Won't Look Back

Subway Sect were there at the beginning. They played the Punk Rock festival (which tradition demands I should have prefaced with the word “legendary”) at London’s 100 Club in August 1976 alongside the Sex Pistols, the Clash, the Damned and the fledgling Siouxsie and the Banshees. Those bands all went on to burn brightly and, in the case of some, relatively briefly. Subway Sect released two singles in 1978: Nobody’s Scared, with its thunderous drumming, choppy guitars and accusatory lyrics - “No-one knows what they want/No-one even cares” - and Ambition, a Farfisa-tinged slice of infectious punk with the nihilistic, stylised warble of lead singer Vic Godard (“Nothing ever seems to happen to me”) on top. On the cover, there was a black and white shot of Godard, suitcase in hand at a grim London railway terminus, dressed as always in open-necked shirt, loose tie and suit jacket in various shades of grey. Subway Sect were always like that: dark, stark clothing and the haircuts of 1950’s angry young men. Then there was Godard: only two Ds in honour of Jean-Luc and he looked like the author photograph on the back of a French existentialist novel. These boys seemed to be a different kettle of fish.

1979 passed and nothing. The album the band recorded never saw the light of day and they split up. And then in 1980, What’s the Matter, Boy? was released, an album under the name Vic Godard & Subway Sect. Some of the songs were the band’s but with radically different arrangements and the album showed the influence of northern soul, 50’s rock ‘n’ roll and even earlier easy listening. I loved it: if Subway Sect were apart from the herd, this set Vic even further apart. Produced by Clash manager Bernie Rhodes it was probably intended to make Vic a star but it largely baffled critics and post-punkers alike. So Vic went back to being a postman in south London, something he would do intermittently over the next thirty years. In between, there would be albums and gigs; sometimes with the Subway Sect suffix, sometimes just in his name; sometimes with a lounge-jazz sound, sometimes with coruscating guitars. He has always worked with great people: Edwyn Collins and jazz musician Simon Booth from Working Week have produced albums; ATV’s Mark Perry, Polecat and Morrrisey collaborator Boz Boorer and Sex Pistol Paul Cook, have all featured.

On Friday night at the Green Door Store, an intimate underneath-the-arches venue, Cook was again on drums for the annual Brighton appearance by Vic Godard and Subway Sect, alongside original Sect bassist Paul Myers and more recent collaborators Mark Braby and Kevin Younger. Before they came on, we caught the tail end of the set by support band Asbo Derek (shamefully, it took me three days to get the joke in their name) and their perfect capturing of that spikey 1977 Television Personalities sound. And with equally humorous lyrics, they aimed their vitriolic barbs at targets such as Tory twit Eric Pickles, animal-loving but diversity-hating Brigitte Bardot and the Royal family. There was a fantastic moment during the song Backstairs Billy, an attack on the Queen Mother’s poor treatment of a legendarily promiscuous homosexual retainer (they can say that, they’re gay), when there was a collective gasp from the audience as they realised what lead singer, Jem Price, was going to rhyme the word “bedsitter” with but couldn’t quite believe it. Asbo Derek were a lot of fun and I wish I’d seen their whole set.

Older now but as dapper as ever, Vic takes the stage in grey Oxford bags, white open-necked shirt, cardigan and specs; only his nasal south London accent, when he speaks to the audience, gives away the fact that he is not a visiting professor. It is a tremendous set, spanning his entire oeuvre from rumbustious versions of those two early singles – Vic blasting out the harmonica on Ambition - to songs from his most recent album. The tapes of the original Subway Sect LP having been lost, in 2007 Vic recorded those songs as an album - 1978 Now – with the original Sect sound. Some of them – Out of Touch, Chain Smoking – featured on later albums with mellower arrangements but it is the spikier versions we get here.

Despite some repartee (I hate the word “banter”) between Vic and Paul Myers concerning the break-up of the original band (“You sacked me”; “No I didn’t”), they are enjoying themselves on the tiny stage. Seeing Paul Cook up close you realise what a great drummer he is. With a minimal kit, he is the mainstay of the northern soul rhythm that so many of the songs depend upon. There is plenty of nostalgia on offer: a poignant Empty Shell from the first LP, the rumba of Stop That Girl from 1986’s T.R.O.U.B.L.E album, and The Water Was Bad and Won’t Turn Back from 1993’s The End of the Surrey People. But it’s not all turning back; some of the best songs are the most recent: defiant opener Best Album (“we are not gonna leave until we’re done”), Back in the Community, a hymn to the vagaries of the prosaic working world, complete with On The Buses references to clipboard-toting Blakeys and oppressed Butlers, and the rollicking Rhododendron Town are all from the last album, 2010’s We Come As Aliens.

There is a great atmosphere as the set comes to a close but the late club night that is to follow dictates that there is only one encore. Then there is just time for a quick word and a handshake with the man before we head home. A new album is in production but, with only half the tracks complete, there is probably no danger of Vic increasing his average output of an album every five years.

Picture by Dave Stubbings

Downland: part six

Irene Loftus could afford neither stone nor stained glass window to memorialise her son. That he had died at such a young age, thirteen years before, as the war was playing out its final stages and when Germany’s surrender was only two weeks away, seemed a cruelty beyond understanding. Rangoon. Irene was sure it had to be liberated, that it was an important part of ending everything, but it seemed so far away, so loosely connected to the war as she understood it. The Japanese she would never forgive, but God she could forgive; she had never lost her faith. Joseph Loftus had no known grave but Irene knew his name was on the Rangoon Memorial in Taukkyan War Cemetery, 6,000 miles away; and she knew his name was on the Firle war memorial she passed as she walked up to St. Peters church to light a candle for Joseph as she always did on his birthday.

Deep in reverie, reliving those years of change, Ridler had no time to move – to either hat or hiding place - when he heard the latch of the oak door lift and snap. As Irene turned to replace the latch she stared straight at Ridler; his straked skin, the broad dark stripes and serifs half in shadow. She had no understanding of what she was seeing; only that it was a giant, it moved, had a mouth, made sounds, reached out a similarly tainted hand towards her. The whites of the eyes, set in deep, intense contrast to the surrounding ebony stripes, disturbed her most. A baffled, breathless gulp of a scream disturbed the tranquillity. Ridler implored, but she was gone. He heard her quick feet scudding on the gravel as he too left the church; and as the gate onto the village cracked behind her, Ridler straddled the wall at the back of the churchyard and dropped into the estate grounds. He admonished himself as he walked quickly across the open parkland: how foolish to have put himself in that position again, so exposed to ignorance and misunderstanding. He could encounter hostility at the most unexpected of moments without putting himself at the very heart of narrow thinking. At least the woman had been brief and unsophisticated. A year ago, the Writer’s reaction had been the contrary: he had not run from Ridler and his utterances had been anything but brief. That had been his most alarming encounter and he still did not understand it, nor its aftermath.

Foliage and Fairy Lights

The Old Market in Hove was built in 1828 as a covered marketplace to provide fresh meat, fish and vegetables to the well-heeled folk of Brunswick Town, a Regency estate built a few years earlier between the villages of Brighton and Hove. The good people of Brunswick were strangely resistant to the market and it became a riding school in the middle of the 19th century. It was subsequently used as a warehouse until the 1980s, when it became the arts venue it is today.

The performance space is excellent: a wide 500-capacity room with a good view of the stage from wherever you stand. When we arrived there on Monday night, British Sea Power were already just over halfway through their five-song ‘mellow’ set that I had been warned they would play before the support act. Having already played the stalwarts The Land Beyond and Blackout, I got to hear two tracks from next week’s new album, Machineries of Joy. A Light Above Descending and Radio Goddard, with Yan on heartfelt whispered vocals, seemed to be – not surprisingly in the circumstances – from the mellower end of their trademark sound. With the stage bedecked with foliage and fairy lights, there was a hibernal atmosphere to match the never-ending winter outside.

Before British Sea Power returned to the stage for their main set, support act proper East India Youth played a short and intriguing set. The ‘youth’ in the name is not a collective noun. William Doyle, a sickeningly young solo multi-instrumentalist from Bournemouth, via East India Dock on the Isle of Dogs, is signed to The Quietus website’s label Quietus Phonographic Corporation. The three songs from his recent four track (one is a re-mix) Hostel EP are showcased here. The melodious Looking For Someone and Heaven, How Long?, a plaintive slice of shimmering beauty, sandwich the more experimental Coastal Reflexions, a litany of south coast train stations that has been described as the Pet Shop Boys meets John Betjeman. Using keyboard, bass, treatments and vocals, Doyle’s sound has been termed a sort of techno-prog; but there are waves of early New Order synths and a rich, clear voice coming through the krautrock rhythms that give his songs a pop sheen. His album Total Strife Forever is out soon.

Now in their tenth year, British Sea Power intended this gig as a warm up for April’s Machineries of Joy tour but anyone worrying that it would be a new album set would not have left disappointed. Despite playing eight out of the ten new songs, they play for two hours over the two sets and, with such a consistently high quality body of work to choose from, draw on all of the previous four albums, especially 2008’s Do You Like Rock Music? The new album’s radio-friendly title track kicks off a pacey main set that romps through barnstormers such as No Lucifer, Fear of Drowning, Waving Flags and Carrion. New song Monsters of Sunderland uses Phil Sumner’s trumpet playing to great effect and, on many of the older songs, he joins Noble and Yan on guitar to provide a behemothic sound. And if Abi Fry’s viola is a little lost in the guitar cacophony of these and new song K Hole, on other debuted tracks such as Spring Has Sprung and Loving Animals, it comes to the fore. With off-album favourites Bear and The Spirit of St.Louis greeted warmly by veterans of the live shows, it’s a crowd-pleasing set. There cannot be many better live bands around than British Sea Power when they are on this form.

When they return to encore with Remember Me and the racket of Favours in the Beetroot Fields from 2003’s debut album, and the apt “winter overture” of Larsen B from the Open Season album, there is no sign of Ursine Ultra, Mr Fox or Titan the robot. However, Hamilton is wearing a Bernie Clifton-style horse costume – of course he is - around which he struggles to play his bass. The word is that Machineries of Joy is the last album of British Sea Power’s deal with Rough Trade and, with drummer Wood relocating back up to Cumbria, could this signal the closing of one decade and the start of the next ten years?

Oh, Doctor Beeching!

Fifty years ago next week, Dr Beeching’s report, ‘The Reshaping of Britain’s Railways’ was published. The report’s recommendations, accepted by Macmillan’s Tory government, resulted in a third of Britain’s rail network, and more than half of its stations, disappearing by the end of the 1960s. The Beeching Axe, as it was popularly called, was the most decisive blow in the economic death of rural Britain.

Despite living in Forest Row, Beeching did not spare East Sussex. The Cuckoo Line, linking Eridge in the north of the county with Polegate in the south, fell victim to his axe. Those two stations survived, as they were connected to other lines, but the cuts sounded the death knell for the stations in between: Rotherfield and Mark Cross, Mayfield, Heathfield, Horam, Hellingly and Hailsham.

Named after Heathfield’s spring Cuckoo Fair, the defunct line south of that town eventually became the Cuckoo Trail in the 1990s after it was purchased by the county council and developed by the sustainable transport charity, Sustrans, as part of the National Cycle Network. Today, the trail provides 14 miles of footpath and cycleway, and has been extended down to Hampden Park in Eastbourne.

Although the tracks are long gone, there are still some signs that there was once a railway: some buildings, embankments and bridges remain and names –Station Road – betray the erasure. But for twenty years after the trains stopped running, there were even more solid reminders of the Cuckoo Line. Platforms, yards and siding sheds were all very obvious in the late seventies and early eighties when Chris Jennings was taking photographs of the remnants of the railway age. If you visit his website there is a particular selection of ghostly black and white images, shot on a sun-bathed day in Hailsham in August 1978, that show the abandoned railway about to be superseded by the overgrowth of nature.

Downland: part five

He stepped inside and, removing his hat and scarf, backed himself into the corner. Behind him the pair of windows with Matthew’s succour for strangers - the hungry, the thirsty, the cold and the lonely: ye gave me meat, ye gave me drink, ye clothed me, ye visited me. Tolerance, at best, was Ridler’s view of the hospitality that had been extended to him. This was a memorial to a Viscount’s son; retrospective earthly munificence enshrined in stained-glass - a guarantee of celestial immortality. But this felt like sanctuary; the shelter and calm tranquillity of the church.

To his right, at eye-level, was the memorial stone to Allen Cornelius Thorold Mann, son of Colonel J.R. Mann. It was too far away for Ridler to make out the inscription from his corner but he knew what it said; he had read it many times before. This Midshipman had been one of five hundred aboard when HMS Captain had foundered off Cape Finisterre in 1870. He was 19 years of age when he perished. Gladys had looked it up for him in Lewes Public Library: the ship had capsized because of design faults. Captain Cowper Phipps Coles had pursued his turret ship design in the face of naval opposition but had pushed his plan through by soliciting public and political support. Fittingly, he went down with the ship but along with four hundred and eighty others. That the folly of one could have such an impact on so many staggered Ridler. He had himself come from that background of privilege and expectation but any trace of this inheritance had long since dissipated as he set himself apart from all men; but these arrogant men in positions of power, they were still displaying their idiocy to the world.

Eden, only two years ago, had sent young British soldiers to invade Egypt and airmen to bomb Cairo. At least the villagers here - despite living in the thrall of a feudal estate - had recognised this aristocrat’s stupidity, riotously burning his effigy on Guy Fawkes’ night on the Downs that year. Ridler had seen this for himself when out nightwalking. They had looked like a torchlit mob; he felt that if they had caught sight of him, it would have been the peasants marching on Castle Frankenstein to lynch the creature. He and Gladys had seen that film at the magnificent Granada Cinema on Mitcham Road the year it had opened. The cinema was so opulent and ostentatious it had seemed like the new world had come to south London. That was probably three years before Burchett had started on his face and most of his work could be safely hidden. He could go out in public unnoticed then; by the time Burchett had finished, and Ridler had completed the transformation with piercings and dental work, America would be the only place he would find acceptance.

Hit the North!

At the top end of Hailsham High Street, next to the Green Chilli Indian takeaway, you will find Gallery North, a not-for-profit community art gallery. As well as exhibiting a wide range of artworks - paintings and photography to ceramics, printmaking, illustration and sculpture – by local artists, the gallery organises the annual Hailsham Arts Festival every September, and is an important part of the town’s landscape.

Not only does Gallery North support local schools and art groups, and run classes and workshops, but over the past year the gallery has worked with the town council to bring life to a high street blighted by recession and the economic vandalism that Tesco and Asda have wrought on the town. By displaying the work of local artists and craftspeople in the windows of the empty shops, they have revitalised the high street; and this has even extended to artists getting out onto the street to paint murals on boarded-up shop windows.

And this week, Gallery North has emerged from its deep winter hibernation with a new exhibition by East Sussex-based artists Liz and Roger Scott, Julia Desch and Angela Anstey-Holroyd. ‘Natural Textures’ is an exhibition of photography and textiles and runs to Saturday 27th April 2013. The gallery is open from Tuesday to Saturday, 10am to 4pm and can be found at 70, High Street, Hailsham.

High Church Music

St. Bartholomew’s Church in Brighton, squashed in between the London Road and the railway station, is a monument to those architectural feats of the Victorian age. Built entirely of brick in a Germanic style, it is a pre-Brutalist slab that towers above those nearby temples of Mammon, Sainsbury’s and Costa Coffee. Designed by Edmund Scott, with much of the interior the work of the Arts and Crafts movement’s Henry Wilson, it was completed in 1874. Without spire or steeple, the 135-feet height to the apex of its roof gives St. Bartholomew’s claim to have the tallest body of a parish church in the country some weight. Whether this is true or not, it makes the place a bugger to heat.

There are few things in life that could persuade me to join several hundred other people on a perishing February night and sit for two hours in the nave of this church, where the temperature inside seemed no different from the zero degrees outside, but I Am Kloot are one of them. A curious choice for the sold out Sussex stopover of their short English tour, John Bramwell’s Manchester three-piece fit perfectly into this sacred setting, even if they don’t quite see it that way.

Why I Am Kloot are not better known is a puzzle. Bramwell’s gorgeous voice - a weary, reedy burr - and his nagging melodies have spun out across six studio albums since 2001. With sedentary bassist Pete Jobson and Captain Haddock lookalike drummer Andy Hargreaves providing the mainstay of their lazy, jazz-folk psychedelic sound, they only came to national attention when their fifth album, Sky at Night, was unsuccessfully nominated for the Mercury Music Prize. Augmented to a six-piece, the bulk of their set at St. Bartholomew’s is drawn from this album and their latest, Let It All In.

Seated near the front, the sound radiates up and out into the vast space but, as Bramwell notes, those at the back are probably hearing everything 18 seconds later. Bramwell is clearly discomfited by the sanctity of the venue – the band are the only ones in the place with an alcoholic drink – and continually gazes up to check that disapproval is not going to rain down on him. I Am Kloot have a celestial preoccupation: their lyrics are peppered with references to the sky and the stars – their heads are in the clouds. They open with From Your Favourite Sky, and Northern Skies is an early gem in the set. Bullets, Shoeless and Hold Back the Night (the night is another motif) feature amongst others from the new album and the set wraps up with a glorious trio of songs – Lately, Radiation and Proof – from Sky At Night.

When they return to encore with These Days Are Mine (time is also a recurring theme: "Isn't it rich? The future just keeps on coming"), Bramwell confesses that the band have struggled with the acoustics. What sounded spiritual and elegiac to the audience, was the sound of control spiralling away from the band and up into the heavens above.