Skip to main content

Neu! Reekie! Records – Jesus, Baby! What's Goin' On?

Over the last eighteen months, Neu! Reekie!'s monthly Friday nights of what used to be called alternative entertainment has captured Edinburgh's off-piste underground in a way not seen since Rebel Inc lit-zine first broke cover in the early 1990s. Neu! Reekie!'s speak-easy pot-pourri of spoken-word performances seen in-between screenings of avant-garde animations with a live music finale also recalls the ghosts of live-art cabaret night Silencio!, which lit up Edinburgh a few years back, while its spirit dates back to the 1980s post-punk happenings of Richard Strange's recently revived Cabaret Futura nights.

Now Neu! Reekie! Ringmasters Michael Pedersen and Rebel Inc founder Kevin Williamson bring us Neu! Reekie! Records, an aural experience that spreads the night's multi-media inclinations even further. Their first release is a double A-side 7” single, with Pedersen and Williamson overseeing a side apiece. While on one side, Williamson performs the title poem from his collection, In a Room Darkened, for his contribution, a lovely ditty called The Caterpillar Tango, Pedersen has conjured an avant-indie-pop super-group into being.

Jesus, Baby! Are some-time driving force behind Fire Engines, Win, The Nectarine No 9 and now The Sexual Objects Davy Henderson, former Futuristic Retro Champions keyboardist and current TeenCanteenist Carla J Easton, Belle & Sebastian associate Roy Moller and The Wellgreen/The Store Keys dynamo Marco Rea, who gift-wrap Henderson's lead drawl in some delicious harmonies on a lovely concoction mixed and mastered by former Coral guitarist Bill Ryder Jones..

We didn't want to just put out a single,” explains Pedersen, who drafted in former Coral guitarist Bill Ryder Jones to mix and master a song penned with Henderson's voice in mind following an acoustic Sexual Objects set at Neu! Reekie! “We wanted it to be curated so it reproduced the back-catalogue of Neu! Reekie!”

The nearest comparison with Neu! Reekie! is with Giorno Poetry Systems, the label set up in 1972 by post-Beat poet/artist John Giorno, who released albums by the likes of novelist William Burroughs and chart-topping performance artist Laurie Anderson, as well as Giorno's own collaborations with No Wave composer Glenn Branca. In the UK, poet and publisher Michael Horovitz, whose Children of Albion compendium inspired Rebel Inc's own Children of Albion Rovers, took musical associates culled from the pages of his New Departures imprint on the road. These included jazz pianist Stan Tracey, saxophonist Lol Coxhill and People Show founder Jeff Nuttall, as well as Horovitz himself.

In keeping with Neu! Reekie!'s all-embracing eclecticism, the single's cover art will be provided by Jim Lambie, while the record's launch will be a three-pronged long weekend. This begins with a Friday night Edinburgh show featuring Jesus, Baby!'s debut alongside Williamson, and with appearances from novelist Alan Bissett and ex Arab Strap guitarist Malcolm Middleton. An afternoon in-store appearance at Avalanche the next day will see the record physically available for the first time, while a Saturday night Glasgow grand finale will feature a reading from Scotland's original polymath Alasdair Gray. Each Jesus, Baby! member will then show off their individual band's wares before regrouping in a glorious Jesus, Baby! Huddle.

We've started a record company as a visceral representation of what we do in Neu! Reekie!,” Pedersen says, “and now we're turning that into a live event.”

Neu! Reekie! Records Unveiled, Scottish Book Trust, Edinburgh, July 27th, 7-10pm, with Jesus, Baby!, Kevin Williamson, Michael Pedersen, Alan Bissett and Malcolm Middleton: Avalanche Records, Edinburgh, July 28th, 2-3pm, with Jesus, Baby!, Kevin Williamson, Michael Pedersen; Mono, Glasgow, July 28th, 7.30-10.30pm, with Alasdair Gray, Jesus, Baby!, The Sexual Objects, TeenCanteen, The Store Keys, Kevin Williamson, Michael Pedersen

A shorter version of this article appeared in The List, July 2012

ends















Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...