Cosmic Trigger 4th – 27th May 2017

May 8, 2017

The Play by Daisy Eris Campbell. Adapted from Robert Anton Wilson’s seminal autobiography Cosmic Trigger: The Final Secret of The Illuminati. See it at The Cockpit – Gateforth St, Marylebone, London NW8 8EH. BUY TICKETS HERE

“Robert Anton Wilson’s ‘Illuminatus!’ had a profound effect on me and the Cosmic Trigger Play will no doubt do the same for a whole new generation.” Alan Moore, writer/author of V for Vendetta, Watchmen and Jerusalem

Turn On. Tune In. Find The Others

In 1976 maverick playwright and director Ken Campbell staged Robert Anton Wilson’s, Illuminatus! – a nine-hour stage play that helped launch the careers of Jim Broadbent and Bill Nighy. It also led to the backstage conception of a baby girl; Daisy Eris Campbell.

“One of the most original and unclassifiable talents in British theatre of the past half-century” The Guardian obituary for Ken Campbell – 2008

Now Love & Will Productions and The Cockpit are delighted to announce the debut full run of Daisy Campbell’s adaptation of Wilson’s seminal countercultural text; Cosmic Trigger. Part sequel, part revisit, part homage, part new writing; this is the story behind the notorious conspiracy satire, ‘Illuminatus!’, the extraordinary life of the novel’s author, Robert Anton Wilson, and the unstoppable force that was theatre legend Ken Campbell.

Daisy Campbell says; “Reading Cosmic Trigger changed my life and the lives of many others – and the book is dedicated to my Dad. Wilson’s uniquely optimistic and radically agnostic philosophy is incredibly relevant in these crazy times. We are absolutely thrilled to be working with The Cockpit on this production. They are the perfect co-conspirators to help us bring the wit and wisdom of Robert Anton Wilson back to life.”

The original work reinterpreted world history as a giant conspiracy theory and Daisy’s new work gives a backstory to the original production, featuring the lives of Wilson and Campbell, as well as the counterculture figures Timothy Leary, Alan Watts and William Burroughs, whom Robert Anton Wilson befriended.

Set in the late sixties and early seventies, the play recounts the period of Wilson’s life around the conception and writing of Illuminatus. During this time, he befriended heroes of counterculture, took LSD and experimented with the magical rituals of Aleister Crowley with predictably – and unpredictably – mind-blowing results.

With many of the original cast returning and Alan Moore appearing via specially recorded audio and morphed video projections Cosmic Trigger is a celebration of all that has gone before it as well as a vital venture in its own right. This is a highly ambitious production, with projections in the round, phantasmagorical multiple narratives, and a different actor performing as William Burroughs every night, it is designed to evoke the real-life hallucinogenic trip through conspiracy, paranoia and enlightenment that transformed Robert Anton Wilson from ‘Playboy’ editor to much-loved counter-cultural icon.

Dave Wybrow, Artistic Director of the Cockpit and co producer of Cosmic Trigger says; “We are putting together a venue, a tribe and new ways of networking and creating work. It’s about joining low tech to hi tech, low culture to high culture and low budgets to high levels of audience reach and social impact. This first venture looks at counter-cultural legacy. But the vision is an open artistic community for the future.”

Cosmic Trigger previously played for two days in November in Camp & Furnace in Liverpool and five days at Lost Theatre Vauxhall in London in 2014 – this is the play’s first full run.

Reviews:

Broadway World

London City Nights

The Upcoming

The Stage

International Times

The Guardian

The Times

Cosmic Trigger The Times Online Version

Radio/podcasts
Arthur Smith interviews Daisy Campbell on Radio 4 xtra:
http://buff.ly/2pSBxRh
Short thing with Arthur Smith (more like a plug)
http://www.bbc.co.uk/programmes/b08q3339

Cosmic Trigger – 4th – 27th May 2017 at The Cockpit
http://thecockpit.org.uk/cosmictrigger

Cosmic Trigger Press release

Related Materials:

Listen to Iron Man Records Release: Robert Anton Wilson meets Steve “Fly Agaric” Pratt

Listen to Cosmic Trigger I: Final Secret of the Illuminati (Audio Book) Written by Robert Anton Wilson and 
Narrated by Oliver Senton

The only way to support a revolution…..

December 23, 2016

Looking back on this year, Iron Man Records has had an interesting one. Three recurring themes emerged.

“The only way to support a revolution is to make your own” — Abbie Hoffman, Woodstock Nation.

“Reality is not enough; we need nonsense too. Drifting into a world of fantasy is not an escape from reality but a significant education about the nature of life.” Edmund Miller, Lewis Carroll Observed

“It’s dangerous to understand new things too quickly” — Josiah Warren, True Civilization

Make of that what you will. Some of the significant things that happened this year included:

Seth Faergolzia of Dufus brought his new band Multibird to Europe on Tour.

John Sinclair published a book called It’s All Good: A John Sinclair Reader.  Stories of tragedy and triumph that will take you on a trip through the Wonder Years with music lyrics and poetry. Stuart Maconie’s Freak Zone attempted to find out how to live a psychedelic life with the poet and activist John Sinclair as BBC Music’s My Generation celebrated the 1960s.

Dr Marshmallow Cubicle – Occupy was released on Iron Man Records, 23rd April, 2016.

In the early hours of 10th April 2016, Howard Marks died peacefully in his sleep. Iron Man Records had the pleasure of meeting, working with and listening to Howard Marks. He really was exactly as you would hope: A truly decent bloke, funny, humble and just Mr Nice. His life and work will live on…..“You might control a lot of things Drugs Tsar, but you’ll never control my mind…..” Howard Marks from the song Let Me Grow More Weed he recorded with P.A.I.N

Robert Anton Wilson meets Steve “Fly Agaric” Pratt was released on Iron Man Records, 23rd June, 2016

The entire Iron Man Records music catalogue was made available on Bandcamp. To start with all releases are £5 or you can Stream the releases and listen for free. All Releases are available on most of the download and streaming platforms already but for those of you who want an alternative to Apple Music, Spotify, Amazon, Google, Youtube, Facebook and all the other main providers, Bandcamp seems good.

Some people wonder what on earth I do for a living. Well, I earn money working as a Tour Manager and I spend all of it keeping Iron Man Records going. I spend the rest of my time trying to stay sane, despite serious provocation from people who are totally convinced or totally stupid, and often both at the same time. Have a read and make up your own mind: Back In Five Years  and My life is a pile of receipts in a deserted restaurant on a cross channel ferry

Simon Reeves at Framework Studio spent three days recording Oliver Senton reading Cosmic Trigger 1 by Robert Anton Wilson for a forthcoming audio book. Iron Man Records somehow managed to neglect it’s responsibilities to The Cosmic Trigger play but was happy to help see Oliver Senton looked after during these recordings.

Test pressings arrived for John Sinclair – Beatnik Youth Ambient which includes a beautiful recording of Howard Marks’ last lost words called War On Drugs with an ambient soundscape masterpiece from Youth…and also Police Bastard – Confined. Both records will be released in 2017.

But these things wouldn’t have happened without the money burning antics of Iron Man Records Patrons and people like you supporting the madness and getting involved.

Iron Man Records has ambitious plans to make a big impact in 2017. And with Patrons helping out, I feel positive we can make a big change. I guarantee there will be no funding appplications, no idiotic culture bids, no creative consultants, no government, business or arts advice types involved. Just you, me, musicians, madness and music.

If you want to contribute, have a look in the shop before you go: http://ironmanrecords.bigcartel.com

Thanks again for all your support and have a fun Christmas.

Cheers Mark

A.O.S.3 – Far and Few (OUT NOW on CD / LP / Digital Download)

December 1, 2015

A.O.S.3 - Far and Few (CD / LP / Digital Download)

“The Long Threatened Mythical 3rd A.O.S.3 LP – It only took twenty years, but we think it was worth the wait – a hugely revitalised A.O.S.3 take a journey down to the Waters Edge, almost certainly the best LP yet from the Sunderland Dub Punk pioneers.”

A.O.S.3 – Far and Few released 13th November, 2015

Members of A.O.S.3 on this recording: John Horabin, Colin Cumpson, Andy Brown, Kev Peberdy, Sam Goddard, Penny Layden, Oska ‘Shithands’ Hogg

Lyrics – John Horabin
Recording and Mixing – Sam Goddard
Art Direction – John Horabin
Cover painting – Drea Blackbird
Other writing credits – Chris Williams, Matt Pritchard
Rear cover Photo – Jef Hardy

Tracklisting:
1. Break Break Break 00:39
2. Ritalin 02:52
3. Living In a Barcode 05:19
4. Last of the Summer of 77 04:04
5. Goodnight John 03:38
6. Boy Who Cried 06:21
7. Free Hat 03:41
8. Friendly Fire 04:07
9. Dred-it 03:52
10. Churchill 03:24
11. Waters Edge 02:50
12. Sinking Sands 04:33

https://aos3.bandcamp.com/album/far-and-few-digital-download-vinyl-pre-order-lp

https://www.facebook.com/AOS3official/

If it’s not impossible, it’s not worth doing…..Find the others. Go to The Adelphi.

July 7, 2015

photo-44

Adelphi is a Greek word meaning “brothers” (a + delphi, literally “of the same womb”)

Many thoughts pass through your mind when you do enough driving, few of them make any sense. I take a lot of bands to a lot of gigs, it’s what I do for money these days. Sometimes it can be hard not to pull the van over, drag everyone out on the motorway hard shoulder and tell them to “Stop living out of the asshole of your belief system and kick out the jams motherfucker!” In other words, shut up and play the music, or stop blaming everyone else and learn to get on with it. We all need each other in order to survive in this business, even if we don’t like that idea. Write, rehearse, record, perform. Everyone you meet has a piece in the puzzle. It’s your job to work out which piece. It’s not as simple as this one or that one, and I try not to live in the “A,” “not A” world, but if you drive long enough, you have to engage it in some sense. If you are in a band you have to learn the world can be more complex than just “A, Not A” and you have to read the signs too. You can never have enough confusion. Let me explain.

It can start with a simple set of roadsigns that flash past in a moment. Turn left for the Crematorium, turn right for the A30m. I’ll take the A30 for now. If you have ever been to Munich in Germany, there’s a T-junction on the way out of town. The sign at the T-junction reads Dachau to the right, or McDonalds to the left. Which way to the gig?

Using a Sat Nav can help you avoid the endless stream of reassuring roadside bill board images that seek to distract and divert but you still have to read the signs. You may find yourself at the mercy of the cult of yellow signs that seek to subvert your journey with irrational routes to a land that time and space has forgotten. You could end up at Thurrock Services one mad March morning and find yourself driving for 25 hours round the M25 with Gimpo jumping around in the back shouting “Tim! Tim! You’ve missed the turning!” To find your way you will need to read the signs. Timothy Leary said that “Everyone has a piece of the puzzle” and once you’ve turned on, tuned in and dropped out….your next task is to “Find The Others.” What happens next is up to you.

Turning on the TV in 1992, I watched with interest as one of my favourite bands of the previous 5 years, The KLF performed a song called “3am Eternal” backed by Extreme Noise Terror. The show ended with the audience being machine gunned. As the KLF left the music business, I decided to start organising gigs in Birmingham, which is where I was living at the time.

I had no money, no idea and made a start right away. As one things ends, so another must start. If Ken Campbell taught one thing that has resonated with me, he demonstrated the importance of picking up a phone and asking the question. “If it’s not impossible, it’s not worth doing.” I may not have had money or experience, but I did have access to a phone.

1992 was as good a time as any to start a music project if you discount the impact of the end of all music genres in 1994, the arrival of the internet, the cult of amateur, mobile phones and the end of all physical product. But I digress, thats not what I’m planning on discussing here. As Bill and Jimmy of The KLF moved on to other things in their own way, they set a clear benchmark for popular music, they also nailed the coffin lid shut on it too. Get in, go all the way, get out. Don’t over think it, keep it simple and don’t stick around once you have reached the top of your game. But the game’s over. Know when it’s time to leave. Understand what you’re starting. You can learn the rules to break them properly, but be prepared to embrace the contradictions. I have to agree that “It’s what you know, not who you know…..that matters.” To others you can appear mad, but that doesn’t mean you’re wrong.

I sometimes wonder how Hunter S. Thompson knew so much about so many things ahead of so many others. His work is almost a user manual, but that is another story.

Nearly 23 years later, I found myself driving a long wheel base VW Crafter from DYC Touring across London. It was the 1st of May 2015. If you are into your numbers then that is an interesting date. In the back was an amazing singer and songwriter called Eska, and her band. I was taking them to a gig and the traffic was heavy like any day in central London. As I turned to cross a bridge that has the HQ of MI5 on one side, and The Houses of Parliament on the other, Bill Drummond passed me on the inside in his land rover. In a moment I considered the five years of KLF, the Brit award from 1992 being buried somewhere near Stonehenge, the concepts of pop bands only living 5 years with everything provided before being executed by their successors live onstage, the idea that many artists produce their greatest work early in their career then limp on for 25 years desperate to relive their former glories and so on. All of the late night discussions about art, music, politics, belief systems and nonsense seemed to pass through my head in an instant.

I followed Bill Drummond’s land rover onto the bridge and considered the idea that a lot of his work is inspired by impulse. I considered the situation I found myself in, and I had a terrible realisation: The date, timing and location of all of this appeared to me to be perfect for some sort of ritual killing, and the abrupt ending of Bill Drummond’s career. I could bulldoze his vehicle over the side of the bridge into the River Thames. I had this mad idea that the energy released by such an act would be absorbed by Eska, strapped in the back, who in turn would go on to fame and fortune with her own music. Eska would live and Bill Drummond and the rest would be forgotten or perhaps consigned to notes given to music industries skills students at a failing place of Academia somewhere.

But as I considered the whole idea in more detail I became horrified I should even think such a thing. Bill Drummond should live. It is not for me to choose someone else’s end. Perhaps Bill’s best work is yet to come, perhaps his best work has indeed been early on in his career, but more important than that, does it really matter to anyone other than me? You have to learn to let it all go. You are the master, you make the grass green in your own world, but that’s it. Stop there. As Robert Anton Wilson will tell you, “Never totally believe anyone else’s belief system, and never totally believe your own.”

I settled for entertaining myself by overtaking his landrover and forcing him to sit behind the van in a state of rage whilst Eska reclined in air conditioned comfort in the back. I took a picture as we sat at the lights. Who could have known what insane thoughts were going through my head. I had to live on from this point. No pushing landrovers off bridges. Stop living out of silly belief systems. Let Bill Drummond live. If he goes on to create his greatest work now, so what…..and if its another 25 years of clinging to the cliff of hope, trying to relive former glories, then you can blame yourself for having such stupid beliefs, sorry. It doesn’t matter. Let it go. We all have a piece of the puzzle. Work it out for yourself. We are all better alive in my short sighted view.

But don’t let everything go. In 2006 I was on tour with a band called Dufus and I found a piece in the puzzle. We went to the Adelphi in Hull. The band spent a pleasant evening at a gig organised by Paul Jackson. After sound check, Paul ordered some food from a local take away and invited the travelling group to take a seat in the back room. If you visit The Adelphi Club in Hull you must also visit the back room. There is a sign on the back wall and it reads: “Hull is Twinned with your darkest thought.” The sign is Bill Drummond’s work, not very pleasant, but still his work. To me, my darkest thought with regards to a place like The Adelphi has always been “Imagine if all music was funded by the state?” Imagine if only those with approved funding applications organised music projects in your home town? Imagine what shit they would pull to manufacture your consent for their project. Imagine what shit they would buy for themselves with the money, whilst making all the artists, creatives and volunteers they’ve recruited jump through endless hoops on their behalf. Understand, The state of music would become the music of the state.

Make no mistake, funding is for funding, not you. People get what they deserve. If you don’t seek interesting music out for yourself then your world will fill with the latest indie shit spreaders pushed by the latest batch of sales and marketing types on the payroll of some funding application. Dufus had a good gig at The Adelphi that night and no funding application was in sight, Paul was delighted and the people who bought tickets and listened to the show left with big grins on their faces. Anyone who goes to The Adelphi, or any place like it to listen to music, knows something you don’t. As Dick Lucas of Subhumans will tell you, “Life isn’t about computers, it’s about talking to people face to face.” There’s a whole world that goes on without computers or mobile phones in places like The Adelphi. But the Adelphi is in trouble and its my own suspicion that you are spending too much time online. What was that? You don’t agree? Try this: First person to check their phone pays for dinner. Paul is struggling to make ends meet, he is worn out from 30 or more years of back breaking work to support new music. The place could use a bar manager and some good bands who have already made a name for themselves to return and shine a light on the venue, its ethos and Paul who has run the place from the start. New music needs a champion and Paul has played that role for long enough. You know what has happened since John Peel passed away. Imagine a world without Paul Jackson to book your band when no one else will give you a stage? The Adelphi needs a champion now, several champions to be exact. So you know what to do. If you are in a good band or want to see some good bands, Go to the Adelphi. Time may be running out but you can reverse the situation by simply turning up. It’s not rocket science.

I’m working with John Sinclair at the moment, he’s a poet from Detroit. When asked on BBC radio what new bands he felt excited about, he replied “None.” When asked to explain why, John reasoned that most new bands these days were more interested in buying a fancy car than any form of social, political or cultural change. Think about that for a moment. Have you ever been to the Adelphi? I wonder what can be said of audiences these days? Anyone else reading this ever been to the Adelphi? John Sinclair was a former manager of MC5. I don’t need to go into the detail but if you know what MC5 are all about and what John Sinclair is all about, there are enough ideas to last any artist a lifetime. Its not about some funded project. Its not about buying fancy goods either. It’s not about the money, it’s about sending a message. You have to make the world you want to live in. You cant just hope for it or believe in it, or apply for funding to create it. You have to make it and you had better start today. MC5 are celebrating 50 years this year. Where have you been all this time? Have you learned nothing?

Which brings me back to Ken Campbell. “Don’t believe anything. Nothing which is the product of a human mind is a fitting subject for your belief. But, you can suppose anything. And you should. The act of supposing is mind expanding. Suppose flying saucers, fairies, god if you must. But, don’t believe it!” – Ken Campbell. Thats why artists are important. They give you the chance to suppose.

Sometimes I think that Artists should be left to live or die by the work they create. Creation demands destruction. But I also think that the trick is to create but not be destroyed by it. Paul Jackson and many who have frequented the Adelphi have witnessed many good people fall by the way and too many idiots seem to be telling you that they are in charge. The arts should not be funded but don’t believe that the arts can survive without you. You are in charge here, you are the master, you make the grass green. The arts do need to be supported, but not by the state, not by funding applications, not by any of that. It’s up to the artists, musicians, poets, creators and you. If the Adelphi is to survive then the Adelphi needs you. Through the works you create and the ideas you present and the friends you invite to come with you. Suppose anything. Do as you will. Create. The Adelphi needs artists, musicians, creators and an Audience, not some funding application that demands a box to be ticked or some administrative outcome. If the Adelphi is to live then we all need to “Stop living out of the asshole of our belief system and kick out the jams motherfucker!” These things don’t make themselves. Here’s the website: http://www.theadelphi.com If it’s not impossible, it’s not worth doing. Find the others. Go to The Adelphi.

If you know any good live bands, pick up a phone:

Manager/Booker/Promoter Paul Jackson

Paul Jackson
The New Adelphi Club
89 De Grey Street, Beverley Road
Hull, East Yorkshire
Kingston Upon Hull
HU5 2RU
Call +44 (0) 1482 348216

The Story of TC Lethbridge – 2000 TC: Standing on the verge of getting it on by John Higgs

January 8, 2015

Automatic writing in the sacred landscape. Established 1991.
TC Lethbridge - 2000 TC (Iron Man Records - 23rd Nov 2014)

TC Lethbridge – 2000 TC (Released by Iron Man Records – 23rd November 2014)

If you spend too much time in a state of mind which prevents normal perception, behaviour, or social interaction you might end up running a record label. Living life in a completely deluded state, generating massive debt for no apparent reason can be difficult to keep going for more than 17 years at a time but, it seems by some terrible mistake I’ve made it look relatively easy. But anyway, enough of that, I want to explain something.

I went to a meeting last year year, the back room of a pub, The George in Southwark actually. The pub is just a few minutes walk from The Shard in London. Gimpo worked on The Shard and if I was going to park anywhere, parking at the foot of the Shard endorsed his work. I’ve spent time, 25 hours at a time, in a van going round the M25 with Gimpo, and believe me, it’s an experience to be had. I was with Steve Fly, a writer, musician and someone who plays drums for the Detroit Poet, John Sinclair who used to manage MC5 and was a founder member of the White Panthers. Steve and John released Mohawk through Iron Man Records in March and I was interested to accompany Steve to the meeting. I wanted to listen in, and if necessary, endorse him as a potential Music Director for The Cosmic Trigger, a new stage play by Daisy Eris Campbell. Daisy is the daughter of Ken Campbell who staged the Illuminatus! in 1976. I was 5 years old when all of that was going on.

The meeting was interesting as I had never met Daisy before and had no idea what to expect. Michelle the production manager, who was sat opposite, seemed to be keen to find the right people to take on the task ahead and no one was thinking any of this was going to be easy. A lot of hard work was ahead. If Bill Drummond had gone out to get Araldite in 1976, never to return…I was sure that this new stage adaptation of Robert Anton Wilson’s book The Cosmic Trigger was not going to be any easier for anyone.

Robert Anton Wilson was an American author novelist, psychologist, essayist, editor, playwright, poet, futurist, civil libertarian and self-described agnostic mystic. I discovered Robert Anton Wilson by way of a band called The KLF and the various aliases from The Timelords, The Jams, The Justified Ancients of MU MU, to 2K and K Foundation. Magic Temple of Discordian Promotions gave me many of Robert Anton Wilson’s books as a present which I’ve read and sometimes re-read. Magick was also a big KLF fan and seemed to know more than me so we soon became good friends. Both Robert Anton Wilson and the discussions I had about his work with Magick gave me inspiration when organising gigs for bands in Birmingham, when signing on and eating the food in my housemate’s cupboard was about all I had. The last posting that Robert Anton Wilson put on his website said: “I look forward without dogmatic optimism but without dread. I love you all and I deeply implore you to keep the lasagna flying.” The whole concept of keeping the lasagne flying made sure I didn’t get any ideas like getting a job or doing anything sensible with my time. In fact, I only stopped organising gigs because the venue I worked at, The Old Railway, was scheduled to be bulldozed. But that’s an aside, someone else was at the meeting who I knew of but had never met. Flinton Chalk was sat across from me, he was the one who sold the old car to Jimmy Cauty which ended up being used in KLF music videos and was renamed Ford Timelord. Flinton had bought the car from a film studio and spent time with friends dressing up as a nun and driving around doing donuts in muddy fields in the middle of the night. You might be wondering where on earth all this is going. You see, as John Higgs will tell you, if you happen to run a record label and read his book The Brandy Of The Damned “This is the problem with doing weird things. If you behave like a reasonable person, then the world will be reasonable back. If you step outside of the norm, however, and act in freaky ways, then the world will match you step for step. ”

And this is how I ended up talking with Flinton about the car, dressing up as a transvestite pirate nun, Jimmy Cauty, KLF, Julian Cope, Tall Hats, Stones Circles, and his time living in Avebury. I used to live in Wiltshire so I know that part of the world pretty well. Judging by the number of times I had driven through Avebury late at night in the early 1990’s its a wonder I didn’t run Flinton down. Somehow we got on to 111hz which can wait for another time, and then to a serious story about his trip to Mothers Jam on Fyfield down near Avebury. A stone tried to dematerialise Flinton and Julian Cope on one of their outings to collect photos and detail for The Modern Antiquarian. Flinton also told me about his band TC Lethbridge, named after Thomas Charles Lethbridge, who was an English archaeologist, parapsychologist, and explorer.

Having spent every last penny for the last 17 years on a record label that few people have any interest in, or understanding of, I was in no mood to consider working with another band and certainly not one that hadn’t played a gig, or had been missing for 23 years with three unreleased albums. But, I have done many things over the years, sometimes for money, sometimes for free, and sometimes because insanity is a far more rational approach to a complex situation than trying to think things through properly. And that’s how I ended up agreeing to help TC Lethbridge until they found someone more suitable.

Sat next to me, Steve Fly had just been appointed Music Director for The Cosmic Trigger so the work was done. I didn’t get out of the building until I had also agreed to do whatever I could to help The Cosmic Trigger. What had started out in my mind as a meeting to endorse Steve and “listen in and learn,” ended up as “You don’t listen and you never learn.” And so it began. TC Lethbridge had found themselves a record label.

I drove back to Birmingham wondering if I would ever learn anything ever. But that was then, so here’s to the now.

John Higgs is the Author of ‘The KLF: Chaos, Magic and the Band who Burned A Million Pounds’ and ‘I Have America Surrounded: The Life of Timothy Leary’. John Also writes fiction (as JMR Higgs) including The Brandy of the Damned and The First Church on the Moon.

I’ve read John’s book on Timothy Leary and also his book on the KLF and The Brandy of The Damned. All of them are well worth the read, you can make your own mind up which one to read first but, before you consider any of those, I want to tell you about his latest work.
TC Lethbridge - 2000 TC book by John Higgs
John Higgs has written a book called 2000 TC: Standing on the Verge of Getting It On. The book is not for sale, it will be one of a private edition of 111 copies. Don’t ask. The answer will blow the right side of your brain.

2000 TC was written to mark The Cosmic Trigger play and festival performance in Liverpool. It is the story of TC Lethbridge, who played their first gig after the play, 23 years after they formed. TC Lethbridge are Doggen and Kev Bales, of Spiritualized and Julian Cope/Brain Donor, and Flinton Chalk, who you’ll find more about in John’s KLF book (pages 116-117).

2000 TC Standing on the verge of getting it on

2000 TC is an album recorded by TC Lethbridge in Avebury 20 years ago. It was remastered by the same person who remastered the recent Led Zeppelin reissues. Don’t ask about that either, that’s another story altogether. Flinton met me backstage at The Barbican on 31st May after John Sinclair had performed with The Founder Effect supporting Marshall Allen and The Sun Ra Arkestra. The gig was to celebrate 100 years since the birth of Sun Ra and it was a suitable venue to hand over the 2000 TC master. The album was released on November 23rd by Iron Man Records along with an album called Moon Equipped and another called Mina. The band have been missing for 23 years and now they are back with a gig as part of The Cosmic Trigger, a book by John Higgs, and three albums on Iron Man Records.

I should mention that Thomas Charles Lethbridge was born 23rd March 1901 and passed away on 30th September 1971. You may be interested to know that 30th September 1971 is my birthday. Let me be clear: I am not the reincarnation of TC Lethbridge. If I had come up with a good reason not to work with the band of the same name, it still wouldn’t have stopped anything. It appears from birth, despite my protesting, I have been destined to know TC Lethbridge and release the records by a band of the same name. You cant make this stuff up, no one would believe it. Give the music a listen, you might like it.

The voice on the 2000 TC track Bou Saada is that of Brian Barritt. He makes an appearance in the book Cosmic Trigger, when Timothy Leary tells Robert Anton Wilson that he needs to talk to Brian if they are to both understand Aleister Crowley.

John Higgs said “Spending a few months writing a biography of a band who have yet to show their faces in public was not the most career-minded way to spend my time, but it had to be done. This is a story about people who’ve had some form of visionary or incomprehensible experience, and about how they can only move on and process what happened to them through a creative act. It is about the impact an uncompleted artistic project can have on a life. It also functions as a jigsaw piece, connecting the story in my Timothy Leary book to the one I tell in The KLF.

So, yeah, it had to be written.

No doubt it will be made more widely available at some point, in some format, in some way, should the band keep gigging and putting themselves about. But until then – more about the band here, and catch them Saturday if you can.”

All three TC Lethbridge albums – Moon Equipped, Mina, and 2000 TC were released on 23rd November 2014 on Iron Man Records. Note: Any money generated from sales of these TC Lethbridge albums will be used to finance a vinyl and CD release of each record in future.

If you are interested in reviewing the 2000 TC book or reviewing any TC Lethbridge album get in touch

John Higgs spoke in Liverpool on the Sunday after Robin Ince and made an attempt to make sense of the preceeding days. Unfortunately I didn’t get there, I had to finish a few things and then pop out for a bit. I needed to get some Araldite.

Find out more about the band here:

TC Lethbridge website: http://www.tclethbridge.com

Facebook: https://www.facebook.com/TCLethbridgeMusic

Twitter: http://www.twitter.com/TC_Lethbridge

Iron Man Records - TC Lethbridge A5

The square root of the M25: Gimpo’s 25 Hour M25 Spin

December 5, 2014

A witness statement from Iron Man Records 2014.
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I didn’t get much sleep the night before, I had been working on the release of the new John Sinclair record “Mohawk.” By the time I climbed into the car and started the engine it was 10am. I drove to London and dropped the car in Brentford, West London. I picked up the keys. I had a 9 seater VW Splitter van on hire from DYC Touring and headed to Shepherd’s Bush. I wasn’t due to meet the band until 3pm so I had a bit of time to park up and make phone calls.

If I was applying for a job I’d probably tell you I’m a tour manager, a music manager, I can drive a splitter van and tow trailers, and I have a clean driving licence. I could tell you I’ve been running a record label called Iron Man Records for 18 years, I play in a couple of bands, I run a few websites, I work freelance and so on. In reality, I don’t apply for jobs, employers find their way to me on personal recommendation because no one else, in a right mind, will take their work on. The day was looking no different to any other. The phone was ringing.

I have to do many things on a daily basis just to keep things moving, some of it for money, some of it for free, some of it because I have no other choice and some of it for reasons of pure nonsense. Don’t ask me to explain.
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Gimpo was due to start the 25 hour M25 Spin at midday, so by now he should have completed a lap and be half way round the next one. The time was 2pm and my phone was lighting up with messages from people asking if I was on the Spin this year. No, I wasn’t on the Spin, I was driving a band called “Tenterhook” to Hereford for a gig at The Jailhouse. They needed a driver and had a small budget to work with. I had no money, and on that basis I was “available” to do the work. Gimpo was planning to do the M25 Spin solo this year. You can’t reason with someone like Gimpo. He thinks things up and goes and does them. No Discussion. No Explanation.

I had decided to leave him to it for now. For various reasons Tim, who usually drives the van for the whole 25 hour M25 Spin, was unable to make it this year. Sharon, who handles Navigation and supplies while Tim is at the wheel, was stuck in Guatemala with no money for a plane ticket. Todd, who looks after the website www.GimpoGimpo.com was in New Jersey, I already had several messages from him asking “What the fuck’s going on?”
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Did I know what was going on? Can anyone know what’s going on in Gimpo’s mind? I managed to speak to Tim, he had been in touch with the man himself. Gimpo had made a start, but had only got half way round. Tim was worried about progress. Gimpo hadn’t got very far and Tim had been questioning Gimpo at length. “Half a lap? What are you doing? Selling Ice Cream? Get a move on, there’s work to do” It seemed to me that Gimpo was having technical problems. Gimpo was driving his own car this year in an attempt to do the M25 Spin solo for the first time. This might all sound pretty good, but the reality was a little different.

The CD player was broken in Gimpo’s car and the radio doesn’t really do it these days. Gimpo had fixed up the video camera with cable ties, and had a stock of blank mini DV tapes at the ready. But, there were a few other issues that hadn’t been thought through. You cant drive and text can you? You cant drive and take pictures can you? You cant drive, take pictures, text, answer the phone, send emails or reply to requests can you? So what was Gimpo to do? He was already on the M25 spin. Solo. No support. And how was he going to document the event? He had stopped at Clacket Lane Services to discover this was going to be a long and complicated day. He had an iphone, with a SIM card, which gave him free internet access but the camera on his Nokia phone was better. For some reason the Nokia wouldn’t send emails so Todd wasn’t going to get any picture updates for the website.
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I rang Gimpo, as time was moving on, to find out what he was up to. Gimpo would not be stopped by anyone. Gimpo was doing the M25 spin and he would do it solo with or without anyone knowing about it. I had to go, it was nearly 3pm, the band needed to be in hereford for 6pm. I told Gimpo I would come and find him when I got back after the gig. He would have to go it alone till then.

3pm arrived and I found myself collecting a band, who are being managed by one of the few capable music management companies I know. They look after Madness, so no joke, they are going to do good things with this lot. The band are actually a singer and songwriter with a great voice who plays the guitar and goes under the name of “Tenterhook,” he’s 19. He works with some other musicians who play drums, guitar, bass and keys. The van was loaded and by 3.15pm we were on the road, to Hereford. The gig was just like any other I’ve been to. Headliners took for ever getting their soundcheck done, they didn’t really speak to anyone and then vanished. The lot I was with sound checked and agreed last details like set order, start and finish time, and made a start on the limited rider provided by the venue staff.

By now there was a long list of messages and emails asking what the fuck was going on? Where was Gimpo? Was he ok? What did I know? Had I heard anything? The Spin was on, nobody needed to know. Gimpo was at the wheel and with that thought in mind, it’s probably better not to know what’s going on.
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“Tenterhook” didn’t go onstage till much later than planned. The band had a good one, it was their first gig and the applause gave the band the endorsement they were hoping for.

Outside the band members gathered to load the van while people came out of the the venue to chat and find out who they were, and where they had come from. It was their first gig together.

On the way back to London the beers opened, and the talk poured over the gig and what had just gone on. The band knew how much work was ahead but it seemed like a good start to the process.

I dropped the band back at 5am and taxis were waiting to take people home from the meeting point. “Where are you going now, where are you staying?” came the inevitable question. I unloaded the gear and handed it to the exhausted band members. “Don’t ask, you don’t want know” was my reply. I could see there were a load of messages that had come in on my phone while I was driving back from Hereford. I dared not even look till the van was parked, the gear unloaded, and the band already gone.

The phone was full of madness. I called Gimpo and found him at Clacket Lane Services. He had just pulled in to try and send some pictures to Todd. No change there then. I suggested we meet at Cobham services, only 30 minutes further round, to talk through what was going on.
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I arrived at Cobham around 6am having dropped the splitter van back to DYC Touring on the way. The parking at Cobham is free for 2 hours then its £25 for up to 24 hours. As I despaired at the parking situation Gimpo arrived, “Don’t worry about parking Mark, lets book a meeting room for £8 the parking is free with that” I wasn’t about to try booking a meeting room at 6am on a sunday morning. Neither of us looked in any way believable and if we booked a meeting room and then vanished it may generate suspicion. We defaulted to the only option available, a cup of tea from Greggs and a meeting in the comfy chair area to work out what sort of plan might be possible under the circumstances.

Gimpo started emptying his pockets of leads, head phones, charger cables, car keys, phones and assorted other items. He explained the problem. “Ive got this iphone but you need two hands to work the camera. This Nokia has a better camera, and you can work it one handed, but I can’t get it to work. I can’t send emails to Todd.” I looked at both and tried to have a go at getting the Nokia to work. It was full of pictures, but no, the internet wasn’t working and I couldn’t work out how to get it to send and receive.

We finished the tea and returned to the vehicles. Gimpo spoke first. “Lets drop your car off on the A3, I know a place where Bill and Jimmy took a load of Journalists in the middle of the night. Ockham Common, It’s where we showed the money nailed to a piece of wood”. Back to reality, that sounded like a great idea even if no one would even remember or believe the basis upon which the suggestion had been made. I digress. I refused to pay £25 to park my car, that’s a waste of money isn’t it? I followed Gimpo back onto the M25 and just one stop further on we turned off onto the A3 and headed south for a few minutes. On the left is Ockham woods and there’s a car park with free parking. I parked my car and took what valuables I had with me. The early morning doggers looked on as Gimpo explained at length and in detail about his previous visits with Bill and Jimmy. I listened with interest as the story poured out and I transferred my stuff to Gimpo’s car. I didn’t have to time to think about the rest.
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In a few minutes Gimpo was back on the M25 and the Spin continued. Gimpo looked worn out but determined. This was his M25 spin, he was the artist here, and no one was going to stop him. This was his first solo M25 spin. The phone rang and Gimpo activated his hands free set, it was Tim. Tim sounded like he was checking in to be sure that nothing had gone wrong, Gimpo passed the phone across. “Hi Mark, is everything all right?” he asked. Tim and I chatted a while longer and I handed the phone back. Gimpo continued on with the story about the phone, versus camera, versus driving solo problem. And then Tim was gone, and the spin continued.

Next up was “Give Peas a Chance” Bridge, just north of J16 where the M25 crosses the M40. We headed North while Gimpo endlessly flipped from one radio station to the next, attempting to find anything worth listening to, whilst broadcasting his irritation at the fact the cd player was broken and he had no “modern music” to listen to.

Gimpo drove at a steady 56 miles an hour. “The price of bloody fuel these days Mark, it’s a rip off” He said. “The spin gets more and more expensive every year, the only thing I can do is drive at what the car manual says is the most economical speed. 56 miles an hour. It’s not a race.”

Gimpo turned off at J23, South Mimms, he wanted to get some fruit juice and have a driving break. He parked up and as we both walked into the services he spotted four “Beat The Street” double decker tour buses parked up. “That’ll be Elton John or some other shit I bet” he said. “Who do these people think they are?”
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Once inside I got a dissertation on the pros and cons of Krispi Kreme Donuts and Gimpo’s theory on who buys them, how, and why.
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Back outside Gimpo showed me how he had stuck his signs to the roof of the car with gaffer tape. Only the truck drivers or bus passengers would see. We got back in the car and Gimpo set to work labelling and loading the next tape to go in the video camera. We headed back onto the M25 and I got the full account of Spin Island, the only island on the M25. Gimpo wants to plant an Argentinian Flag on it. He says he’d like to buy it and give it to the owners of Stott Hall Farm, between J22 and J23 on the M62. The story goes they refused to sell up and move house when they built the M62 Motorway over the Pennines so by rights, they should have spin Island too. Gimpo says there’s a hot spring on Spin Island. That’s why they had to split the motorway to go around it.

Onwards through a couple of tunnels then it was up over the Queen Elisabeth Bridge. Traditionally the spin starts at midday on the Saturday, top dead centre on the Queen Elisabeth Bridge. Descending on the other side Gimpo only uses Toll booth number 23. Gimpo paid the toll and as the barrier went up it was almost exactly 9am.
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Next stop was Clacket Lane Services, “Doggers Delight!” Gimpo declared. “They put a rat trap in the hedge just there but the rat dug a hole underneath it.” More fruit juice and a quick driving break before moving on to Cobham and the lap was completed. Gimpo still couldn’t find anything to listen to on the radio. He switched it off in despair. “Where’s Tim?” he shouted, “He always has the music, we need Tim here to put the music on.”
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Gimpo explained he wanted to do the last lap by himself so he dropped me back to my car. A committed artist. I collected my car and followed Gimpo back onto the M25. Some things just can’t be explained. Gimpo is making the worlds longest road movie. He wants to know where the M25 goes. His plan is to drive round the M25 every year on the closest Saturday night/Sunday morning to 21 March each year for 25 years. Gimpo has 7 years left to completion.
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I looked across at the other drivers as they passed by on their way to nowhere, circling the nation’s capital. Another ruin of a world city. Gimpo was ahead at a steady 56mph, unmoved in his commitment to the work. Who would know who was in the car in front? An artist alone at work. An artist without a name or a country. An artist who has nothing in common with you. An artist filming the world’s longest road movie in an attempt to find out where the M25 goes. An artist with no gods and no masters. The M25, the London Orbital Motorway, 117 miles of open road where Gimpo is the artist. One man, just getting into it for himself.
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Mark – Iron Man Records. 2014

TC Lethbridge – 2000 TC Standing on the verge of getting it on by John Higgs

November 21, 2014

Automatic writing in the sacred landscape. Established 1991.
TC Lethbridge - 2000 TC (Iron Man Records - 23rd Nov 2014)

TC Lethbridge – 2000 TC (Released by Iron Man Records – 23rd November 2014)

If you spend too much time in a state of mind which prevents normal perception, behaviour, or social interaction you might end up running a record label. Living life in a completely deluded state, generating massive debt for no apparent reason can be difficult to keep going for more than 17 years at a time but, it seems by some terrible mistake I’ve made it look relatively easy. But anyway, enough of that, I want to explain something in the hope that you might understand it better than me.

I went to a meeting earlier this year, the back room of a pub, The George in Southwark actually. The pub is just a few minutes walk from The Shard in London. Gimpo worked on The Shard and if I was going to park anywhere, parking at the foot of the Shard endorsed his work. I’ve spent time, 25 hours at a time, in a van going round the M25 with Gimpo, and believe me, it’s an experience to be had. I was with Steve Fly, a writer, musician and someone who plays drums for the Detroit Poet, John Sinclair who used to manage MC5 and was a founder member of the White Panthers. Steve and John released Mohawk through Iron Man Records in March and I was interested to accompany Steve to the meeting. I wanted to listen in, and if necessary, endorse him as a potential Music Director for The Cosmic Trigger, a new stage play by Daisy Eris Campbell. Daisy is the daughter of Ken Campbell who staged the Illuminatus! in 1976. I was 5 years old when all of that was going on.

The Full Cosmic Trigger Experience 22nd/23rd November 2014

The meeting was interesting as I had never met Daisy before and had no idea what to expect. Michelle the production manager, who was opposite, seemed to be keen to find the right people to take on the task ahead and no one was thinking any of this was going to be easy. A lot of hard work was ahead. If Bill Drummond had gone out to get Araldite in 1976, never to return…I was sure that this new stage adaptation of Robert Anton Wilson’s book The Cosmic Trigger was not going to be any easier for anyone.

Robert Anton Wilson was an American author novelist, psychologist, essayist, editor, playwright, poet, futurist, civil libertarian and self-described agnostic mystic. I discovered Robert Anton Wilson by way of a band called The KLF and the various aliases from The Timelords, The Jams, The Justified Ancients of MU MU, to 2K and K Foundation. Magic Temple of Discordian Promotions gave me many of Robert Anton Wilson’s books as a present which I’ve read and sometimes re-read. Magick was also a big KLF fan and seemed to know more than me so we soon became good friends. Both Robert Anton Wilson and the discussions I had about his work with Magick gave me inspiration when organising gigs for bands in Birmingham, when signing on and eating the food in my housemate’s cupboard was about all I had. The last posting that Robert Anton Wilson put on his website said: “I look forward without dogmatic optimism but without dread. I love you all and I deeply implore you to keep the lasagna flying.” The whole concept of keeping the lasagne flying made sure I didn’t get any ideas like getting a job or doing anything sensible with my time. In fact, I only stopped organising gigs because the venue I worked at, The Old Railway, was scheduled to be bulldozed. But that’s an aside, someone else was at the meeting who I knew of but had never met. Flinton Chalk was sat across from me, he was the one who sold the old car to Jimmy Cauty which ended up being used in KLF music videos and was renamed Ford Timelord. Flinton had bought the car from a film studio and spent time with friends dressing up as a nun and driving around doing donuts in muddy fields in the middle of the night. You might be wondering where on earth all this is going. You see, as John Higgs will tell you, if you happen to run a record label and read his book The Brandy Of The Damned “This is the problem with doing weird things. If you behave like a reasonable person, then the world will be reasonable back. If you step outside of the norm, however, and act in freaky ways, then the world will match you step for step. ”

And this is how I ended up talking with Flinton about the car, dressing up as a transvestite pirate nun, Jimmy Cauty, KLF, Julian Cope, Tall Hats, Stones Circles, and his time living in Avebury. I used to live in Wiltshire so I know that part of the world pretty well. Judging by the number of times I had driven through Avebury late at night in the early 1990’s its a wonder I didn’t run Flinton down. Somehow we got on to 111hz which can wait for another time, and then to a serious story about his trip to Mothers Jam on Fyfield down near Avebury. A stone tried to dematerialise Flinton and Julian Cope on one of their outings to collect photos and detail for The Modern Antiquarian. Flinton also told me about his band TC Lethbridge, named after Thomas Charles Lethbridge, who was an English archaeologist, parapsychologist, and explorer.

Having spent every last penny for the last 17 years on a record label that few people have any interest in, or understanding of,  I was in no mood to consider working with another band and certainly not one that hadn’t played a gig, or had been missing for 23 years with three unreleased albums. But, I have done many things over the years, sometimes for money, sometimes for free, and sometimes because insanity is a far more rational approach to a complex situation than trying to think things through properly. And that’s how I ended up agreeing to help TC Lethbridge until they found someone more suitable.

Sat next to me, Steve Fly had just been appointed Music Director for The Cosmic Trigger so the work was done. I didn’t get out of the building until I had also agreed to do whatever I could to help The Cosmic Trigger. What had started out in my mind as a meeting to endorse Steve and  “listen in and learn,” ended up as “You don’t listen and you never learn.” And so it began. TC Lethbridge had found themselves a record label.

I drove back to Birmingham wondering if I would ever learn anything ever. But that was then, so here’s to the now.

John Higgs is the Author of ‘The KLF: Chaos, Magic and the Band who Burned A Million Pounds’ and ‘I Have America Surrounded: The Life of Timothy Leary’. John Also writes fiction (as JMR Higgs) including The Brandy of the Damned and The First Church on the Moon.

I’ve read John’s book on Timothy Leary and also his book on the KLF and The Brandy of The Damned. All of them are well worth the read, you can make your own mind up which one to read first but, before you consider any of those, I want to tell you about his latest work.
TC Lethbridge - 2000 TC book by John Higgs
John Higgs has written a book called 2000 TC: Standing on the Verge of Getting It On. The book is not for sale, it will be one of a private edition of 111 copies. Don’t ask. The answer will blow the right side of your brain.

2000 TC was written to mark The Cosmic Trigger play and festival performance in Liverpool. It is the story of TC Lethbridge, who will be playing their first gig after the play on Saturday – 23 years after they formed. TC Lethbridge are Doggen and Kev Bales, of Spiritualized and Julian Cope/Brain Donor, and Flinton Chalk, who you’ll find more about in John’s KLF book (pages 116-117).

2000 TC Standing on the verge of getting it on

2000 TC is an album recorded by TC Lethbridge in Avebury 20 years ago. It was remastered by the same person who remastered the recent Led Zeppelin reissues. Don’t ask about that either, that’s another story altogether. Flinton met me backstage at The Barbican on 31st May after John Sinclair had performed with The Founder Effect supporting Marshall Allen and The Sun Ra Arkestra. The gig was to celebrate 100 years since the birth of Sun Ra and it was a suitable venue to hand over the 2000 TC master. The album is being released on November 23rd by Iron Man Records along with an album called Moon Equipped and another called Mina. The band have been missing for 23 years and now they are back with a gig as part of The Cosmic Trigger, a book by John Higgs, and three albums on Iron Man Records.

I should mention that Thomas Charles Lethbridge was born 23rd March 1901 and passed away on 30th September 1971. You may be interested to know that 30th September 1971 is my birthday. Let me be clear: I am not the reincarnation of TC Lethbridge. If I had come up with a good reason not to work with the band of the same name, it still wouldn’t have stopped anything. It appears from birth, despite my protesting, I have been destined to know TC Lethbridge and release the records by a band of the same name. You cant make this stuff up, no one would believe it. Give the music a listen, you might like it.

The voice on the 2000 TC track Bou Saada is that of Brian Barritt. He makes an appearance in the book Cosmic Trigger, when Timothy Leary tells Robert Anton Wilson that he needs to talk to Brian if they are to both understand Aleister Crowley.

John  Higgs said “Spending a few months writing a biography of a band who have yet to show their faces in public was not the most career-minded way to spend my time, but it had to be done. This is a story about people who’ve had some form of visionary or incomprehensible experience, and about how they can only move on and process what happened to them through a creative act. It is about the impact an uncompleted artistic project can have on a life. It also functions as a jigsaw piece, connecting the story in my Timothy Leary book to the one I tell in The KLF.

So, yeah, it had to be written.

No doubt it will be made more widely available at some point, in some format, in some way, should the band keep gigging and putting themselves about. But until then – more about the band here, and catch them Saturday if you can.”

All three TC Lethbridge albums – Moon Equipped, Mina, and 2000 TC will be released on 23rd November 2014 on Iron Man Records. Note: Any money generated from sales of these TC Lethbridge albums will be used to finance a vinyl and CD release of each record in future.

If you are interested in reviewing the 2000 TC book or reviewing any TC Lethbridge album get in touch

John Higgs will be speaking in Liverpool on the Sunday after Robin Ince and will then host a panel that will attempt to make sense of the preceeding days. Someone has to do it and if anyone stands a chance, it’s John. I hope the weekend is fun but unfortunately I wont be there, I just need to finish this and then pop out for a bit. I need to get some Araldite.

Find out more about the band here:

TC Lethbridge website: http://www.tclethbridge.com

Facebook: https://www.facebook.com/TCLethbridgeMusic

Twitter: http://www.twitter.com/TC_Lethbridge

Iron Man Records - TC Lethbridge A5

TC Lethbridge

November 5, 2014

TC Lethbridge are Doggen, Kev Bales and Flinton Chalk. Automatic writing in the sacred landscape. Established 1991.

T.C. Lethbridge - Band photo
T.C. Lethbridge – Band photo.

Daniel James, Kev Bales, Tony Doggen Foster, Flinton Chalk at John Stewart Hall, Yatesbury, Wessex, where most of the tracks for Mina and 2000TC were recorded.

Flint had a tape with him, rough mixes of 2000TC songs recorded in Avebury which he pulled out of a box of cassettes under the stairs. I was keen to hear it. I was a big fan of the Mina instrumentals. I don’t know what I had been expecting, but it wasn’t the overwhelming sense of purpose that burst out of the speakers. I was reminded of the Jimi Hendrix Experience, which I was not prepared for. There is one particular section of 2000TC that for me crystallises everything that Flint, Kev and Doggen were doing. It is at the end of the sixth track. Doggen’s playing becomes increasingly possessed by some musical spirit, the like of which I have never heard before. As the song progresses you get the strange sense that those musicians no longer exist, that they have been replaced. They have sunk a deep well and been swept away by the sound gushing out of them. This builds and builds and… stops, abruptly. The tape ran out. But back in that hall none of them noticed. They continued, utterly lost in what they were doing… To hear where they were when just before the tape ended is a cruel tease indeed. But it also points to those lost moments we can never recover, of three musicians in Avebury who had left their egos far behind and were producing, as Brian Barritt put it, “automatic writing in the sacred landscape.” – John Higgs

 

‘Moon Equipped’ – 250 Vinyl 1994 self released. Recorded 1992 on board Judith, a Dutch barge on Thames at Battersea Bridge on 4 Track cassette.
TC Lethbridge - Moon Equipped (Iron Man Records - 23rd Nov 2014)
TC Lethbridge – Moon Equipped (Iron Man Records – 23rd Nov 2014)

‘Mina’ – 500 CDs self released 2001, recorded John Stewart Hall, Yatesbury, Melbourne House, Avebury, 1993, 4 track cassette, released to mark 100 years since Lethbridge’s birth.
TC Lethbridge - Mina (Iron Man Records - 23rd Nov 2014)
TC Lethbridge – Mina (Iron Man Records – 23rd Nov 2014)

‘2000TC’, recorded 1994 John Stewart Hall, Melbourne House, The Henge Shop, Avebury, 4 Track cassette, digitally remastered by John Davies 2014.
TC Lethbridge - 2000 TC (Iron Man Records - 23rd Nov 2014)
TC Lethbridge – 2000 TC (Iron Man Records – 23rd Nov 2014)

Band Line up:

Formed 1991 (Laurel Canyon) named 1992 (Avebury).

Flinton Chalk – Vocs, Keys, Percussion, Engineer, Producer.

Tony ‘Doggen’ Foster – Guitars, Keys, Lead Vocs, Digital Remaster Engineer.

Kev Bales – Drums, Percussion, Vocs,

Daniel James – Bass on 1st album.

Next public performance:
The Cosmic Trigger Festival, Camp and Furnace, Liverpool, 22nd Nov 2014 around 10pm…..

The Full Cosmic Trigger Experience 22nd/23rd November 2014
The Full Cosmic Trigger Experience 22nd/23rd November 2014

The Full Cosmic Trigger Experience
Find The Others
Conferestival

Performance, Speakers, Art, Music Cinema, Rituals, Workshops, poetry, Quizzes, Stalls, Discordian Papal Ball.

Prof. Robert Temple, Robin Ince, Nina Conti, Youth, Adam Gorightly, Johnny “Dolphin” Allen, C.J. Stone, John Higgs, Dr. David Luke, Greg Sams, Jeff young, Liverpool Impropriety, TC Lethbridge, DJ Kin, Michael Brunstrom, Dr. David Bramwell, John Constable, Salena Godden, Jacqueline Genie, Adrian reynolds, Jamie Reid, Jimmy Cauty.

Camp and furnace, Liverpool L1 0BY

14:23-02:23 Sat 22nd november 2014 (Play and Ball)

11:23-23:23 Sun 23 Nov 2014 (Conferestival)

Tickets £69 (full weekend = play and ball and festival)

Phone The Everyman box office: 0151 709 4776 www.cosmictriggerplay.com

T.C. Lethbridge website: http://www.tclethbridge.com

Facebook: https://www.facebook.com/TCLethbridgeMusic

Twitter: http://www.twitter.com/TC_Lethbridge

Iron Man Records - TC Lethbridge A5

The Full Cosmic Trigger Experience 22nd/23rd November 2014

October 18, 2014

The Full Cosmic Trigger Experience 22nd/23rd November 2014

The Full Cosmic Trigger Experience
Find The Others
Conferestival

If you are interested in finding out more about Robert Anton Wilson, The writing (and living) of Illuminatus, the cult novel which launched a million conspiracy-freaks; Stumbling, via LSD and Aleister Crowley onto a 6500-year-old conversation with the planet Sirius; Dreaming up the formula, with Timothy Leary, of positive human evolution; Co-conspiring to create the Discordian religion, which worships Eris, the Goddess of Chaos and Confusion; Tantric sex, musical sing-alongs and mass initiations; Bob’s fellow Discordian being accused of being “the second Oswald” in JFK’s assassination; Mind-blowing visual effects, extraordinary musical soundscapes, and proper “Ken Campbell style” acting; The journey through Chapel Perilous, a dangerous occultist crossing point, from which one either emerges paranoid or agnostic. This might be for you…..

Performance, Speakers, Art, Music Cinema, Rituals, Workshops, Poetry, Quizzes, Stalls, Discordian Papal Ball.

Prof. Robert Temple, Robin Ince, Nina Conti, Youth, Adam Gorightly, Johnny “Dolphin” Allen, C.J. Stone, John Higgs, Dr. David Luke, Greg Sams, Jeff young, Liverpool Impropriety, T.C. Lethbridge, DJ Kin, Michael Brunstrom, Dr. David Bramwell, John Constable, Salena Godden, Jacqueline Genie, Adrian Reynolds, Jamie Reid, Jimmy Cauty.

Camp and Furnace, Liverpool L1 0BY

14:23-02:23 Sat 22nd november 2014 (Play and Ball)

11:23-23:23 Sun 23 Nov 2014 (Conferestival)

Tickets £69 (full weekend = play and ball and festival)

Phone The Everyman box office: 0151 709 4776