving the band. To balance things out, would you like to let your side be heard?
  Well, as I’ve said probably more times than I should – I always regarded XTC as a stepping stone –we came from the the same town, were all working class pissheads and were all talented, it was never really a meeting of minds. Thus, as soon as we had some breathing space from touring and getting a deal it was obvious that this combination had run it’s course. You don’t need a degree in Workplace Dynamics to see that both an Andrews and a Partridge is one egomaniac only-child too many. For me that was – as they say in Swindon – ‘it and all about it’. It was great fun for a while though. And loads of shagging.

• Many articles and XTC book passages indicate that you’ve seemingly resented the intellectual labels attributed to you and, later, Shriekback. Have your feelings changed on this issue or do you still wish to stress the physical aspect of your music?
  I don’t know why you say this. Anyone who calls me an intellectual will have me purring on the floor and buying them drinks.
  
  Oh, you probably mean that ‘what do your lyrics mean?’ type thing.
  
  It’s really that what I’ve always tried to do with music – specifically SONGS- which are a brilliant art-form and still nowhere near exhausted - is create new places - funny little aquariums where the rules of the outside world no longer apply. Bear in mind that this is not sheet music it’s recorded music so all sorts of subtleties and inflections are possible – the ambient sound in the room, the slapback echo all have different things to say (ambient sound says ‘fly on the wall documentary,’ slap-back can mean Elvis or, add a few repeats and it’s Nuremberg). What I mean is that Songs are perceived sonically, primarily - then we add the strata of meaning. But, as with all good art-forms the most fun is in the grey areas. Where the Delicious Frissons of Ambiguity live.
  
  So when you can’t quite hear what Strummer’s singing on Janie Jones, you hallucinate your own visions into the gap between what you can understand and what you can’t. As one does as a child listening to the grown ups talk. It’s an interesting place to be. When I finally saw those lyrics written down the song was over for me. Not that they were bad lyrics, just that they were only what they were, no longer all the things they might possibly be.
  
  So the lyrics are one part of this tense interdependent little biosphere. Another example: Marvin Gaye's ‘Grapevine’ –it’s dark, the bass and congas sound jungly (like a Rousseau jungle in purples) the song’s about jealousy - there are loads of different ways of saying ‘people are saying that you’re seeing someone else’ but he picks vines – big strangly creepy things with round sweet purple grapes on them and the jungly groove and the sweet sad voice and the minor key all support each other – organically, you’d have to say - the medium and the message all beautifully shmershed together. The lyrics as written don’t tell you any of this, like the sheet music doesn’t tell you how sexy that bass line is. The experience is to be had in front of a speaker and that’s it. SO - even if you use words like ‘parthenogenesis’ and ‘historesis’ you’re still playing the same game. I used ‘parthenogenesis’ mainly because it sounded good and almost rhymed with Nemesis. The meaning was secondary (but relevant). So if you were to apply the ‘Grapevine’ treatment to that chorus - my intention was to get a laugh - or at least an internal smirk - from the big-almost football crowd-chorus, the long ungainly scientific word, the huge daft power chords, and everything within this barmy context of ‘let’s examine the nature of morality’ – like some philosophy professor who went to Vietnam and listened to a lot of Gary Glitter. Still makes me laugh.
  
  Another way to see it is like you ‘get’ a joke, which, if you want, you can explain, and you can even analyse why it’s funny. But the point of the joke is really only in the ‘getting’ of it. If you don’t experience that then all the rest is pointless. Thus, when people make a big deal of 'explaining the lyrics', it very often (experience has shown) means that they never really ‘got’ the idea of the song. It’s turned into some gnarly little Eng. Lit puzzle.
  
  Blimey, value-for-money-question.

The Individual

• We know that you are a consummate musician, that you’ve dabbled in filmmaking, and that you’re also an artist, having studied 3-D design. It would seem that you’re quite the Renaissance man. Is that a fair description? How would you describe yourself?
  Naah, the trouble with doing lots of things is that you meet lots of people who only do one thing and are therefore extremely good at them. Bad comparisons are inevitable. ‘Jack of all trades’ says it . Still, it seems to be my nature to apply a similar aesthetic to lots of different things and this is as close to a mission statement as I can get: ‘try everything, make up as many things as possible; remember to take notes.’

• There have also been many comments from folks who’ve met you that you exude an otherworldly air. Would you care to address that?
  I have been known to drift, somewhat. Oh yes..

• We’ve heard many stories from fans whom have attended Shriek concerts and, afterwards, were thrilled to find you dancing, drinking, and generally making merry with them after the show. Why are you so prone to mingle with the fans when artists, including other members of the band, don’t generally engage in such activity?
  Human fucking Beings, man. What else is there?

• In what other projects are you currently involved?
  The ongoing exegesis of Parc Stic (a metaphysical theme park) and amassing material for a solo album. And keeping an eye on Finn (the lad) who’s starting his own musical career (which is spooky).

• Being the primary lyricist for Shriekback, it’s obvious you have a gift with words. Do you write prose as well or have you considered doing so?
  Saving that for when I’m Really old and can’t do anything else.

• Who or what would you say is your greatest influence?
  Alex Harvey, Lee Perry, Patti Smith, the Constructed World (not a band either).

• The dance that you and the Sids perform to ‘The Reptiles and I’ in the ‘Jungle of the Senses’ concert video exhibits a variety of Kung Fu movements. That, combined with the fact that you’ve been spotted many times wearing Tabi, lead us to ask if you’re a Martial Artist as well. If so, what form or forms have you studied?
  Mark Raudva – who plays on ‘Naked Apes’ - is a qualified Tai Chi teacher and would piss himself if he read that. I studied with him for about six months and gave up. I did Aikido for about three weeks – way too upsetting.

• What do you think of the world today?
  Oh the easy ones at the end eh?

Final Thoughts

• What would you like see happen at Shriekback.com?
  The hub of a new Renaissance, a centre for Excellence, a source of psychic nourishment and high quality gas-masks.

• Is there anything you’d like to say to the fans of both you and Shriekback?
  ‘Hold fast to that which gives the deepest jollies.’

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Shriekback
The World’s Second Best Pop Group with a Bald Singer
By Dave Segal (‘Creem’ June 1987)

“…Shriekback have opted to make a different kind of music – one which exalts human frailty and the harmonious mess of nature over the simplistic reductions of our crude computers.” – liner notes to Big Night Music. This thing called Shriekback is a strange beast. Trying to describe them gives me one hell of a headache. The new Shriekback music (it’s called Big Night Music but it could just as easily be called Small Morning Music) screws with rock critics’ rote jargon. If you wanted to be crass, you could label ‘em an intellectual funk band with gospel/cocktail lounge pretensions. Unlike most Anglo-Caucasians who funk around with black styles of music, Shriekback throw a skewered light on what, in pedestrian hands, can be a brain-numbing genre. You can attribute Shriekback’s uniqueness (no lie) to keyboardist/singer/lyricist Barry Andrews.

Andrews has full control of Shriekback now that Carl Marsh has departed with his Fairlights and drum computers for solo obscurity. Pared down to a trio (Dave Allen, he of the Zeus-like bass playing on Gang of Four’s first two LPs, and Martyn Barker on percussion toys), Shriekback have for the most part ditched Marsh’s vision of a “harsh disco reality” and gone for a rococo/eclectic sonic gumbo that’s as slippery to grasp as Eno’s skull in a bathtub. There’s a slickness to the Andrews/Gavin MacKillop production on Big Night Music, but don’t let that trouble yer noggin. It’s a good kind of slickness; Andrews has a Byrne-Enoesque aesthetic that enables him to craft exotic pop of excessive fussiness (‘Black Light Trap,’ ‘Running on the Rocks,’ ‘Sticky Jazz’) or of severe sparseness (everything else). You could call this The Soft Album without too much controversy.

Oddly, some of the songs sound better with the volume turned down. Perhaps because he can’t sing very well, Andrews often resorts to an intimate whispery delivery. Very nice and relaxing, this voice. And he’s a clever gump, too. It’s not by accident that wispy, gentle toons sit cheek by jowl with swollen brassy epics; and then out of nowhere will sprout a pretension-deflater like ‘Pretty Little Things,’ which sounds like Prince on helium and dexies. I tell ya, listening to Big Night Music is more fun than working in an abattoir on a humid day.

Andrews has the serene monkish demeanor of the Keith Carradine character in the Kung Fu TV show. Before Shriekback, he was in XTC from ’77 to ’79, and he also played with Robert Fripp’s League of Gentlemen in 1980. He’s a peace-lovin’, broad-minded intellectual dabbler wearing a black floppy hat and a long black coat. We had a civilized chat amid the delicately bubbling jacuzzi water inside a swanky Detroit hotel. Andrews proved to be more stimulating than a week’s worth of The Dick Cavett Show.

CREEM: Why did Carl Marsh leave Shriekback?
BARRY ANDREWS: He wanted to do solo things, really. Carl’s quite a self-contained sort of bloke I don’t think he ever found it easy working with other people. The band was becoming a two-headed beast that was tearing itself in half. Oil and Gold (released in ’85) suffered from that. A bit of schizophrenia between the Carl direction and my direction. I like things when they’re soft and vulnerable and maybe even a bit maudlin. I like a certain amount of crying into my Guinness.

Did Marsh’s departure cause a change in your sound?
Definitely, there was a sort of opening of the sluices. When Carl left, I felt like, firstly, I’ve got this huge canvas to work with on the whole record. It’s all gonna be my words, my tunes. So instead of it being this common denominator area we could inhabit with Carl, what the three of us could agree on was actually a bigger area because there were fewer things to filter out. I wanted to try doing something very simple and direct and emotional, like ‘The Cradle Song,’ Just trying out every option and seeing what’s possible. There’s a certain amount of experimentation that doesn’t work, but a whole lot that does. Normally we wouldn’t have even dared to try. Big Night Music is diverse. I don’t think anyone could complain about it being too homogenous. I think there is a coherence to it that we’ve never achieved on a record before, with the possible exception of Care (released in ’82)

Does everyone have creative input into the words and music?
I’m the sole lyricist. On the new album, Dave confined himself to bass playing, Martyn did a whole lot more than he’s ever done. He plays all the drums and does lots of percussion. So he’s actually responsible for quite a lot of the textures. I’m really responsible for the way the whole thing sounds and the structure of the songs. I can’t imagine collaborating with someone on a song. It would be like having somebody advise you while you’re having sex with somebody (laughs). There’s so much that just happens in your head. It’s quite a fragile process and it’s not something I could easily involve someone with.

Your lyrics have a stream of consciousness to them…
A stream of unconsciousness…(much laughter).

Sometimes it’s brilliant and at other times it leaves the listener baffled. Maybe they’re too oblique for universal understanding.
Maybe that’s a valid criticism. I don’t go in for any kind of broad political commentary.

You write more about personal things?
I don’t know if they’re even personal things, really. What I try to do is create an entity with sound that has not existed before. The songs are meant to be things you can walk into and walk around, that have their own kind of smell and atmosphere and texture. They’re not meant to be billboards or television programs. Or newspapers. The lyrics aren’t the point any more than the bass drum pattern’s the point. You might have a very good pair of kidneys but that’s not your whole story, is it?

If I asked you what ‘The Reptiles and I’ is about, could you tell me?
I can tell you what I was trying to do. It’s what it is for you definitely. That’s a nice fatuous answer, I suppose, and it’s what it means to me. And that’s about as far as it goes. I had this idea of using a lot of lists that I found in Webster’s Dictionary. A list of languages, elements, proverbs. I liked the idea of a bunch of verses that were lists. I was trying to create a nursery rhyme that would work in an adult way and would have that sort of darkness about it, that sinister kind of thing that the best nursery rhymes have. I’m really a little kid sitting at the foot of the great god Language. I’ve really got no command over it. I pretty much take what it gives me. I get excited by all the different ways people speak in the same way. I get excited about all the different cultures people can have, all the different ways of being in the world. It seems very rich and diverse and brilliant. And it inspires me.

Were you influenced by any writers?
I steal a lot. I’m a complete bastard for that. I’ll tell you the dead ones. I’ve ripped Shakespeare off something rotten. I’ve had my way with T.S. Eliot. Martin Luther King. The Bible. Certainly bits of the Koran. Complete verbal beachcomber.

At least you’re taking from great sources.
Oh yeah. That’s what they’re there for. To get crunched up and recycled. I don’t do it in any cynical way. It’s like doing a cover of a band’s song that you really think is a good song. It seems silly to wrack your brains when somebody else’s said it so well. I just rip it off. Shameless, really.

Have any current songwriters influenced you?
David Byrne’s approach – when I was a bit more uncertain about writing lyrics – he seemed to offer quite a good little cubbyhole to hide in, where you could get away without saying anything at all as long as it sounded all right. But on this LP, I got less and less satisfied with what you could do with that and more interested in what would happen if you pushed the thing up toward the light a little more. So things like ‘Cradle Song,’ ‘Reptiles,’ and ‘Gunning for the Buddha’ are like little narratives, stories, which I’ve never attempted before. Getting into the old Tin Pan Alley thing. People like Gilbert and Sullivan and the English music hall singers. Popular Victorian kitsch. Edwardian parlor songs.

Shriekback is often labelled an intellectual band.
It’s high time we burst that bubble.

Are you college-educated?
No. It was between making a choice of being in a rock’n’roll band or going to university.

Are you religious?
I don’t belong to a religion. I don’t have any faith, in that way. I do have a strong religious sense. It’s difficult to say without it sounding pretentious. I have a sense of awe of a kind of religious veneration or worship in the presence of what is around – people, mainly, the rush and energy of people and what they can do and build and keep going on and having babies. Just what it is to be alive. There’s definitely a force that moves us on in a mysterious way. I said to someone once that I feel about religion the way I felt about sex when I was 12. You know there’s something going on, but you don’t know what the fuck it is!

To read more about Shriekback's music and career, please visit their website (sign up for the newsletter for free downloads) and Tumblr. You can also join in our conversations over on Facebook. And, while you're at it, pick up a copy of their new album, Without Real String or Fish!

Happy Throwback Thursday, good souls!  I'm currently transcribing a rare article that looks back to the Shrieks' Oil & Gold and upload it before the end of the day.  In the meantime, enjoy this interview straight outta Belgium.

And if you have not yet procured Without Real String or Fish, what on Earth are you waiting for?  The new album is sonic brilliance that I'm certain will enchant you more with every listen.

Many of Shriekback's fans may be a bit cultish (pulls innocent face), but we know great music when we hear it. You can trust me when I tell you that Jam Science - the album released around the time this video interview was made - is an excellent album, and that Without Real String or Fish is an absolute triumph, proving the band are still mad musical geniuses.  Their ability to still provide relevant music that outshines their contemporaries is so evident, one cannot logically debate it.  Click their gateway logo to the left, to explore their store, and grab yourself a copy of WRSoF.

Inspired by listening to Without Real String or Fish, James from Canada (his preferred cognomen) felt compelled to share his thoughts about the mighty “Coelocanth."

Coelocanth: The Last Shriekback Song I Will ever Hear?

So here we are in 2015, and Shriekback have just released their 13th album, Without Real String or Fish. And a most excellent album it is, too: full of the usual Shrieky goodness - clever lyrics and wordplay, groovy basslines, catchy tunes that run the gamut of dark, light, thoughtful, funny and sombre (often at the same time!).

So it is not surprising that while one is feasting on a plate of brand new songs, that one also reflects on a band’s past releases, and how they may have influenced one’s musical tastes, preferences, or - perhaps - one’s life.

In my case, I'd like to look back at one particular song - "Coelocanth" - the atmospheric conclusion to the Oil and Gold LP back in the 80's.  I was a teenager back when Oil and Gold was released, and at the time I preferred all the hard-rockin' tunes like "Nemesis" and "Malaria."  So while I loved most of the Oil and Gold album, I always thought that "Coelocanth" was a piece of crap.  "What the hell is this?" I asked at the time.  "Did Shriekback hire Zamfir and his cheesy pan flues to play on this record?** Awful!"  As far as I was concerned at the time, Oil and Gold finished with the conclusion of "Hammerheads."  And so it went for many years... until Manhunter.

Many Shriekback fans either discovered or re-discovered the band as a result of Michael Mann’s film Manhunter, which featured the Shriek songs “Evaporation,” “This Big Hush,” and “Coelocanth.” For me, when I saw the famous tiger scene in that movie, set to the music of “Coelocanth,” I had a bit of an epiphany. All of a sudden, this song wasn’t a cheesy woodwind “extra” tacked on at the end of Oil and Gold, but something which really penetrated deep down into the soul. I promptly began to listen to “Coelocanth,” and with my ears now finally open (so to speak), I realized just how haunting and beautiful a track it really was.

Back in the late 90’s, I once had a dream about this song. I remember it quite vividly - I was lying on some ocean beach on an alien world, with a huge ringed planet rising in a dark aquamarine sky. I heard “Coelocanth” playing somewhere in the distance, although I knew that I was alone on this planet.

At the time I didn’t give the dream much thought… it was just a cool thing that happened. Well, you can imagine my surprise when several years later, while I was surfing the internet for some new desktop wallpaper for my Mac, I came across this particular image at the Digital Blasphemy website :

This image - minus the palm trees - was almost 100% verbatim what I saw in my dream.  It really chilled me to the bone to see my "vision" realized by some person whom I'd never met.  Of course, I immediately pulled out Oil and Gold and played “Coelocanth,” and found myself thoroughly captivated by the synergy of sound and image…it was absolutely hypnotic, even magical. I had already grown to appreciate that once-belittled track “Coelocanth,” but from the moment I heard it in conjunction with this image from my dream, it just became so much more.

So why is it that I say “Coelocanth” is “the last Shriekback song I will ever hear?” Well, it may not be, but - and this is where I perhaps get a little morbid and over-the-top for some readers, but bear with me - I have for many years thought that “Coelocanth” would be the perfect “last song” for me. The last song is essentially the soundtrack to one’s end: when you’re on your death-bed, and you know that you’ve only got minutes left to live, but you can pick one piece of music to accompany you as you journey out of this world and into “whatever-lies-beyond.”

For me, “Coelocanth” conjures up many feelings and imagery. The obvious one is that of prehistoric fish moving through the dark depths of an ancient ocean. But I also see strange alien landscapes (as in my dream), or even the infinite depths of outer space, filled with stars and galaxies. Combine all that imagery with the background synths and trickling water samples, and you have a concoction that just soothes the soul in a way that’s hard to explain. This is why I would be quite happy to spend my final moments with this song in my head. It really encompasses, well, just about everything, for me. Not bad for a previously-mocked, little 4 minute atmosphere track at the end of a 30-year old album.

So why all the “deep-thought” and rather mawkish gushing over this old song? Well, for me, it really demonstrates what I (and no doubt many other Shriek fans) love about Shriekback. How their music grows on you over time, and how deeply it can affect you. It’s not surprising that I’ve been a fan of the Shrieks since the 80’s: they’ve consistently delivered amazing and diverse music, and the new Without Real String or Fish album continues this tradition. Hopefully there are many more wonderful albums coming from this talented bunch in the years to come.

©James from Canada
8 March, 2015

**with apologies to any fans of Zamfir. I also heartily recommend Digital Blasphemy’s Desktop Wallpaper site. The worlds that this guy creates with 3d software really go well with the whole Shriekback vibe. “Without real worlds or matter”, I guess!

Barry Andrews posted the video for Now Those Days Are Gone, from Shriekback's new album, Without Real String or Fish. The album can be purchased directly from the band on their website store, beginning at Midnight GMT on 4 March, 2015! Just a few hours, and your life could be filled with some of the best music you'll ever hear. Enjoy this wonderful Gen X anthem, and be sure to make note of the accompanying information, regarding the Shrieks and where you can find them on Teh Intarwebz.

From 'Without Real String or Fish,' Shriekback's 13th studio album. Available only from http://shriekback.com/store from midnight GMT tonight, 4 March!!

Visit: http://www.shriekback.com and sign up for the newsletter!

Facebook: https://www.facebook.com/shriekback
Tumblr: http://shriekbackmusic.tumblr.com
Twitter: https://twitter.com/shriekbackmusic

Subscribe to Shriekback's You Tube Channels!

Barry Andrews - https://www.youtube.com/channel/UCo3E-T15XkSzg0reNcFalPw

ANAXATON6 - https://www.youtube.com/channel/UCJMkzOIkm9sqOjch00BhHBg

I'm also reposting the other videos the band have made available this week, but I'm cutting it, so please click to expand the entry.

( They have such sights to show you )

If anyone has questions regarding any of this, please feel free to reach out. Also, if you would like to review the album, or know anyone who may want to take on such a task, let me know. The more response the band gets, the more music we will get to enjoy in the coming years.

Be sure to pass all this great music on to everyone and, as noted in the album announcement, send the band proof of your dissemination, and they will heap all manner of musical treasure on you.

Be pure, be vigilant, behave!

Today, Shriekback released a second video, this time for Carl Marsh's genetically-enhanced tune, Recessive Jean, from the band's new album Without Real String or Fish, which will be available starting 4 March.

• Shriekback on Facebook


• Shriekback on Tumblr


• Shriekback on Twitter


• Official Shriek (don't forget to sign up for their newsletter!)

• Barry Andrews' Channel


• ANAXATON6's Channel

Here's the announcement vid with all the details and links, regarding Without Real String or Fish by Shriekback. I'm also copypasting the info.

Barry Andrews confirms release date for new Shriekback album, 'Without Real String or Fish' and then makes you an offer you can't refuse.

Be sure to take part for exclusive Shriekback freebies. Send entries to shriekprods@outlook.com.

Also, please subscribe to Barry Andrews' personal and secondary channels here on You Tube:

Barry Andrews - https://www.youtube.com/channel/UCo3E...

ANAXATON6 - https://www.youtube.com/channel/UCJMk...

Sign up for their newsletter at http://shriekback.com, and follow them on Facebook (@Shriekback), and on Tumblr and Twitter.

Tumblr: http://shriekbackmusic.tumblr.com
Twitter: https://twitter.com/shriekbackmusic

Full text:
Cheers to Gordon DW Fleming for this blurb on the Toronto Star's website. As he said, ignore the article's title!

'One of the more eccentric acts to emerge from Britain in the 1980s is about to return to action. Centred around early XTC member Barry Andrews, Shriekback was responsible for two of that decade’s most muscular post-punk singles: “All Lined Up” and “My Spine is the Bassline.”

'"Without Real String or Fish" will be their 13th studio release and their first in four years. Thanks to Gordon Fleming for the heads-up.'

The Toronto Star's website is http://www.thestar.com and they can followed on Facebook here: https://www.facebook.com/torontostar."

From the band as seen on the Shriekback Tumblr blog:

Limited Deluxe Fish-Box Redux

ok then

after the (slightly startling) success of our Limited Edition Fishbox last week we were-it’s fair to say- innundated with the plaintive entreaties of anguished pilgrims (some of them long-standing supporters and friends) who had for any number of perfectly valid reasons, failed to respond in the less-than -24 hours that they (the boxes) took to sell out.

We, here at Shriekprods, were then presented with a something of a dilemna:

If we make some more, we would: please all those disappointed people,make us more moneyget our, it must be said, very beautiful art object to a wider audience

however, we might also make those who bought a limited edition feel legitimately short-changed since the object has become a bit less limited than at the time of purchase.

This is the sort of thing you do when you don’t have much previous in Record Company World. With hindsight, we would of course have Done Things Differently.

Anyway...

Click pic to continue reading!