Rachel Mayfield – “Winter of Desire” 12th October 2017

August 13, 2017

Rachel Mayfield - Winter Of Desire

IMB6037 Rachel Mayfield – “Winter of Desire” released on Iron Man Records, 12th October 2017

All songs written by Rachel Mayfield

Rachel Mayfield – Vocals/Acoustic Guitar
Toni Woodward- Cello/Vocal Harmonies
Kirsty Ford – Vocal Harmonies
Produced by – Paul Robert Gray
Recorded at – Saint Dunstans Church Hall, June 2017
Art Work – Dave Twist
Photography – Ian Whitney
Dedication – ‘For Huck’

For all Bookings and Press enquiries email: mark@ironmanrecords.co.uk

Rachel Mayfield is a singer, writer and mixed media artist from Birmingham, UK.

In the 1990’s she formed and fronted Indie Rock band ‘Delicious Monster’ being hailed by the NME as a “Goddess of Indie Rock’ and as ‘exciting, unpredictable and dangerous as a ten legged Tyrannosaurus. The band received critical acclaim for three top ten singles and one album placing them at the forefront of the cultured Indie Rock scene. Since then she has diversified into Solo albums, Film and Art installations while continuing to develop creative collectives.

In 2015 her short film ‘All Lovers Could Be Love’  from ‘Venture of Belief’ featured in the BFI love season with Poetryfilm.org.

October 2017 will see the release of  ‘Winter of Desire’ on Iron Man Records – the first element of a four part Art work that includes Music, Film and Poetry –

Winter of Desire
Venture of Belief
Truth To Material
Collect The Hearts

Rachel Mayfield will perform 12th October 2017 as part of Anchor Gallery ‘Show Me Your Birmingham’ exhibition. Stage time Approx 8pm at Gunmakers Arms, 93 Bath Street, Birmingham, B4 6HG. £10 ticket entitles ticket holder to an all events pass for the exhibition.

What people are saying:

Rachel Mayfield is a master of dynamics and a true artist in the widest sense of the word. She expresses her worldview and reading of her experiences in a variety of formats. Her live performances are fluid; as an ever changing line-up of solid musicians enhances and alters her sound.  As a solitary character, dressed in black, barefoot, with an acoustic guitar, she enthralled me at the Midlands Arts Centre in 2015 with her live Mixed media exhibition ‘Winter of Desire.’  Yet, her most recent performance of this at Pcafe included: bass, cello and backing vocals, along with film and photography on theme, that added further dimension.  Irrespective of the line-up, Rachel instinctively knows when extra layers of instruments are required, whilst allowing the musicians creative freedom to enhance her songs.

Rachel Mayfield is unshackled by mere form. Her lyrics convey ambiguous imagery (reminiscent of artists such as Suzanne Vega) wide open to audience interpretation.  Multiple listens to the impassioned, stripped down, ‘Take Me to God’ will reward you with resonating hidden depths from a gut-wrenching and primeval cry on the eponymous refrain.  Check out the version on YouTube.  Her band cranks up the feeling till the epic crescendo; although her solo version has (at least) the same devastating impact.

Other notable tracks are: ‘Do, Don’t’ – a song that exposes the tumultuous and emotional conflict of Intimacy, illustrated by the simple, yet effective, use of the call and response titular chorus.  Rachel fearlessly exposes her vulnerability through her lyrics and her delicate and powerful vocals; her vast vocal range can hover between precarious whisper and spine-chilling, rousing wail –any time she chooses.  ’Don’t Say Never’ epitomizes the pain of heartbreak. With her sensitive vocal delivery and unobtrusive guitar playing, Rachel creates solace, whilst simultaneously promising optimism.

All in all, through compassionate, sensitive, lyrics, sound and visuals, Rachel Mayfield has produced an album destined to be the vital soundtrack for anyone who has ever experienced epic love and loss. – Antonia Woodward – Gig Junkies

‘Anyone who has not experienced the fragile beauty of Rachel Mayfield’s aural aura, needs to make it their priority. I had the pleasure of experiencing her soul-baring musical performance at Birmingham’s Central Library’s auditorium on Saturday afternoon.  The lyrics – poignant and moving – describe the delicate turmoil an artist must work through to deliver their craft. It was also the romantic tale of rebirth (creatively and physically) and a homecoming to her hometown of Birmingham after living away for over a decade.  The lyrics, personal and allegorical, tell the story of an artist who hasn’t chosen art; art has chosen her.  Lucky us.

Rachel performed one song, stopping near the beginning to encourage the crowd to join in the beautiful and haunting chorus. They did. It was a testament to her magnetic stage presence, that the passers by (above) flocked to hear her performance.  By the time the timeless melody was over, a large crowd had gathered and she was met with rapturous applause and appreciation.

Like the chorus of her self-penned song, most people who were there would need to see her “over and over”. – Andy Strachen 

‘An extraordinarily gifted singer songwriter – possessed of an exquisitely way-ward, multi octave voice.’ Paul Lester – The Guardian

‘Capable of soul baring, sensual ferocity. Heart wrenching.’
Katatonic Magazine

‘Singer, songwriter extraordinair.’
Tony Moran – The Sutton Observer

Rachel Mayfield is one of the most important women in contemporary music. She is a bruised yet strangely sensous woman.’
Andrew Field – Anthem

‘Star of the show, a rock deity whose free falling voice is a wonder to behold.’
Cumbernauld News

‘Mayfield’s voice is to sigh for, full of pure, unforced beauty.’
Whats On

‘An ambiguous, heady brew of power, politics, pleasure and personality all rolled into one.’
Redbrick – Student Magazine

‘I F…ing Love this singer’
Sarah Henderson – GWR FM Swindon

‘Pleasure with Brains.’
Buzz Factory

‘A magnetic, transfixing stage presence. The lady has everything; a totally individual sound and a personality that dominates centre stage like the innocent but knowing eye of a technicolour hurricane.’
Steve Morris – Brum Beat

‘Emphatic, Balanced, Artistry.’
Nicholas Manthorpe – Evening News

‘Rachel’s Mayfield’s voice is Swooping, demanding, pleading but always seductive.’
Cornwall College – Student Magazine

‘Rachel flings her head back, opens her mouth and this voice unleashes itself in all it’s
just controlled, terrifying beauty.’
Sarra Manning – NME

‘Mayfield’s voice is infused with an unmistakeable and exhilarating passion which sends a shiver down the spine.’
Making Waves – Oxford

‘Raw energy and well balanced sensitivity.’
Leon Burakowski – Dudley Chronicle

‘Rachel Mayfield has wit and nerve.’
Time Out – London

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.


Broadway World

London City Nights

The Upcoming

The Stage

International Times

The Guardian

The Times

Cosmic Trigger The Times Online Version

Arthur Smith interviews Daisy Campbell on Radio 4 xtra:
Short thing with Arthur Smith (more like a plug)

Cosmic Trigger – 4th – 27th May 2017 at The Cockpit

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

Hotei Euro Tour 2017

March 21, 2017

Japanese superstar HOTEI returns to Europe in April 2017 with live dates scheduled in Netherlands, Germany, Switzerland and Belgium, playing in many cities for the very first time.

Says Hotei:

My career started from playing in small clubs in Japan, and we built it up to the level where I was able to play in front of stadiums full of screaming fans.

And now, I’m opening the door to the world, starting again from playing small clubs in new, unfamiliar places. Back to basics, never lose your ambition even in your success―that’s my philosophy. One step at a time with your own steps, that’s the only way to achieve your dreams.

I can guarantee you that you will be up on your feet dancing once you hear me play live with my amazing band, even if you are not familiar with me. Those who are bored with experiencing live performances with no soul will be surprised at how refreshing it is to see a real ‘live’ performance!

I am really looking forward to meeting as many people as possible on this Euro tour! If you can’t connect with the soul of the audience in front of you, there’s no chance to grab the hearts of thousands!

Hotei celebrated his 35th anniversary in music in 2016 with a new “Best of” album release and an extensive touring schedule in Japan, with 57 dates across the country. The shows ranged from intimate club shows, to a free open-air concert in his hometown in front of 25,000 fans and finishing the year with his 40th performance at the Budokan in Tokyo on December 30th, where Hotei performed 35 songs to celebrate his 35 years in music.

Hotei also found time in 2016 to continue building his international profile, striking up a personal and professional relationship with Italian superstar Zucchero and performing on his latest, platinum selling, album “Black Cat”. Hotei and Zuccchero performed live together several times in 2016, including Zucchero’s first ever performance in Japan at a special event in Tokyo, and at headline shows at the Royal Albert Hall in London and Arena Di Verona in Italy.

That special relationship has continued into 2017 with Hotei joining Zucchero on stage at the prestigious San Remo Festival in Italy in February, a major TV performance viewed by millions.

Also in 2016, Hotei released singles with godfather of punk Iggy Pop and Richard Z. Kruspe (from Emigrate/Rammstein) from his critically acclaimed debut international album, “Strangers”, and performed his first-ever LA show at the legendary Troubador, returned to the Highline Ballroom in New York, and performed headline dates in Amsterdam, Paris and Berlin.

Hotei released his debut international album, Strangers, in 2015 through Spinefarm Records, a subsidiary of Universal Music. The album features an array of guests including the godfather of punk Iggy Pop singing on two songs, Emigrate/Rammstein’s Richard Z. Kruspe, Bullet For My Valentine’s Matt Tuck, Noko from UK electronic band pioneers Apollo 440, and acclaimed Texan singer Shea Seger.

Heralded by Time Out as “iconic”, and a genuine superstar in his native Japan where he has sold more than 40 million records, Hotei is best known internationally for his Kill Bill theme ‘Battle Without Honor or Humanity’ and is sought-after as a collaborator both in the studio and on stage.



Hotei – European Tour April 2017

March 17, 2017

I will be working with Hotei in April. For those of you interested to know, his website says “We’ve added a couple more shows to the Euro tour, which now encompasses shows in Netherlands, Germany, Switzerland and Belgium. Tickets are available now for all shows. Hotei will be joined by longstanding live collaborator, Zac Alford on drums, Japanese keyboard player Okuno, and London based all rounder Noko, who will be playing bass.”

Hotei’s new album “Strangers” features collaborations with the legendary Iggy Pop, Richard Z. Kruspe from European rock gods Emigrate/Rammstein, Matt Tuck from British rock band Bullet For My Valentine, Noko from electronic music pioneers Apollo 440 and acclaimed Texas singer Shea Seger.

Hotei comments, “When I was a teenager I was going to the record shops to buy everything I could by The Beatles, The Stones, Led Zeppelin… I soon realised that almost all of it was British. With idols like David Bowie and T-Rex, I’ve always felt a strong connection to the UK and now that I am living in London, ‘Strangers’ allows me to take a step out of this new and relatively anonymous space to introduce myself. A stranger to many, remembering the days when I was young and just starting out, playing gigs to a room of only 20 people, I want to connect with people individually and let them understand me through my music.”

11th April 2017 Euro Tour: Frankfurt, Zoom
12th April 2017 Euro Tour: Cologne, Clubbahnof Ehrenfeld
14th April 2017 Euro Tour: Amsterdam, Paradiso
15th April 2017 Euro Tour: Paaspop Festival, Netherlands
17th April 2017 Euro Tour: Hamburg, Indra Club
18th April 2017 Euro Tour: Berlin, Musik + Frieden
21st April 2017 Euro Tour: Zurich, Papiersaal
22nd April 2017 Euro Tour: Brussels, Rotonde Botanique

Hope to see some of you on the road…..you can find out more on Hotei’s website. He’s a kind and decent bloke but he’s a demon on the guitar. Come and see…..


Police Bastard – Confined: Death, doom, despair and TERRIFYING NOISE… discussed.

February 23, 2017

Here’s part of an interview With 2 members of Police Bastard conducted by Robin Valk who spends his time writing about Music, Musicians, Music Business and Radio in the UK’s West Midlands.

Robin: As a bumbling young rock DJ, I covered the decline of progressive and hard rock throughout the 70s. Pub-rock rose and fell, global forces like Springsteen and Fleetwood Mac emerged, and Birmingham moved from Monsters of Metal to cross-cultural mixes, (UB40, Apache Indian, the Beat, Ruby Turner). Oh, and let’s not forget the New Romantics. On second thought, let’s.

By the end of the decade, Punk Rock emerged, to be rapidly commoditised as product and fashion trend (Generation X anyone?), and used as a career-launching platform (Police, Squeeze, Boomtown Rats). Then the mainstream lost interest, so it went underground, morphing from a bunch of snotty teenagers flipping the bird at the man, into something else altogether.

Police Bastard were punks once. Now they’re punk/metal/thrash, a set of 40 somethings with a remarkably long history, and a new album, Confined.  The dumb rebellious simplicity of the late 70s has been replaced by something more complex, more considered, even dutiful. The music? Savage as ever, of course – but now, these guys can play. John Doom and Mark Badger talk it up after the jump.

John Doom: The band started as a fun project in about 1993. Not many albums, but we’ve done lots of touring. A real mix.

Robin: Twenty years – are you still as angry?

John: When I was about 16 I formed Doom. They’re still going now. It was Crust/Punk. We were raised on Punk – and political punk as well. Anarchist Punk Rock.

Robin: OK, let’s clarify some definitions. Proper Punk has always been about being snotty and challenging the establishment. I came in for all that when the Sex Pistols went round radio stations on promo tours. But Political Punk goes a lot further – as irreverent and challenging as all Punk, but with a more layered set of things to say?

John: We were influenced by Crass and Conflict and all these bands that were political. Yeah, we were angry then… but we lived with our parents! We were at odds with a lot of things. We lived in suburbia; a lot of people there were quite racist, traditional in their values. We were singing from a slightly different hymn sheet.  So, yeah, when we formed Police Bastard in 1993, I’d left Doom, and become a bit jaded. I made a commitment to write about things that were pertinent to me and the band – fresh ideas, positive things, not spiteful and vicious things. But filtering down to where we are now, I’d still say there’s plenty to be angry about.

Robin: No argument from me on that score. The early punk bands reacted against turgid progressive rock. There’s that famous Who song, Who Are You, which tells the story of Pete Townsend having a drunken row with Johnny Rotten in a Soho pub… but all that was years before you even started Doom. So does that mean that you are bringing – gulp – an adult perspective to your punk?

John: I’ve been through many different ways of thinking about things. In some ways, time strengthens your position, because you can come at things from an adult perspective. You’re not quite so quick to judge, to let things spill out your mouth. Here’s an example. When we were growing up listening to Crass and the like, people were really, vitriolically anti-religious. If you fast forward to now, there’s all these questions about what faith is, and about respecting other people’s faith; Islam for example.  All these ideas of being blasphemous and rude and in your face – you come round to thinking maybe faith isn’t the problem, maybe it’s the organisation and the power behind it. That’s something we address on the new album.

Robin: But that early 70s/80s anti-establishment punk blasphemy was pretty much all against Christianity. Nothing else was on the radar.

John: Exactly. It’s a more complex and globalised world. You’ve got to take on ideas about the whole world, not just your own neighbourhood.  The world’s got smaller. It’s easy to see a lot more problems – Syria, Russia – different issues.

Robin: How does that play out with your audiences – from the early days to now?

John: Weird. It might be my cynical nature. Underground Punk exists as an entity, outside the mainstream. It’s always been a constant. But around acid house and rave culture, some people forgot about issues, forgot about being angry…

Robin: They were blissed out…

John: Yeah!  More hedonistic, having a good time. But those issues were still there. Things come around though. A lot of original bands came back for one last time in their fifties… Things come in cycles. Over the last five years, you’ve seen a shift back, politically and in society, to what brought people out in the seventies. People are feeling disillusioned. Feel there’s no hope, that there might not be those jobs for them. So you can see Punk growing again.

Robin: Are you saying nostalgia for Punk? That makes it a commodity!

Mark Badger: It’s like a dogma. Some people still think that if you want to be in punk band, you gotta think a certain way, look a certain way, sound a certain way, do certain things.  The idea of Police Bastard, when I joined was more attractive than the band itself. Something that had a brutal musical delivery of political ideas, with a very diverse set of individuals.  To me, that flies in the face of the dogma of what it is to be punk or metal.  And we’re still doing that.

John: Some of our goals have come true. The major labels don’t control things anymore. So the DIY ethic, at the heart of punk, hasn’t been affected by the decline of the industry. And the web has helped.
On the craft and musicianship front, the band now has some phenomenally good technical skills.  A thunderous attack, played with blistering skill and stamina. You just wouldn’t have had those skills twenty years ago – they come with time. Does stagecraft sort of get in the way?

John: I think there have been times when we’ve been in danger of disappearing up our own asses. A few pints where we became a little bit too metally, a little bit too technical. That’s because we’re absorbing ideas from all over.

Robin: But there’s nothing wrong with being a fabulous player…

John: Not at all. But you can move away from some of the areas you should be in. As Mark was saying, one of the beauties of Police Bastard is that if we want to do a dub song, a metal song, a two-minute punk song, we’ll do it. It doesn’t get in the way.

Robin: What’s the gender split with your audience?

John: Fairly good. I never like to see it get too male. There was a point with hardcore where it became too violent and too macho. Everything became blokes with their shirts off, fighting rather than enjoying the gig. My experience has been good. We’ve had loads of girls dancing, and not feeling harassed or beaten or groped. I’ve been fairly happy with it.

Mark: We manage to sell good quantities of girls and boy’s t-shirts.

Robin: So how about the album….?

John: I’m proud of this album, We’d finished the band in about 98… the rest of the band was unable to put the time in. We had jobs, I went back to university… Then the band sort of reformed, and at first I felt a little bit off about it. But what they were doing was great – exactly what Police Bastard were all about. Eventually Mark asked me to come in with the band, and it’s gone from there. Our singer lives in Spain, we’re all doing different things, and we’ve still managed to come together and create new songs. All different, dark, aggressive, touching on new material.

Mark: John and Pid (Stu-pid) have probably come up with the best lyrics on Confined they have written so far. The new album was difficult in lots of ways, especially getting everyone together. But we’ve got to hand it to Simon Reeves. He sat there with about 27 channels of guitar. John put down several tracks of noise and feedback and other horror. Simon sat there clamly with his head in his hands muttering what am I going to do with this? John simply said ‘You’re the Producer, you sort it out!’ And of course, he did. We are all really pleased with the finished record.

Robin Valk

Police Bastard – Confined

Police Bastard – Confined (VINYL) is available from Iron Man Records now

February 12, 2017

Police Bastard – Confined (VINYL) has arrived after many months of waiting.

A big Thank You to all of you who have pre-ordered the VINYL or have contributed as Iron Man Records Patrons. I would like to acknowledge the ongoing insanity of the following and their kind financial support for this madness:

Suzy Tweddle, Deborah Ritchie, Scott Roe, Margaret Calleja, Thomas Rathgeber, Dan, Lee Parsfield, Chris Scales, Muir Mathewson, Michael Howe, Jonathan Harris, Dave Barnard, Bill Fadden, Mike Burgess, Joachim Palm, Lyle Bignon, Thomas Burke, Ben Cartlidge, Matt Grimes, Toby Conyers, Chris, Andy Cavendish, Steve Wyatt, Andrew Dubber, Frank Knoblich, Vaughan Roberts, Ian Robertson, Marcus H, Seth Faergolzia, Ricky Lee, Kathryn McCormack, Ade Cartwright, Sunwoo Jung….

Almost all orders have been posted out in the last few days, and Patrons will get their copies this week.

It’s been a bit mad at this end, I have never had to post out so many records in such a short time before. It’s been a task in itself just trying to get the orders to the post office.

If you would like to buy Police Bastard – Confined on VINYL try the Iron Man Shop here

If you would like to become an Iron Man Records Patron go here

This record is possibly the best record the band have released to date and there are only 500 copies on Vinyl so get one while you can.

The work continues on new recordings and new material. The band will be back playing live later this year, hope to see you then

Cheers Mark

Free The Weed 60 by John Sinclair

May 5, 2016

Highest greetings from New Orleans, where I was greeted for Mardi Gras with the splendid news that the New Orleans City Council is about to pass an ordinance virtually decriminalizing marijuana possession in the Crescent City, largely due to the work of Kevin Caldwell and the organization called Legalize New Orleans and to Council member Susan Guidry, who introduced the measure.

“Under the proposed municipal law change,” nola.com reports, “a first-time offender could get off with a verbal warning. A second-time offender could get a written warning, then a $50 fine the third time” and a $100 fine any time after that. “Police will now be able to use their discretion,” the report continues, either issuing a summons under the municipal code or making a custodial arrest using state marijuana possession laws.

Since Council member Guidry introduced the original ordinance in 2010 that redefined first offense simple possession, “We have found that the police officers 70% of the time are writing out a summons rather than taking someone to jail,” Guidry said. “Most importantly,” nola.com adds, “research shows that the NOPD’s discretionary use of summonses has been applied evenly by race.”

But according to New Orleans Municipal Court and NOPD records cited by nola.com, African-Americans still account for 75% of all misdemeanor marijuana arrests and 92% of all felony marijuana arrests (whether by summons or custodial arrest). “This is unacceptable and not in line with the demographics of our city or the reported demographics of marijuana users,” Council member Guidry said.

Guidry says she hopes the ordinance will “free up police, save money and make application of marijuana laws more fair and just across ethnic and economic backgrounds.” She wants police on the street investigating murders, rapes and armed robberies, “rather than at the station spending countless hours booking individuals on victimless, non-violent crime.

“These marijuana arrests clog our already overburdened court systems and public defender’s office. Also, when indigent defendants cannot afford the hefty state law fines for possession offenses, they end up clogging our jail for failure to pay. Those offenders then struggle to get back on track once released. They can’t bond out and they wind up losing their job, then they get out and they are really in desperate circumstances, and really it makes the severity of the punishment much more than the severity of the crime,” Guidry said.

That’s some of the most sensible municipal wisdom to be encountered today, and this grizzled veteran of the marijuana legalization wars would like to commend and thank Ms. Susan Guidry for leading the way to common sense in New Orleans.

In Detroit, however, the City Council is gallopoing off in the opposite direction, even though the citizenry has voted to legalize marijuana for medical (2008) and recreational (2012) use and the cannabis community has opened up more than 200 public dispensaries to serve the needs of local smokers.

This has happened in the most natural fashion and absent any supervision or regulatory system devised by the city government. Now they want to corral the dispensaries and impose stringent post-facto legal strictures that are based in the usual idiocy of War On Drugs policies.

The Detroit City Council has adopted a report pretentiously titled “Medical Marihuana Caregiver Center Application Process Status Report For Detroit City Council” and identified 211 dispensary locations in the city.

According to Rick Thompson of The Compassion Chronicles, the new medical marijuana rules will begin on March 1 and any dispensary now open in the city has only until March 31 to apply for a business license. Most of the applicants will also have to apply for a zoning variance, Thompson adds, ”as the city was extremely stingy on the number of locations properly zoned for the inappropriately-named caregiver centers.”

There isn’t enough space in this column to go into every detail of the Detroit dispensary ordinance, but Richard Clement, Marijuana Policy Analyst for Council Member George Cushingberry, suggests that anyone interested in viewing the relevant documents visit www.detroitmi.gov/Government/City-Council/George-Cushingberry/Newsletters-and-Documents

Let it suffice to say that the ordinance is full of tricks and traps that are designed to deprive as many people as possible of access to their medicine. First off, all operational dispensaries must apply for their licenses in the month of March—period. Up-front costs include a Site Plan Review for $160, an initial Conditional Hearing for $1000, a Board of Zoning Appeals Hearing for $1200, and, as Rick Thompson points out, the price of the business license itself is yet to be determined.

Once the licensing fee is established, the businesses will have to purchase the initial license in the spring and will be forced to renew their license and pay the fee again in September.

The whole thing is based in the kind of backwards, police-state ideology so assiduously developed in the service of the War On Drugs. For instance, anyone who cultivates marijuana in a residence will be required to register with the city of Detroit as a home-based business. The registration process involves inspection and approval by numerous city agencies.

Further, dispensaries cannot be less than 1000 feet from another such business, from a park recognized by the Recreation Department, from a religious institution that has received a tax exemption from the city, or from a business identified as a controlled use (topless clubs and liquor stores). The City has specified a few industrial districts where dispensaries may be less than 1000 feet from each other to allow for clustering of similar businesses.

What happens if you don’t follow the rules? Rick Thompson asks. “Any premises, building or structure in which a medical marihuana caregiver center is regularly operated or maintained in violation of the standard included and incorporated in this Code shall constitute a public nuisance and shall be subject to a civil abatement proceeding initiated by the City of Detroit.”

What’s even worse, Thompson reports in a follow-up piece, the Detroit Police Department raided more than a dozen medical marijuana dispensaries in February despite assurances that businesses of that type will begin licensing procedures on March 1.

“The Detroit Police raids are a tortious interference with a business expectancy,” Royal Oak attorney Barton Morris told Thompson. “The recent Detroit Police raids are unlawful and unconstitutional. The city should be legally estopped from taking any action to an issue they created and allowed.”

“The current policy to shut down, raid and deny safe access is a losing hand to play,” said Michael Komorn, an attorney from Southfield. “Medical cannabis is a public health issue, not a public safety issue.”

“The City has not only allowed dispensaries to operate by providing them certificates of occupancy, they enacted an ordinance to license and zone them,” Barton Morris pointed out. “At the same time, they send the Detroit police to raid select dispensaries purporting to enforce state law. That is the ultimate hypocrisy.”

“These raids are discriminatory in nature and further persecute caregivers and the patients who need safe access to their medicine,” said Bruce Leach of Kirsch Leach PLC of Birmingham. “So many people will be negatively impacted by these raids; many will be thrown into the criminal justice system.”

It will be interesting to see what happens in March, and we’ll be following this procedure very carefully. Incidentally, this is my 60th column for MMM Report—one every month for the past five years. If all goes well, the column will continue here for at least another five. FREE THE WEED!

—New Orleans

February 20-21, 2016

© 2016 John Sinclair. All Rights Reserved.

Nightingales + Ted Chippington – UK Tour Dates in May 2016

April 25, 2016

Nightingales + Ted Chippington - UK Tour Dates in May 2016

NIGHTINGALES + Ted Chippington
UK Tour May 2016

Thu 12 – BRIGHTON, Green Door Store
Fri 13 – BRISTOL, Thunderbolt
Sat 14 – BIRMINGHAM, Flapper & Firkin
Mon 16 – LONDON, Birthdays (Dalston)
Tue 17 – MARGATE, Tom Thumb Theatre SOLD OUT
Wed 18 – MARGATE, Tom Thumb Theatre
Thu 19 – CARDIFF, Moon Club
Fri 20 – OXFORD, Cellar Bar
Sat 21 – DERBY, Hairy Dog
Tue 24 – LEICESTER, Firebug
Thu 26 – MANCHESTER, Gullivers
Fri 27 – BRADFORD, 1 In 12 Club
Sat 28 – EDINBURGH, Leith Depot

Buy Nightingales stuff: http://ironmanrecords.bigcartel.com/artist/nightingales

Buy Ted Chippington Vinyl: http://ironmanrecords.bigcartel.com/artist/ted-chippington

Read all about it: www.thenightingales.org.uk

TC Lethbridge – 2000TC – Standing On The Verge Of Getting It On

March 7, 2016

TC Lethbridge - 2000 TC book by John Higgs

Long, long ago in in the deep forgotten past, three musicians came together in an ancient landscape and made music that drifted away, seemingly lost for all time.

This was in Wiltshire around 1992, to be more precise.
2000 TC Standing on the verge of getting it on

The band was TC Lethbridge. It contained Doggen and Kev Bales from Spiritualized/Brain Donor and the artist Flinton Chalk. The band did not last long – they imploded before they had even played their first gig. But something happened to these musicians as they practiced, wrote and recorded in the Neolithic village of Avebury in the early nineties. They were marked by the experience.

The album they were recording as they fell apart was a project that always required closure. Two decades needed to pass before the politics and damaged relationships created by the band’s collapse could allow this to happen. In 2014 that album, 2000TC by TC Lethbridge, was finally mixed by the band from the original tapes and released on Iron Man Records.

T.C. Lethbridge - Band photo

One of those fascinated by the legend of this lost album was the author John Higgs. The Quietus has said that Higgs’ last book The KLF: Chaos, Magic and the Band who Burned a Million Pounds “might well be the best music book of the 2010s”. In The Guardian Dorian Lynskey described it as “like Adam Curtis brainstorming with Thomas Pynchon”, and Alexis Petridis called it “a thing of endlessly fascinating, utterly demented genius.” Alan Moore has said that Higgs’ next book Stranger Than We Can Imagine: Making Sense of the Twentieth Century, to be published in August 2015, is “an illuminating work of massive insight, I cannot recommend this magnificent work too highly.”

Such was the lure of the TC Lethbridge story that Higgs set about writing another book, 2000TC: Standing on the Verge of Getting It On, “in order to understand the drive, integrity and ambition of the young musicians in that Avebury hall”. This makes TC Lethbridge the only band to have a biography written about them before they had even gigged. In keeping with the unobtainable, mythic nature of the band, Higgs published this book in a limited run of only 111 copies. It is not for sale and there are no plans to make it available in any other format.

The book was published to mark an event that was for a long time considered unthinkable: TC Lethbridge played their first gig over the night on November 22-23rd 2014, at the Robert Anton Wilson festival and Cosmic Trigger play in Liverpool, hours after being presented with copies of this book.

This, then, is the story of TC Lethbridge up until that point. They are now an active live band whose three albums – the once-lost 2000TC, their first album Moon Equipped and their instrumental CD Mina – have all been made digitally available.

If this is their past, then what is their future? Perhaps that is a myth that has yet to be written.

TC Lethbridge - 2000 TC, Mina and Moon Equipped released 23rd November 2014 on Iron Man Records

Seth Faergolzia of Dufus returns with Multibird in July 2016

March 3, 2016


Seth Faergolzia from New York here.  I’m excited to announce that my stellar new project, MULTIBIRD, will be touring Europe in July.  I’ve been performing in Europe since 2001 when I first toured with Jeffrey Lewis and Cornershop.  Ever since then, I’ve come back at least once a year with one of my projects (Dufus, Faergolzia, Heck Yup, solo).  I’m just finishing up a project called #100songs, which is a songwriting & recording project which has been released via subscription website.  We will be promoting this 4 album set and performing a “best of” from the #100songs project.

MULTIBIRD is an ensemble of four (acoustic and electric guitars, bass and drums) who I’ve been working with for over a year, developing new material, pulling up old favorites from my back catalogue, and even playing a few choice covers (Zelda, Burning Down the House, For Whom the Bell Tolls, Roll Bus Roll).  If you haven’t yet heard my music, please check out the description and websites below.  If you have heard the music, then you know you will want to book us straight away before all dates fill.

We are booking dates during the month of July.  We prefer professional music venues with sound support but very much enjoy playing art spaces, outdoor events and even house concerts as well.
I hope to hear back from you soon!!


Buy Seth’s work here: http://ironmanrecords.bigcartel.com/artist/dufus


Multibird is the brand new project by Seth Faergolzia. Seth is well known for subtly harmonic, experimental lyricism, dynamic song structures, and whip-crack-acrobatic vocals with projects such as Dufus, Heck Yup & Faergolzia.  Celebrated as a vibrant example of what happens when a musician turns a genre like folk upside down and inside out, over time Faergolzia has come to represent something of a genre unto himself oft times nowhere near the folk aesthetic.

With a body of work that exceeds 20 albums and appearances in over 20 countries with the likes of The YeahYeahYeahs, Dan Deacon, Animal Collective, Regina Spektor, Jeffrey Lewis, Moldy Peaches, Kool Keith, Benevento Russo Duo, and many more, Seth Faergolzia is poised to put a spring in the step of his global following with his latest project, MULTIBIRD.  He has, in a short span of months, written 100 songs, and released one fully produced song per week through his subscription website, completing a versatile four album set called #100songs.

The band:

Seth Faergolzia leading, singing and strumming acoustic. Shaun Jones from Heck Yup, will be gently shredding electric guitar. Beat professor, drummer extraordinaire, Dominic Marini was along for the Faergolzia tour last year and has become a solid mainstay of Seth’s projects. Stan Martinelli, the youngest member of Seth’s project 23 Psaegz is wielding the bass like Thor’s hammer.  All four members of the band sing in lush harmony.

The freak-folk group will be performing a full and varied cross-section of the peerless oddball music that has delighted and baffled audiences, collaborators, and critics alike for over 2 decades. Faergolzia will continue to shake musical conventions, making moments honest and organic in their exploration of possibility.

“Phenomenal live.” – NME

“Kind and Scary.” – Spex

“Frantic fever-dream folk slashed through with rock stabs.” – The Onion

“As giddy and inventive as it is pissed off, it’s the 21st-century equivalent of the Fugs at their finest.” – Village Voice

“I have never heard anything like this before or since.” – Pop Matters

“Whip-smart pop song writing, intricately clever wordplay.” – KUSF/MTV San Francisco

“This is folk rock twisted and distorted into compelling new structures.” – Relix

“They took that saucepan and spoon and wrote a textured and intense opera… 9 of 10.” – Vice

“Tender, calm and epiphanistic lyrics.” – New York Press

“Seth Faergolzia could be the poster boy for anti-folk.” — Stylus

“Speaking in tongues on top of complex musical phrases, the inspiring frontman of Dufus makes music like nobody else.  Often impenetrable and uniquely original, his rightful place is beside Captain Beefheart and Zappa.”  –Adam Green, the Moldy Peaches

John Sinclair – Tour Dates New Orleans 2016

February 11, 2016


Fri. Feb. 12    7:30 p.m.     Piano Poetry Paint @ Frenchy Gallery (8314 Oak St.) with Tom Worrell, Lionel Batiste & Frenchy

Sat. Feb 13         3 p.m.     Louisiana Music Factory with the Carlo Ditta Trio (421 Frenchmen St.)

Mon. Feb 15      7 p.m.       Reading from “IT’S ALL GOOD” at Frenchy Gallery

Tue. Feb 16       7 p.m.       Reading from “IT’S ALL GOOD” at Frenchy Gallery

Wed. Feb 17      7 p.m.       Reading from “IT’S ALL GOOD” at Frenchy Gallery

Thu. Feb 18       7 p.m.       Reading from “IT’S ALL GOOD” at Frenchy Gallery

Fri. Feb 19         7 p.m.       Reading from “IT’S ALL GOOD” at Frenchy Gallery

Sun. Feb. 28    10 p.m.       d.b.a. with the Carlo Ditta Trio (618 Frenchmen St.)

Mon. Mar. 7     10 p.m.     Hi-Ho Lounge (2239 St. Claude), Instant Opus Improvised Series

Wed. Mar. 9       9 p.m.       Little Gem Saloon with the Carlo Ditta Trio  (445 S. Rampart St.)

Track John Sinclair on SongKick and get updates for shows as they are announced

Buy John Sinclair Books, Music and more here

Exodus + Lost Society + Police Bastard at The Asylum, Birmingham 25th February 2016 Tickets £17 adv

February 7, 2016


Exodus – The original architects of the thrash metal scene.

The Asylum Venue, 38-42 Hampton Street, B19 3LS Birmingham, United Kingdom

EXODUS have battled every kind of adversity over the past 30 years and used it all as fuel to stoke their ever-raging fire. Short-lived trends, line-up shifts, label conflicts, even the death of founding vocalist Paul Baloff couldn’t stop the beast. And through it all, guitarist and songwriter Gary Holt has persevered with misanthropic indignation, rolling with the punches, reassembling the broken pieces and working with the eccentric personalities surrounding him to create some of the most trenchant, fast-paced, and unrelenting music that influenced everyone from Pantera to Lamb of God and continues to crush skulls at a time decades after most ‘80s thrash bands have retired.

With Blood In Blood Out, EXODUS’ tenth full-length studio album of new material, Holt, Hunting, Gibson, Altus, and Souza prove they still have the fortitude, chops, and talent to deliver top-notch, ballad-free tunes that stand out without straying from their band’s core aesthetic.

Support :

LOST SOCIETY (Finland) are the main tour support act. LS are an amazing thrash band, LS are – an amazing live act……Check out the latest album for your fill of a full on thrash assault….This is going to be insane.

POLICE BASTARD (U.K.) Birminghams own hardcore punk grind influenced aural onslaught. Fronted by Kerrangs John DOOM (Ex Doom / Haxan). Police Bastard are opening the show, and will provide a sure fire corking start to what will be the most full on evening Birmingham has seen for a while. The new album ‘Confined’ is destroying stereos all over….. Like your Integrity / Trap them / Amebix?………Well….

This is going to be an amazing event!!! Please ensure you get your tickets well in advance!!!!!!

Yes, in the Asylum BIG room!!!!!

A total thrash metal doss.

Doors 6:30 pm – First band on 7pm on the dot.

Tickets £17 from…..

Links :


Lost Society:

Police Bastard:

Asylum venue:

Fear Me! Music:

Hostels / Hotels: Hatters Hostel (Livery St)

Seth Faergolzia – Multibird

January 18, 2016


Here’s a message from Seth Faergolzia of Dufus:

“Hoping all is well with you… I’m super excited to announce that I’ll be touring the UK this summer with my stellar 4 piece band, Seth Faergolzia’s Multibird.  The last couple of tours I’ve done in the UK have been just solo or with a duo supporting Jeffrey Lewis, so I’m really pumped up about coming over with a solid band.  We will have drums, bass, electric guitar and myself as usual on acoustic guitar and vocals.  We are planning on coming to the UK July 11-20 and would really love to book something with you.  Any info you’d need regarding my music over the past 20 years is available on my website www.faergolzia.com

Let’s make something awesome happen!


You can buy Music by Seth Faergolzia and Dufus in the Iron Man Shop

“Phenomenal live.” – NME

“Kind and Scary.” – Spex

“Frantic fever-dream folk slashed through with rock stabs.” – The Onion

“As giddy and inventive as it is pissed off, it’s the 21st-century equivalent of the Fugs at their finest.” – Village Voice

“I have never heard anything like this before or since.” – Pop Matters

“Whip-smart pop song writing, intricately clever wordplay.” – KUSF/MTV San Francisco

“This is folk rock twisted and distorted into compelling new structures.” – Relix

“They took that saucepan and spoon and wrote a textured and intense opera… 9 of 10.” – Vice

“Tender, calm and epiphanistic lyrics.” – New York Press

“Seth Faergolzia could be the poster boy for anti-folk.” — Stylus

“Speaking in tongues on top of complex musical phrases, the inspiring frontman of Dufus makes music like nobody else.  Often impenetrable and uniquely original, his rightful place is beside Captain Beefheart and Zappa.”  –Adam Green, the Moldy Peaches

Dufus with Adam Green and Regina Spektor in Brooklyn Vegan:

Nightingales – Tour Dates in Europe September and October 2015

September 24, 2015


Wednesday 30th September: Ulm, DE – Cat Café
Thursday 1st October: Stuttgart, DE – Schocken
Friday 2nd October: St Gallen, CH – Palace
Saturday 3rd October: Ebensee, AT – Kino w/ Monochrome Set
Wednesday 7th October: Vienna, AT – Rhiz
Thursday 8th October: Budapest, HU – Durer Kert
Tuesday 13th October: Chemnitz, DE – Subway To Peter
Wednesday 14th October: Hamburg, DE – MS Stubnitz
Friday 16th October: Koln, DE – Night Of Surprise festival @ Stadtgarten w/ Holger Hiller

Buy Nightingales stuff: http://ironmanrecords.bigcartel.com/artist/nightingales

Read all about it: www.thenightingales.org.uk

Fuk Reddin – Music Festival 28/29/30th Aug 2015 at T-Chances, 399 High Rd, London N17 6QN

August 21, 2015

Fuk Reddin - Music Festival 28/29/30th Aug 2015 at T-Chances, 399 High Rd, London N17 6QN

Annual Bank Holiday weekend punk festival at the best DIY venue in London. Booze, punk rock, bands from UK and beyond.

Fuk Reddinhttp://fukreddinfest.tumblr.com

Venue: T-Chances, 399 High Rd, London N17 6QN

4pm till late each day.
Advance tickets: Day £10, Weekend £25
On the door: Day £12, Weekend £30
Cheap Bar and food available + Distro stalls etc
No Blaggers, No Dogs, No Troublemakers

Day splits in no particular order


Black Water County, Butcher Baby, Defcon Zero, Eat Defeat, Nembutal, Noise Complaint, Police Bastard, Smokey Bastard, Ratio Zero, Svetlanas, Tarantism, Mind


Bucha Effect, Count Spatular, Damidge, Clunge Plunger, Declaration of War, Luvdump, Nuke On Route, Obscene Revenge, Primeval Soup, Revenge Of The Psychotronic Man, Tosserlad, Toxic Bonkers, Volatile Idea


Public Order Act, AntiBastard, Baptist Killing Spree, Atterkop, Blatoidea, Deadneck, Jakal, Flowers of Flesh and Blood, Dysteria, John Player Specials, Lamo, Sanction This, Varukers

There’s still a few more to be added so watch this space

Advance tickets – £25 for weekend/£10 per day

Pre-sales will go off sale Monday 24th August at midday

On the door tickets – £30 for weekend/ £12 per day

Nearby Hostels

Bell and Hare
724-726 High Road
London N17 0AE
(10 min walk from venue)

Fountain Hotel
125 West Green road , London, N15 5DE
(5 min walk from Seven Sisters Tube Station, which is a 10 min walk from the venue)

Woodberry Tavern,
618 Seven Sisters Rd London N15 6JH
(5 min walk from Seven Sisters Tube Station, which is a 10 min walk from the venue)

Arsenal Tavern Hostel
175 Blackstock Road, London, England N4 2JS
(Arsenal/Finsbury Park – one bus, 15 mins)

Journeys King’s Cross
54-58 Caledonian Road, Kings Cross, London, England N1 9DB
(KINGS CROSS – one tube(Victoria Line to Seven Sisters) + 10 min walk)

78 King’s Cross Rd, London, England WC1X 9QG
(KINGS CROSS – one tube(Victoria Line to Seven Sisters) + 10 min walk)

Beaconsfield Hotel
357 359 Green Lanes, London, N4 1DZ
(2 busses from venue – approx 20 mins)

Smart Camden Inn
55-57 Bayham Street, Camden, London, England NW1 0AA
(Camden – 2 busses from venue – about 30 mins)

St.Christophers Inn
48-50 Camden High St, London NW1 0LT
(Camden – 2 busses from venue – about 30 mins)

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