C86 Show - Indie Pop

David Kilgour in conversation with David Eastaugh

https://www.amazon.co.uk/Clean-Dreamlife-Need-Rubber-Soul/dp/1627311831

The Clean was a New Zealand indie rock band formed in Dunedin in 1978. They have been described as the most influential band to come from the Flying Nun label, which recorded many artists associated with the "Dunedin sound", and one of the first bands to be described as "indie rock".

Led by brothers Hamish and David Kilgour, the band rotated through a number of musicians before settling on their well-known and longest running line-up with Robert Scott. Their name comes from a character from the movie Free Ride called Mr. Clean.

Jesse Rifkin in conversation with David Eastaugh

https://walkonthewildsidenyc.com/about

https://www.amazon.co.uk/This-Must-Be-Place-Community/dp/1335449329

Take a walk through almost any neighborhood in Manhattan and you'll likely pass some of the most significant clubs in American music history. But you won't know it--almost all of these venues have been demolished or repurposed, leaving no record of what they were, how they shaped music scenes or their impact on the neighborhoods around them.

Traditional music history tells us that famous scenes are created by brilliant, singular artists. But dig deeper and you'll find that they're actually created by cheap rent, empty space and other unglamorous factors that allow artistic communities to flourish. The 1960s folk scene would have never existed without access to Greenwich Village's Washington Square Park. If the city hadn't gone bankrupt in 1975, there would have been no punk rock. Brooklyn indie rock of the 2000s was only able to come together because of the borough's many empty warehouse spaces. But these scenes are more than just moments of artistic genius--they're also part of the urban gentrification cycle, one that often displaces other communities and, eventually, the musicians themselves.

Drawing from over a hundred exclusive interviews with a wide range of musicians, deejays and scenesters (including members of Peter, Paul and Mary; White Zombie; Moldy Peaches; Sonic Youth; Treacherous Three; Cro-Mags; Sun Ra Arkestra; and Suicide), writer, historian and tour guide Jesse Rifkin painstakingly reconstructs the physical history of numerous classic New York music scenes. This Must Be the Place examines how these scenes came together and fell apart--and shows how these communal artistic experiences are not just for rarefied geniuses but available to us all.

Simon Reynolds in conversation with David Eastaugh 

https://store.whiterabbitbooks.co.uk/products/still-in-a-dream

Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the mid-Eighties into the early Nineties.

Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise.

A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything.

Robert Rotifer in conversation with David Eastaugh 

https://www.robertrotifer.co.uk/

https://robertrotifer.bandcamp.com/album/radical-friendship-theory

https://robertrotifer.bandcamp.com/album/not-your-door

Growing up in Vienna. In the 1980s he began his musical career as a singer and guitarist in several Vienna Britpop bands. This was followed by the founding of the mod band Electric Eels, after which he released his first recording as Rotifer.

After moving to England in 1997, first to London, later to Canterbury he concentrated on his journalistic work for several years, until he recorded the album A Different Cup of Fish in 2001, which was followed by five more albums in the following years. The video for The Frankfurt Kitchen from the album Coach Number 12 of 11 (2008)

Trevor Johnson in conversation with David Eastaugh 
https://the15thband.bandcamp.com/album/inside-out
https://www.youtube.com/watch?v=QPgWkLb-DEU&t=1s
An underground indie & jangle pop single from 1989 that has never really seen the light of day, “Inside Out” B/w “Rumours Of Rain” although both sides are regarded as A sides. These recordings were initially recorded as demos for the purpose of a label to hear them & then sign us, so we could record it professionally & then we could release it, but no interest, I think labels were looking for a more polished sound at that time, the recording was sadly let down by the recording studio who weren’t really interested & didn’t know how to record that type of music as they were more focused on jazz & blues, also the fact the drummer wasn’t actually apart of the band he was just hanging around the studio at the time so we got him in to drum on the single last minute, it was Andy & Trev who wrote the song.
This was recorded at Northern Recording Studio in Delves Lane Consett In early 1988 & later released in January 1989, a self released private press with pink & white plain labels although some copies were both white, around about 300 copies in total were pressed with various different homemade diy sleeves, only a handful of actual photocopied sleeves exist, some of the labels have been written on but the majority of them remain blank, in fact the only reason this got pressed in the first place is because Trev wrote to The Prince's Trust asking them for help as we were a young band that could never afford to press our own records, but we didn’t think they would actually help, so it’s a miracle this record even exists in the first place, if only this was sent to the right label or better promoted back in 89 but for now this remains an underground indie pop single/release.