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Showing posts with label new fast automatic daffodils. Show all posts
Showing posts with label new fast automatic daffodils. Show all posts

Tuesday, 22 April 2025

Desert

We went to the desert twice during our trip to Morocco. On each occasion it was a mind blowing and profound experience. The first excursion was to a pool resort on the edge of the Sahara. We sunned ourselves, had some more delicious Moroccan food and looked out into the desert, looking at the ridges and wadi, the endless shale and rock extending into the distance. My brother- in- law Harvey and I took a wander out of the resort and into the desert. We didn't go too far for obvious reasons. It was pretty humbling...

The second visit was the following evening, a trip further into the Sahara to see the sunset and then have a meal and enjoy some evening entertainment from local musicians. The drive out there was an experience in itself, turning off the road and onto a dust track that went on and on, over bridges that crossed dried out river beds, past camels and quad biking, tents and partially constructed/ falling down buildings, down a dip that I wouldn't have attempted in a minibus, round some tight bends, eventually arriving at our desert destination. The view from my seat through the van's tinted windows presented me this shot...

And then this one with some camel riders appearing over the horizon...

I don't know about you but my childhood was peppered with deserts- Indian Jones films, TV, books, comics, pop videos, Silk Cut and Turkish Delight adverts, Lawrence of Arabia (in 1981 when I was eleven years old there was a fancy dress party. Most of the eleven year olds went as Dr. Who, characters from Star Wars or Adam Ant. I went as Lawrence of Arabia- I was that kind of eleven year old). To be out in the Sahara and see camels (admittedly ridden by tourists) coming into view over the ridge was jaw dropping. The desert provokes a genuine sense of awe- it's vast and ancient, it will be there forever, long after we're all gone, it continues to grow each year (as Manchester's New Fast Automatic Daffodils noted on their epic 1990 single Big)...

Big

Once we arrived at our destination we followed our guide up a hill to a ridge of rocks where we waited for the sunset. Staring out into the desert as the sun began to dip was something else, an experience that's difficult to put into words- the immensity of the desert, the feeling of being a very small part of everything, the lives of people who have survived in this environment for thousands of years, the sense of staring into the past somehow... it was all very moving. As a friend commented on Facebook recently, 'deserts speak'.



I've got loads more photos of the desert, many of which will inevitably appear accompanying posts here over the upcoming weeks. 

In March 2019 Andrew Weatherall played at The Beta Hotel in Marrakech, an event hosted by Faber and involving David Keenan, Bugged Out and Heavenly recordings. Andrew's set was a dub set and I imagine his seriously dubbed out selections would have sounded pretty otherworldly in Marrakech. The set wasn't recorded but Sean Johnston unearthed Andrew's source CDs and shared them with The Flightpath Estate two eyars ago. The tracks were sequenced in the order they appear on Andrew's discs and uploaded to Mixcloud. You can listen to them here, two hours and eleven minutes of Moroccan Weatherdub at The Beat Hotel. 

Tuesday, 15 March 2022

Fishes Eyes Will Watch Your Lies

New Fast Automatic Daffodils coalesced in Manchester in the late 80s and were signed to Play It Again Sam, a record label based in Belgium who had early electronic rock groups on their books- Front 242, The Young Gods and Meat Beat Manifesto all released records on PIAS. New FADs fitted in with that sound in some ways, a groove based sound, drums and taut basslines to the fore, lots of percussion and bongos with clipped, spiky guitar and the gruff, economical vocals of singer Andy Spearpoint. As such, a rock band making kids dance, they had some crossover appeal with the Manchester sound of the late 80s even if they weren't really part of the scene. They had a run of singles after their debut (Lions) and a 1990 album, Pigeonhole, that all stand the test of time and really don't sound like thirty two years have passed since they were recorded. 

Big is a swirling five minutes of dance rock, starting with feedback and bongos and then some frenetic drumming takes over. This is the churning, speeding album version. The 12" has a different version, with Andy's echo laden vocals, 'The desert grows three miles a year/ It just grows/ It just grows', and the Big (Baku) remix by Jon da Silva, both well worth seeking out. 

Big

Big appeared on the Happy Daze compilation, a 1990 album released by Island to cash in on the flavours of the month/ year with Primal Scream's Loaded heading the album and The Soup Dragons, Pixies, Ride, The Charlatans, Shamen, Carter USM, Inspiral Carpets, James, Soho, The Wonderstuff, Jesus Jones and Happy Mondays all present. It sold by the bucketfull and likely many people's exposure to the New FADS was from this album. 

Fishes Eyes exists in multiple versions too, a slower take on the New FADs mutant dance rock. The 12" came with this one produced by Slow Bongo Floyd, with some skronky saxophone to make sure everything doesn't get too obvious. 

Fishes Eyes (Underwater)

Get Better came out in 1991, after Pigeonhole. This version was mixed by Martin Hannett, a man with not long left at this point. It's a cracking version of the song, full of tension and has energy to spare, Hannett crossing his production for the Mondays Bummed with something of what he'd done a decade earlier with ACR but between them, band and producer, coming up with a step forward. Dolan Hewison's guitar part stands out in the middle as the drums and bongos whip up a storm. 

Get Better (Martin Hannett Mix)

They were a phenomenal live act, totally engrossing and could get a whole venue dancing, not just those few diehards down the front. I saw them a few times round the period and a couple of years later briefly worked alongside Andy Spearpoint's partner (an English teacher in Failsworth, a school where I did a teaching practice).  Andy was a drama student and has appeared in Coronation Street as well as being the New FADs frontman. Their second album Body Exit Mind came out in 1992 but by then grunge had done for Manchester and then a year or two later Britpop showed up. The New FADs split in 1995. They deserve a bit more than to be an early 90s footnote. 

Saturday, 12 August 2017

Big


This one crept back into my subconscious and playlist a few weeks ago and having revisited the single, the original version, the remix and parent album I can confirm it's still stuck there. New Fast Automatic Daffodils were caught up in the Madchester scene and released some sublimely funky indie-dance-rock, sinewy basslines and scratchy guitars, left of centre and off kilter with singer Andy Spearpoint's stream of lyrics adding to the fun- 'the desert grow three miles a year, it just grows, it just grows, I put my pain in a jar, it will be full tomorrow'.

For the remix on the 12" Jon da Silva added some dancefloor electronics and it is still cooking up a storm.

Big (Baka)

Saturday, 30 August 2014

The Chart Show

The Chart Show was more or less the only place to watch videos in the late 80s and early 90s, MTV being the preserve of the well off. Every week it had a specialist chart, indie, dance or metal and was required viewing, often with a hangover and a day with no responsibilities in front of you. So, make yourself a cup of tea, sit back and slip back in time...

...to October 1989's dance chart with Electribe 101 and De La Soul...



... and to the indie chart in April 1991, with New Fast Automatic Daffodils and The Shamen, showing dance's influence on indie...



...and from a few years later, February 1994, this top ten run down has the mighty Inspiral Carpets and Mark E Smith collaboration and Suede...



No metal charts here I'm afraid but there's plenty more where these clips came from if you look at the Youtube sidebar.


Thursday, 10 April 2014

Stockholm Syndrome


I've never been to Stockholm. I've been to Helsinki, which was lovely. Someday I'm going to do a Scandinavian tour. I'll need to be significantly better off financially than I am now.

Stockholm was the title of the New Fast Automatic Daffodils' single from their second album (Mind Body Exit). This doesn't sound at all like the work of a Madchester band and in parts reminds me as much of Julian Cope's early 90s work as anything. Good song- this is the five minute version rather than the three minute radio edit (which probably didn't get very much radio airplay).

Stockholm

Sunday, 16 March 2014

It Just Grows


If everyone who has left a comment below a New Fads song on Youtube or elsewhere saying how great they were had bought their records they'd surely have been millionaires. Fondly remembered, under-rated and a belting live band. The singer Andy Spearpoint's wife/partner was a teacher at the school in Failsworth I did my first teaching practice in, back in 1993. We bumped into them in a Rusholme curry house once. I prevented myself from bumbling about what a good band they were. Which they really were.

Big was a hit on the indie chart and has busy percussion, some lovely off-centre horns, choppy guitar, a massive bassline and Andy's cut-and-paste lyrics seemingly delivered from elsewhere. Indie-dance you can actually dance to if you're so inclined.

Big

Monday, 4 July 2011

Let's Call Flash Gordon


Much under-rated and way ahead of the times were Manchester's New Fast Automatic Daffodils. They benefited from the Madchester hype and feeding frenzy but it didn't translate into sales. I saw them live several times including one at Liverpool University where each Saturday a 'secret' band would perform for half an hour in the Union building. A screen would rise up to reveal the band, they got half an hour and then the screen dropped down. It was never much a secret who the band were, word being leaked to ensure people turned up I suppose. Paris Angels played there one time, frightening the student crowd, and also The Wedding Present, David Gedge in his soon to be trademark shorts after deciding gigging in jeans was too sweaty. It was very warm in there.

This is Fishes Eyes, a bass heavy groove with jagged guitar and sax, and Andy Spearpoint's obtuse lyrics. They had a song which I swear part of the lyric went 'let's call Flash Gordon' but it's not this one. Big maybe? Or Get Better? I can't remember. Maybe I imagined it.