C86 Show - Indie Pop

Colin Moulding in conversation with David Eastaugh  https://burningshed.com/colin-moulding_want-it-bad_cd https://www.youtube.com/watch?v=X3X4vcRTFjk Moulding began jamming with another local musician, Andy Partridge, circa 1972–1973 and soon joined Partridge's band Star Park, convincing Partridge to hire Chambers as well. In July 1975, after a period in which the band were known as the Helium Kidz, they changed their name to XTC. Several of the band's early hits were penned by Moulding: 1979's "Life Begins at the Hop" was their first to chart in the UK, Australia and Canada; that same year, "Making Plans for Nigel", from the album Drums and Wires, became a Top 40 hit in the UK, Canada, Netherlands and New Zealand

Julie Grant in conversation with David Eastaugh  https://jgrant.info/ https://www.facebook.com/juliegrantmusic https://www.discogs.com/release/37653312-Crimson-Mints-Threadbare Award-winning Britpop musician, Julie Grant, has been collaborating with 60's guitarist Peter Collard to produce a new album, What's Not Said, which is out now. This ten-track CD features a collection of acoustic and electric songs that highlight Grant's distinctive voice and unflinching lyrics, paired with Collard's rhythmic, melodic style. The songs are inspired by the ten chapters from her forthcoming memoir, The Gatecrasher, set to be published in 2026. A respected and versatile artist, Julie has not only built a remarkable music career but has also performed on national television, recorded live sessions for BBC Radio, written for BBC television, and worked in theatre production.

Patrick Redsell in conversation with David Eastaugh  https://eafa.org.uk/work/?id=2038 Medieval style illustrations establish the theme of the Last Barsham Faire. Early morning reveals an encampment with caravans, makeshift tents and shelters.  The fair is held next to the round tower church.  Against medieval music, a stilt walker, jesters, minstrels and other musicians perform amongst the crowd.  There is a medieval play and maypole dancing.  One of the organisers tells how stall holders are encouraged to sell their own handmade goods, and to make their stalls look medieval.   Stallholders discuss their work: a bellows maker, women who spin by hand, and a lute maker.  The committee talk about what the fair means to them.  Other festivities include face painting, actors playing 'Punch and Judy', morris dancing and a man lying on a bed of nails.  A  performance takes place inside a tent, with children singing and dancing.  A firework display ends the day.

Marco Pirroni in conversation with David Eastaugh https://www.simonandschuster.co.uk/authors/Marco-Pirroni/266126980 Marco Pirroni is a songwriter, guitarist and producer. A lynchpin of the UK punk scene, Marco's first appearance on stage was with Siouxsie and the Banshees at the 100 Club in 1976. He went on to join bands the Models and then Rema-Rema before teaming up with a little-known punk outfit – Adam and the Ants – in 1979 and within a year the band was on the brink of worldwide acclaim. An integral part of the band, Marco acted as lead guitarist and co-songwriter with Adam. Marco's work with Adam left an indelible commercial and creative stamp across the 1980s and pop music in general. Marco went on to work with other artists including Sinéad O'Connor and had become regarded as an authority on the punk movement.

Anton Barbeau in conversation with David Eastaugh https://antonbarbeau.bandcamp.com/album/come-home-to-me https://manbird.antonbarbeau.com https://www.facebook.com/antonbarbeau After the conceptual weight of 2025's Dark Mystery Temple trilogy, Anton Barbeau clears the table. Come Home To Me offers fourteen songs with no grand scheme beyond his enduring faith in pop music. Recorded mainly at Barbeau's home studio in Auburn, California, the album moves from clipped new wave and jazzy piano balladry to Cocteau Twins-tinted psychedelia and deep P-Funk. Colin Moulding and Dave Gregory of XTC appear alongside Andy Metcalfe, Donald Ross Skinner and Terry Edwards. “World Calls Love” grew from a cassette fragment found while clearing Barbeau's childhood Sacramento house; “All Thru The Night” was written during his final days there, around the last cup of tea in its kitchen. An old tape, a last brew and fourteen fresh reasons to come home. credits

Dean Pianvani in conversation with David Eastaugh  https://portioncontrol.net/ https://portioncontrol.bandcamp.com/music Portion Control have been creating electronic dissonance for techno industrial pilgrims since 1979, rising as pioneers from the UK industrial electronics scene  

Martin McAloon https://www.martinmcaloon.com/ Prefab Sprout are an English pop/rock band. Formed in 1978 by brothers Paddy and Martin McAloon and joined by vocalist, guitarist and keyboard player Wendy Smith in 1982, they released their debut album Swoon to critical acclaim in 1984. Their subsequent albums, including 1985's Steve McQueen and 1990's Jordan: The Comeback, have been described by Paul Lester of The Guardian as "some of the most beautiful and intelligent records of their era". Frontman Paddy McAloon is regarded as one of the great songwriters of his time and the band have been credited with producing some of the "most beloved" pop music of the 1980s and 1990s.  

Welsey Stace in conversation with David Eastaugh  https://wesleystace.bandcamp.com/ https://www.wesleystace.com/albums Recorded at Studio 1935 in Philadelphia's historic BOK Building, One Last Heist is produced, arranged and written by Wes and longtime collaborator David Nagler. The core band comprised Nagler himself (keyboards), Eddie Carlson (bass), and Stéphane San Juan (Caetano Veloso, David Byrne, Marcos Valle) on the drums. These backing tracks were supplemented by stellar guitar work from Joe Gore (Tom Waits, Tracy Chapman) and Justin Mazer (Bob Weir), extra drums from Patrick Berkery (The War on Drugs) and backing vocals by Chris von Sneidern. The bells and whistles - string quartets, clarinets, flutes, flugelhorns etc - were contributed later by friends all over.    This heist began with frustrations about the one before, Stace recounts: “We'd intended the previous album Late Style to be the most elegant record imaginable, but COVID was a scruffy time and much of it was recorded in isolation in far-flung locations, without the chemistry and esprit de corps of musicians playing together in real time in the same space. It just couldn't be done how we wanted. So the prime motive here was to go one better, to arrange the songs first, then record them as a band, playing live in the studio, to let it be a ‘players' record, allowing for expressive solos, room to relax a little. Studio 1935 is open plan, very welcoming, not lots of isolated booths, so we were all able to congregate, interact, and improvise.” 

Morgan King in conservation with David Eastaugh  https://morganking.bandcamp.com/ King's musical career began in 1979 as drummer for Manchester band Illustration, who were subsequently signed by the indie label, "Some Bizzare" featuring on the Some Bizzare Album. After several years immersed in the UK indie scene, King's musical direction changed considerably with the advent of house music in the late 1980s. In 1988, King moved to Chicago and started writing with Kym Mazelle and Marshall Jefferson on Mazelle's first album, Crazy, which was released the following year. In 1989, King joined his third band, the Manic MCs who had a UK top thirty hit with their first release, "Mental".  

Vince Hunt in conversation with David Eastaugh A Witness are an English post-punk/indie rock band, who were originally active in the mid-1980s alternative music scene. Their first EP Loudhailer Songs brought them to the attention of BBC Radio 1 disc jockey John Peel, for whom they recorded four sessions. Their career was brought to a halt with the death of guitarist Rick Aitken in 1989. Founder member and songwriter Vince Hunt revived the band with a new line-up for a series of UK-wide dates in 2014 marking the 25th anniversary of Aitken's death, and the band continues to play live.

John Whybrew in conversation with David Eastaugh  https://portioncontrol.bandcamp.com/music https://portioncontrol.net/ Emerging from the immediate post-punk musical landscape, Portion Control swiftly developed a raw, minimal sound utilising sequenced synthesisers, samplers and strident vocals built on driving, rhythmic structures. Their fiercely independent approach and experimental use of early technology positioned them as pioneers of the electro-industrial genre, as exemplified by their 1982 debut album, ‘I Staggered Mentally', mini-LP ‘Hit The Pulse' (1983) and second album ‘..Step Forward' (1984), all formative works in the evolution of hard-edged dark electronic dance music.Following a hiatus that began in the late '80s, Portion Control staged their return in 2004. Symbolically plotted on the steps of the British Museum, they introduced a darker, tighter style that nevertheless retained their uncompromising edge. Releases such as ‘Wellcome' (2004), ‘Filthy White Guy' (2006), ‘Pure Form' (2012) and the trio of ‘SEED' EPs issued in 2020-25 documented this renewed phase, combining the band's original aesthetic with contemporary production techniques.Throughout their career, Portion Control have remained resistant to commercial pressures while continually exploring new directions in sound. Their body of work stands as a significant contribution to electronic music history, both for its originality and for its lasting influence on subsequent artists within genres such as industrial, EBM, techno and darkwave.

Gregor Gall in conversation with David Eastaugh  Link to book is https://www.bloomsbury.com/uk/marxism-in-music-9798765140888/    the discount code is MARXISM35   In Marxism in Music: Constructing a Communist Contra-Culture with The Redskins, Rock'n'roll and Revolution, Gregor Gall examines how The Redskins, so-called for their skinhead aesthetics and commitment to a socialist ideal, were a deliberately political band and built a counter-hegemony through their music and activism. At the height of Thatcherism in Britain, The Redskins were aligned with the politics of the Socialist Workers Party, though the party did not accept their idea of that a working-class culture could exist. Despite resistance and contradiction, The Redskins created stirring and danceable music that introduced young people to socialist politics, playing over 250 gigs between 1982 and 1986, of which one quarter were benefit gigs for, as an example, striking miners. Featuring a foreword by Redskins bass player Martin Hewes this book analyses the band's political intentions, interpersonal and inter-party tensions and the outcomes of their ideological, political and creative choices by drawing upon interviews with Hewes, other musicians like Billy Bragg, and the band's followers. The book uses as a comparison another left-wing band of the same period, Easterhouse, to tease out how and why The Redskins were and are influential amongst a certain milieux and how going against the grain, even among comrades, made for the group's particular contribution to music culture and politics.

Steve Addabbo in conversation with David Eastaugh https://www.steveaddabbo.com https://shelterislandsound.com American record producer, songwriter and audio engineer, who helped launch the careers of Suzanne Vega and Shawn Colvin. He had a vital hand in Vega's hit single, "Luka" and Colvin's album Steady On. He has produced and/or engineered for artists including Bobby McFerrin, Bob Dylan, Jeff Buckley, Gary Lucas, Richard Shindell, Suzanne Vega, and Dar Williams.

Matt Eaton in conversation with David Eastaugh  https://www.facebook.com/pushthepram/?locale=en_GB https://pram.bandcamp.com/music Pram are an English post-rock band formed in Birmingham in 1988 by singer-keyboardist Rosie Cuckston, guitarist Matt Eaton, drummer Andy Weir and bassist Samantha Owen. Subsequent lineups have changed frequently, most notably with Cuckston's departure in 2008. Their electronic pop sound, described as "equally quaint and unsettling," employs unconventional instruments and draws on stylistic influences such as krautrock, exotica, and dub. The group signed to Too Pure Records in 1993, where they released their debut LP The Stars Are So Big, The Earth Is So Small... Stay as You Are. They later signed to Domino. Following the 2007 album The Moving Frontier, they took a lengthy hiatus, returning in 2018 with Across the Meridian.

Dave Jackson in conversation with David Eastaugh  https://theroomtheroominthewood.bandcamp.com/ https://www.facebook.com/p/The-Room-100063702032127/ The Room are a new wave band from Liverpool formed in late 1979. They released three albums and several singles before breaking up in 1985. Two of the band members went on to form Benny Profane, Dust, and Dead Cowboys. The band reformed in 2023. he Room, returned in 2023. Original members Clive Thomas, Dave Jackson and Becky Stringer are joined by new bloods, Ethan Kyme and Darren Brown. They have since released two albums, Restless Fate (2023) and The Telling (2024) on 9x9 Records, will release their third album, Doom Pop! in September 2026. Album opener, Drill, Baby, Drill is a response to the orangepig-who-would-be-king and his enablers. Nine new dark-tinged pop songs, plus a re-recorded version of their 80's John Peel favourite, Things Have Learnt to Walk that Ought to Crawl. Pressed on eco-vinyl giving each copy of the LP a random colour mix.

Brian Protheroe in conversation with David Eastaugh  https://brianprotheroe.bandcamp.com/ English singer, songwriter, narrator and actor. He is best known for his first single, "Pinball", released in August 1974, which entered the UK Singles Chart at number 40 and reached a peak of number 22.  n 1973 Protheroe was playing the part of a pop singer in a play called Death on Demand, when a representative from Chrysalis Records heard a song he had written for the show. His first single, "Pinball", was released in August 1974, and it entered the UK Singles Chart at number 40 and reached a peak of number 22. Then followed by an album of the same name. The follow-up single "Fly Now" made Capital Radio's "Capital Countdown" chart.

Tim Quirk in conversation with David Eastaugh  https://wonderlick1.bandcamp.com/ https://www.facebook.com/Wonderlick/ Wonderlick is a Los Angeles–based indie rock band established in 2001 by Too Much Joy members Tim Quirk and Jay Blumenfield. Quirk and Blumenfield originally formed the band in December 2000 to record free music for a website, entitled "Susquehanna Hat Company", which they had set up to sell Too Much Joy merchandise. Jay Blumenfield's mother died two days before he got on a plane to Virginia to record this Wonderlick album. He went anyway. He and Tim Quirk — the two halves of Wonderlick, a band that's been making records since 2001 — had spent months planning this trip. Inspired by two wildly successful (artistically AND economically) house show tours and binge-watching Les Blank documentaries, they wanted their next LP to capture the sense of immediacy and abandon those acoustic house shows had fostered.   So they hired a mobile recording engineer and fiddler named Mike Mitchell in Floyd, Virginia, a tiny Appalachian town where every other citizen just so happens to be a virtuoso player of old-time music. Their original plan had been to arrive on a Friday night, when the Floyd Country Store hosts weekly jamborees, and hire some of the musicians they heard to record Wonderlick's latest batch of songs in a cabin in the woods.   But Mike assembled a stellar crew of locals before they even arrived: banjo players, an upright bassist, a drummer, a clog dancer. He'd also secured a meditation center called the Shanti for the recording — a gorgeous open space with a wood-burning stove that, the band couldn't help noticing, felt a lot like the Black Lodge from Twin Peaks. They'd spent a week Googling the Nashville numbering system, because that's what the Floyd musicians wanted instead of chord charts.   The idea was to find out what happens when you teach old-time musicians your punk-y songs. Best case: invent a new genre that somehow sounds like it's been around for centuries. Worst case: waste all the money you earned on your last tour on embarrassingly unreleasable tapes.   So Jay flew east with his grief, and Wonderlick got to work.   The result is Wonderlick Loves You, an album that has all the immediacy and abandon they'd been reaching for, as well as an undercurrent of woe they hadn't expected but probably should have been prepared for.

Tom Bailey in conversation with David Eastaugh http://thompsontwinstombailey.co.uk/ Thompson Twins were an English pop band, formed in 1977 in Sheffield. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity during the early and mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the world. In 1993, they changed their name to Babble, to reflect their change in music from pop to dub-influenced chill-out. They continued as Babble until 1996, at which point the group permanently broke up. At various stages they had up to seven members, but their best known line-up was as a trio from 1982 to 1986. The band became a prominent act in the US during the Second British Invasion, and in 1985 performed at Live Aid in Philadelphia, where they were joined on stage by Madonna.  

Jerome Soligny in conversation with David Eastaugh  https://www.accartbooks.com/uk/book/david-bowie-music-lover/ David Bowie: Music Lover is a compelling mix of personal insight and expert commentary, jointly written by Bowie's lifelong friend, collaborator and listening companion, Geoff MacCormack, and Jérôme Soligny, author of the seminal Rainbowman, who knew Bowie for 25 years. From Classical to Britpop, Electronica to Delta Blues, the book explores Bowie's eclectic playlist, redolent of the decades he lived through but also of his deep interest in all genres and eras of music. It's a story that begins with Little Richard on Bowie's childhood Dansette record player, and ends with Kendrick Lamar, a go-to listen during the recording of Blackstar, released just two days before he died. An indispensable guide for Bowie fans and all Music Lovers.

Jason Stoll in conversation with David Eastaugh  https://jaawband.bandcamp.com/ https://godunknownrecords.bandcamp.com/album/zones-3 https://deadneanderthals.bandcamp.com/album/twin-sister https://sexswing.bandcamp.com/ Jason Stoll is a prolific musician and has featured in many bands including Mugstar, KLÄMP, Sex Swing, Twin Sister and now JAAW. Plus he also runs the God Unknown Records label who have put out records by a diverse range of artists

Frank Sweeney in conversation with David Eastaugh  https://www.facebook.com/frank.sweeney1 After forming in June 1983, they first played live as a band in August that year, soon attracting the attention of future Creation Records boss Alan McGee, who gave them several gigs at the 'Living Room', but reputedly decided not to sign The June Brides to his new label as it would have been "too obvious". Two Joe Foster-produced 1984 singles on The Pink Label, "In The Rain" and "Every Conversation" saw The June Brides receive much attention, and these two songs appeared frequently on compilation albums from that era. A year later, the mini-album There Are Eight Million Stories... appeared (produced by John O'Neill of That Petrol Emotion) and went straight to number one in the UK Indie Chart, staying there for a month. The album remained in the indie chart for 38 weeks. Disillusioned with Pink, the band moved to Marc Riley's In-Tape label for two further singles - "No Place Like Home" and "This Town" and, in 1986, opened for The Smiths on their Irish tour dates. The June Brides were asked to contribute to the NME's C86 compilation but declined for fear of being pigeonholed.

Nicholas Freeman & Ramiel Petros in conversation with David Eastaugh https://www.youtube.com/watch?v=2bpJfIG03yE Former Norwich City star Tony Powell vanished from professional soccer in the 1970s. Decades later, he's found managing a West Hollywood motel, the last tenant of a disappearing place and of a life lived in secret.

Bruce Watson in conversation with David Eastaugh  https://bigcountry.co.uk/ Big Country Redux are led by Bruce Watson, one of the founding members of Big Country, alongside the late, great guitarist, singer and songwriter Stuart Adamson. Now, Big Country Redux announce the ‘Eastworld' album, which will be released on CD, Vinyl and Digital on 19 September through Absolute. The album will be preceded by the first single, the title track ‘Eastworld' on 5 June 2026. The album consists of 10 brand new recordings of Big Country songs originally written or co-written by Stuart Adamson, which were released as demoes or sketches, but never previously properly developed or lavished with the attention they deserved. With the publication of the well-regarded book on Adamson's life ‘Stay Alive' by Scott Rowley, and a forthcoming documentary, the spotlight is on the band and the legacy once again. Bruce Watson said of the ‘Eastworld' release, “Some of these songs will be known to the diehards as they have sneaked out from the archives as unfinished demoes or ‘internet only' releases, but these are all songs that deserved to be developed further at the time they were written. I am delighted to have now completed them; it is a true privilege to get this newly recorded material out there. All of these songs were sketched out on old reel to reel tape recorders in dingy basements or in small 8 track studios”.

Alfie Agnew in conversation with David Eastaugh  https://professorandthemadman.bandcamp.com/ https://www.facebook.com/professorandthemadman   Sean Elliott and Alfie Agnew are the songwriters and co-frontmen of Professor and the Madman. Elliott sees Dreamworld as a continuation of themes discussed on the group's previous album, the critically acclaimed Séance, released in 2020.    “Séance was about re-establishing contact with an era, a way of life, that seems to be making a comeback,” he said. “Like many people, the ritual of bringing home a vinyl record and immersing yourself in its journey was crucial to Alfie and me. With Dreamworld, we've expanded that concept to include the idea that a song cycle can still provide escape—even if briefly—from the daily chaos. Modern life is fueled by anxiety, and most of these new songs express that.”     Dreamworld's musical foundation is inspired by ‘60s baroque pop, but cocktail jazz interludes, classical flourishes, backwards guitar, and playful psychedelia sit comfortably alongside the tempest of punk-pop and alternative rock. “12 Strings and Tambourines” and “Temple of Madness” feature virtuoso performances from The Damned's rhythm section of Rat Scabies and Paul Gray. Elliott and Agnew trade off lead vocals on all the selections (except for a rare duet on “Songs in My Head,” to which Agnew also contributes trumpet) while also handling the lead and rhythm guitar parts, and keyboards.    To create music this ambitious, it's appropriate that the pair ventured outside of their Hollydale home studio in Fullerton, California, for the first time.

Robert Wringham in conversation with David Eastaugh  https://wringham.co.uk/film/ https://www.youtube.com/watch?v=54J_1Be63q4 In the 1980s and 1990s, Anthony Irvine was a comedian and cabaret performer. His act was a little unusual. As the Iceman, he went on stage… to melt ice. Literally. He'd bring a large block of ice onto the stage then proceed to melt it (or fail to melt it) in a variety of creative ways. Among his fans were Mike Myers, Jo Brand, and Bill Bailey. In 2010, when Robert Wringham wrote his book about this era of comedy, the Iceman could not be found. But a couple of years later, Anthony Irvine popped up again. This time as a visual artist called aim. What was going on? How much permanence and success can we assure for this man whose entire act was about impermanence and failure? The blocks live on! Starring ANTHONY IRVINE and ROBERT WRINGHAM with RONNI ANCONA, ROBIN INCE, STEWART LEE, NEIL MULLARKEY, SIMON MUNNERY, MARK THOMAS, and JO BRAND.  

Stephen Lawrie in conversation with David Eastaugh  https://thetelescopes.bandcamp.com/ The Telescopes are an English noise, space rock, dream pop and psychedelic band formed in 1987 by artist, composer, and musician Stephen Lawrie, with band members David Fitzgerald and Joanna Doran joining later. The band's line-up is in constant flux; there can be anywhere between 1 and 20 members on a recording.

Paul Leary in conversation with David Eastaugh https://buttholesurfersmovie.com/ THE BUTTHOLE SURFERS ARE LEGENDS. NO ONE FLEW THEIR FREAK FLAG HIGHER.    The band exploded onto the underground music scene in the 1980s, amazing a growing audience as they built one of the most mind-boggling surrealist rock and roll spectacles ever devised. Their very name was a fuck you to the straight, conformist, homophobic Reagan ethos of the time. They were radically inclusive and pushed the limits of artistic expression and lifestyle.   They lived on the edge – nomadic art-punk pioneers on an endless tour, blowing minds and spreading their art to a cult following. When they started, their name was so shocking newspapers wouldn't print it. Ten years later, Beavis and Butthead and Letterman were saying it on prime-time national TV.   Insiders always knew how important they were: one of Kurt Cobain's favorite bands, Perry Farrell asked them to perform at the first Lollapalooza, Led Zeppelin's John Paul Jones produced their first major label record, and their fans are a who's who of some of the world's most influential artists.  

Kim J Simpson in conversation with David Eastaugh  https://www.kimsimpson.us/ https://kimsimpson.bandcamp.com/ https://www.amazon.co.uk/Early-70s-Radio-Kim-Simpson Kim Simpson is an Austin-based singer-songwriter, fingerstyle guitarist, and radio host whose musical journey defies genre boundaries. A native of Salt Lake City, Utah, Kim grew up surrounded by a rich blend of jazz, rock, and Scandinavian folk music, all of which shaped his eclectic sound. He's known for his soulful acoustic performances, weaving together original songs, virtuoso guitar work, and a multilingual repertoire. As the host of The International Folk Bazaar on Austin's KOOP Radio, Kim shares his deep passion for global roots music with listeners while also diving into his own musical explorations. His most recent releases include Tex Mex Guitar, an EP showcasing his fingerstyle interpretations of conjunto accordion songs, and The Comets Swish Their Tails, a collection of 15 new originals. Kim's dedication to his craft has earned him accolades such as “poetry and power” from Dirty Linen and “infectiously melodic” from NPR.  

Molly Tie in conversation with David Eastaugh  https://omnibuspress.com/products/rebel-grrrls?srsltid=AfmBOopJhSAnhQq9LIB3NO8T9zN9PSlNCL7axjGdFHoXKjLVSHFm7RNP From the gritty streets of 1970s London to the sun-soaked beaches of 2000s California, Rebel Grrrls: The Real Story of Women and Punk is a raw and exhilarating exploration of rebellion and identity, seen through the eyes of its fans. This book goes beyond the musicians, spotlighting the women who defied small-town limitations, challenged family expectations and shaped the scene from the inside out. Molly Tie examines what the movement has meant to millions of fans, setting their experiences within a wider cultural and political landscape. What is it like to be a woman at a gig? Which bands and songs truly reflect the female experience in a male-dominated space? And how does our connection to alternative music change when powerful figures face allegations of abuse? Spanning every era from the British explosion and American hardcore to riot grrrl, pop-punk, emo, ska and today's activist revival, Tie reveals how women in the movement have fought to be heard, proving that, at its best, punk is about refusing to stay silent.

Stephen Kent in conversation with David Eastaugh https://www.facebook.com/stephen.kent.336 Stephen Kent is one of the most celebrated performers and composers playing the Australian Aboriginal Didgeridoo (Didjeridu) in the contemporary world. In a career spanning four decades of professional appearances across five continents, he has amassed a catalog of over thirty full length albums, including eight solo and numerous genre-bending projects, whether with his own groups or with other world-renowned musicians.      

Roman Jugg in conversation with David Eastaugh https://www.facebook.com/roman.jugg n late 1981, Jugg worked with the Damned as a touring keyboardist before becoming a full-time member in 1982 for the album Strawberries. Jugg also worked on a number of Damned-adjacent projects, including Naz Nomad and the Nightmares (under the alias Sphix Svenson_. and David Vanian and the Phantom Chords. After Captain Sensible left The Damned in 1984, Jugg moved from keyboards to main guitar and became a full member on the studio albums Phantasmagoria (1985) and Anything (1986). After the 1989 breakup of The Damned he continued to work with Dave Vanian and Bryn Merrick, forming The Phantom Chords. A studio album called David Vanian and the Phantom Chords was released in 1995. In May 2004, after a nine-year absence, Jugg released a new solo album called Papa Loco.

Bridget St John in conversation with David Eastaugh English singer-songwriter and guitarist, best known for the three albums she recorded between 1969 and 1972 for John Peel's Dandelion record label. Peel produced her debut album, Ask Me No Questions. She also recorded a large number of BBC Radio and Peel sessions and toured regularly on the British college and festival circuit. St John appeared at leading folk venues in the UK, along with other folk and pop luminaries of the time such as Nick Drake, Paul Simon, and David Bowie, among others. In 1974 she was voted fifth most popular female singer in that year's Melody Maker readers poll. Blessed with a "rich cello-like" vocal style, she is also an accomplished guitar player who credits John Martyn and Michael Chapman as her "musical brothers".

Graeme Revell in conversation with David Eastaugh  Soundtrack composer, experimental musician and author. Born in Auckland, New Zealand on 23 October 1955. Moved to Australia where he founded the legendary industrial band SPK in 1978. After 3 records of extreme noise assaults and controversial subjects, SPK turned toward synth-pop, consisting of just Revell and his then wife Sinan Leong. In the mid 1980s Revell started the Musique Brut label to release some solo recordings in the fields of ambient and experimental music. He then evolved into composing soundtracks for a lot of mid and high-budget Hollywood productions, becoming very succesful at it.

Barry Blue in conversation with David Eastaugh  https://barryblue.co.uk/home English singer, producer, and songwriter. As an artist, he is best known for his hit songs "Dancin' (on a Saturday Night)" and "Do You Wanna Dance" (both 1973). Blue has also been a prolific songwriter and producer for many artists and has had over forty worldwide hits, including those by Andrea Bocelli, Diana Ross, Celine Dion, The Saturdays, The Wanted, and Pixie Lott. In film and television, Blue has provided soundtracks and/or themes for productions including Eyes of Laura Mars, The Long Good Friday, and Escape to Athena.

Alfie Agnew in conversation with David Eastaugh  https://professorandthemadman.bandcamp.com/ https://professorandthemadman.com/ American mathematician, singer, musician and songwriter. In a career spanning more than 30 years, Agnew is best known for being a member of the punk bands the Adolescents and D.I. as well as the group Professor and the Madman. Alfie's brothers Rikk Agnew and Frank Agnew are also former Adolescents guitarists.

John L Williams in conversation with David Eastaugh  https://www.amazon.co.uk/Heatwave-Summer-Britain-Boiling-Point/dp/1800961715 With temperatures soaring to 35ºC, severe water shortages and a sunburned population queuing at the standpipes, the summer of 1976 was always remembered as Britain's hottest. But the wave that hit the UK that year was also cultural and political, with upheaval on the streets, in parliament, on the cricket pitch and on the radios and TV sets of a nation at a crossroads. Before this blistering summer, Britain seemed stuck in the post-war era, a country where people were all in it together - as long as you were white, male and straight. In July, Tom Robinson writes a song called Glad to be Gay, and by August bank holiday, Black youth are making the police run for their lives in the almighty riot at the Notting Hill Carnival. But with the Labour Prime Minister Harold Wilson suddenly quitting, the pound sinking and the economy tanking, a restless immigrant population and increasing dissatisfaction in the old world order, the weather seemed to boil up the country to the point where the lid blows off. Weaving a rich tapestry of the news stories of the year, with social commentary and dozens of first-person interviews with those that were there at the time, Williams's reappraisal of the summer of '76 is an evocative, sometimes nostalgic but always an unflinching read. Heatwave takes us back to relive the events of that summer and asks - have we really moved on as much as we would have liked?

Ian Prowse in conversation with David Eastaugh  https://amsterdam-music.com/ Singer-songwriter, currently frontman of Amsterdam and previously of Pele.    

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.

Stephen Hunking in conversation with David Eastaugh https://hypnolovewheel1.bandcamp.com/album/parallel-universe Hypnolovewheel was an American indie rock band from Long Island. Despite positive critical reviews, the band's albums were never particularly successful, and they split in 1993. Band's members include Stephen Hunking (guitar and vocals) Dan Cuddy (bass and vocals), Peter Walsh (drums and vocals) Dave Ramirez (guitar and vocals). 

Rachel Carns in conversation with David Eastaugh https://drawingroomrecords.bandcamp.com/album/this-being-the-ballad-of-kicking-giant-halo-nyc-olympia-1989-1993 American musician, composer, artist and performer living in Olympia, Washington, U.S. Raised in small-town Wisconsin, she went on to study painting and drawing at Cooper Union for the Advancement of Science and Art in New York City, where she completed her B.F.A. in 1991. Carns began her career as drummer for Kicking Giant, later collaborating with several bands, including The Need. She is a celebrated graphic designer, working under the name System Lux, and plays drums and percussion with experimental performance art group Cloud Eye Control.

Tae Won You in conversation with David Eastaugh https://kickinggiant.bandcamp.com/album/alien-i-d-klp034 Rachel Carns' first band was Kicking Giant with fellow Cooper Union student Tae Won Yu, with whom she played drums and sang from 1990–1995. Their first show was in the storefront window of a Brooklyn junk shop; Carns stood up and played just one drum, a floor tom. Kicking Giant played around New York City and the northeast with bands like Codeine, Uncle Wiggly, and fellow "love-rockers" Sleepyhead; Carns continued to expand her stand-up kit, building around the central floor tom, anchor to Yu's whirling guitar and bedrock of their unique sound. Live, their largely improvised mash of punk, free jazz, sugar-candy pop, and pure poetry meant that Kicking Giant never played the same set, or even the same song, twice.  

Frank Secich & Jim Kendor in conversation with David Eastaugh  https://www.facebook.com/fsecich https://peppermintrecords.bandcamp.com/album/dinner-at-mr-billys DINNER AT MR. BILLY'S During 1971 and 1972, the classic Blue Ash line-up of David Evans, Jim Kendzor, Bill "Cupid" Bartolin and Frank Secich played more than quite a bit in Pittsburgh, Pennsylvania. It seemed like we were playing "The Burgh" 4-5 nights a week. At the time, we had two booking agencies in Pittsburgh, Go Attractions (Rich Engler and Paul St. John) and Fly By Night Productions owned by Joe Riccelli. One time back then we were driving on Rt. 51 south of Pittsburgh to a gig in Clarion. Cupid looked out the window of the car and saw a big sign for a restaurant called "Mr Billy's”. He said to all of us as he pointed to the sign, "If we ever get to make an album, we should call it "Dinner At Mr. Billy's". We all laughed. I thought it was a hilarious idea. Cupid and I even wrote a song right after that called "Dinner At Mr. Billy's", then we promptly forgot about the whole idea. While going through the vaults recently at Peppermint Productions, we found the tape of the song "Dinner At Mr. Billy's" and in honor of Cupid, Mr. Billy has now finally made it out of oblivion and on to an album. 

Andrea Reid in conversation with David Eastaugh https://www.facebook.com/wilderness.children https://www.youtube.com/watch?v=f79Th-VwMAc Indie rock band from Dundee, Scotland         

Annette Simons in conversation with David Eastaugh  https://www.facebook.com/baerchenunddiemilchbubis https://www.facebook.com/annette.simons.18 Founded in Hanover in 1979 by Annette Grotkasten, Rudolf Grimm , Andreas Kühne, and Martin Fuchs, Bärchen und die Milchbubis played their first concert in Offenburg in early 1980. From mid-1980 onward, they regularly performed as the opening act for Hans-A-Plast . In 1980, they released the EP "Jung kaputt spart Altersheime" on No Fun Records . The title track was the most played single on Bavarian Radio 's youth radio station that year . Afterward, bassist and songwriter Martin Fuchs left the band and was replaced by Kai Nungesser.  

Peter Guralnick in conversation with David Eastaugh  https://store.whiterabbitbooks.co.uk/products/the-colonel-and-the-king In early 1955, Colonel Tom Parker discovered a teenage Elvis Presley and declared him destined for greatness. What followed was one of the most extraordinary partnerships in music history and the creation of a bond built on loyalty, ambition and an unshakeable belief in each other. From the meteoric rise that reshaped popular culture to the struggles that shadowed their final years, this concluding volume of Peter Guralnick's acclaimed trilogy reveals the full complexity of their relationship. Drawing on previously unpublished letters and telegrams from Parker's own archives, it offers an intimate, unflinching portrait of two American originals: the visionary manager who invented the modern superstar and the artist who became one. Brilliant, flawed and inseparable, Elvis and the Colonel changed the music world forever.

Anthony Moore in conversation with David Eastaugh  https://halfcatmusic.com/ British experimental music composer, performer and producer. He was a founding member of the band Slapp Happy, worked with Henry Cow and has made a number of solo albums, including Flying Doesn't Help (1979) and World Service (1981). As a lyricist, Moore has collaborated with Pink Floyd on two of their albums: A Momentary Lapse of Reason (1987) and The Division Bell (1994), and contributed music to the instrumental "Calling" from The Endless River (2014). He contributed lyrics to Richard Wright's Broken China (1996), worked with Kevin Ayers on various projects and also contributed lyrics to Trevor Rabin's Can't Look Away (1989) and Julian Lennon's Help Yourself (1991).

Myke Scavone in conversation with David Eastaugh  Following the disbandment of the Doughboys, Scavone began a career as a session drummer throughout the late 1960s and early 1970s. He was performing on demos for producers Jerry Kasenetz and Jeffry Katz when he joined the newly formed Ram Jam, led by guitarist Bill Bartlett, in 1977. The band had found success with a cover of the Lead Belly song "Black Betty". Scavone performed on both of the band's albums, Ram Jam and Portrait of the Artist as a Young Ram before the band disbanded in 1978. He did not perform on the band's only hit, "Black Betty", as it had been recorded by Bill Bartlett's former band Starstruck and credited to Ram Jam following Starstruck's disbandment.