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

John Sinclair – Beatnik Youth Ambient – Press update

July 20, 2017

John Sinclair - Beatnik Youth Ambient - Artwork
John Sinclair – Beatnik Youth Ambient
Iron Man Records
IMB6033

Distributed by Cargo BUY IT HERE

All Press enquiries to Sean Newsham : sean@mutante.co.uk

“Incendiary bebop beauty from the renegade poet John Sinclair with hand drawn cover artwork by YOUTH. If we ever needed a passionate beat soul speaking words of wisdom, it’s now, and John Sinclair – Revolutionary, Jazzman – lays it down. Bohemian ex-manager of the MC5, Sinclair was central to 1960’s counterculture. A year or two back he met producer YOUTH (Primal Scream, U2), and got dragged into the 21st Century.

The result is a hypnotic celebration of personal freedom; laid-back thoughts spoken in John Sinclair’s gruff, grainy drawl, draped against blues, bebop and trip-hop.

Do It, with it’s lonesome sax, echoes Paddy McAloon’s intimate I Trawl The Megahertz: “In those days, to make poetry and art…that wasn’t called for. But you did it, even though you knew you would never get paid…”

Brilliant Corners is a wild tribute to Jack Kerouac, and Sitarrtha offers, “If we’re lucky, music will bring us through, and we’ll wake up singing.” What a dude.” – Glyn Brown **** Mojo Magazine August 2017.

Order John Sinclair – Beatnik Youth Ambient here

John Sinclair Beatnik Youth Ambient review MOJO Aug 2017
John Sinclair interview MOJO Aug 2017

John Sinclair - Beatnik Youth Ambient - UNCUT Magazine September 2017
John Sinclair - Beatnik Youth Ambient - Electronic Sound Magazine - August 2017

John Sinclair – Beatnik Youth Ambient UK Press/Radio feedback – Released July 28th 2017

BBC6Music – Gideon Coe played ‘Do It’ on last nights show – 8th June.

BBC6Music Jon Hillcock (sitting in for Gideon Coe) played ‘Do It’ on 31st May

BBC6Music – Jon Hillcock (sitting in for Gideon Coe) played ’Sitarratha’ on 30th May.

BBC Radio Lancashire – On The Wire – Steve Barker played ‘Do It’ on 17th June

Shoreditch Radio (London) The RealMusik Radio Show – Peter Coulston played ‘Do It’ on 2 August

Confirmed Features

Bandcamp Magazine feature – Saby Reyes-Kulkarni interviewed John and Youth
Mojo Magazine – Eyewitness feature – Pat Gilbert – for issue out end of June – interview done – out now
Louder than War Magazine feature – skype with Gus Ironside done earlier this week email Q&A with Youth

Confirmed Album Reviews

Electronic Sound Magazine
Louder Than War Magazine – Gus Ironside – out now http://louderthanwar.com/john-sinclair-beatnik-youth-ambient-album-review/
Mojo Magazine – Glyn Brown – out now
Record Collector – Kris Needs
Shindig Magazine – Chris Twomey
Uncut Magazine – John Lewis – out now
Vive Le Rock

Digital Press

Cone Magazine – http://www.conemagazine.com/john-sinclair/
DMC World Ben Hogwood
Monolith Cocktail – http://bit.ly/2uIiQRk
Sunday Experience – https://marklosingtoday.wordpress.com/2017/05/18/john-sinclair-2/
Whisperin & Hollerin – Carl Martin

The Seventh Wave (Birmingham) Chris MacAdams – playing tracks

Iron Man Records Discography Advertisement A5 Landscape without marks

Iron Man Records releases to be included in British Library Sound Archive

March 23, 2017

Something happens while you are orbiting the Nation’s capital on the M25 for 25 hours in a van with a dangerous madman jumping around and shouting instructions from the back seat. James at British Library Sound Archive has been in touch, he wants to catalogue and archive all the releases on Iron Man Records. The music will become part of the nation’s audio & cultural heritage and it will be available (on a restricted access server) to anyone holding a British Library readers pass (writers, researchers, fans etc.). You have to go in person either to London or to the other site in Boston Spa, Yorkshire. The Library do not allow any material to go out on loan or be downloaded and they comply with current copyright legislation regarding sound recordings. When catalogued the releases will be part of the Sound & Moving Image collection.. http://sami.bl.uk

I have supplied physical copies of everything where they exist, and WAV files of all releases to ensure a good copy will be available.

James says “with world class facilities at hand we can provide the safest possible home for your releases, both for preservation and access, for many generations to come.”

Amazing. Some things cannot be explained. I will let you know when the materials supplied are available to access. James may be at work for a few weeks assembling it all at his end.

British Library Sound Archive
The British Library
96 Euston Road
London
NW1 2DB

To date, the releases supplied include:

IMB6001 I.O.D – Mundane Existence CD/WAV

IMB6002 P.A.I.N featuring Howard Marks and Larry MacDonald – Let Me Grow More Weed CD/WAV

IMB6003 P.A.I.N – Our Universe Commences Here (O.U.C.H) Vinyl/WAV

IMB6004 LESS – “And I’ll see you never work again” taunted Florence CD/WAV

IMB6005 GORGEOUS – Cursed with Being….. CD/WAV

IMB6660 LEGION OF DYNAMIC DISCHORD – Negative Entropy  WAV

DLPR2006 PIGFISH – The Reverend James CD/WAV

IMB6007 SIST – Talking Points Not Tragedies CD/WAV

IMB6008 ACADEMY MORTICIANS – What Happened? CD/WAV

IMB6009 P.A.I.N – Oh My God, We’re Doing It! CD/WAV

IMB6010 LAST UNDER THE SUN – Windfall CD/WAV

IMB6011 LAST UNDER THE SUN – All Empires Crumble CD/WAV

IMB6012 LAST UNDER THE SUN – Gone CD/WAV

IMB6013 SENSA YUMA – Up Yours! CD/WAV

IMB6015 DUFUS – Neuborns CD/WAV

IMB6016 DUFUS – The Last Classed Blast CD/WAV

IMB6017 NIGHTINGALES – Out Of True CD/WAV

IMB6018 POLICE BASTARD – It’s Good To Hate….. CD/WAV

IMB6019 LAST UNDER THE SUN – Hooligan Jihad CD/WAV

IMB6020 POLICE BASTARD – Dead To The World WAV

IMB6021 POLICE BASTARD – Confined CD/WAV

IMB6022 JOHN SINCLAIR – Mohawk CD/WAV

IMB6023 DEATH TO FANATICS – Iron Man Records 1999-2014 compilation CD/WAV

IMB6025 Steve Fly – They Came To Starburg WAV

IMB6027 T.C. Lethbridge – Moon Equipped WAV

IMB6028 T.C. Lethbridge – 2000 TC WAV

IMB6029 T.C. Lethbridge – Mina WAV

IMB6030 Police Bastard – Traumatized WAV

IMB6032 John Sinclair – Beatnik Youth WAV

IMB6033 John Sinclair – Beatnik Youth Ambient  Vinyl/WAV

IMB6034 Dr Marshmallow Cubicle – Occupy WAV

IMB6035 Robert Anton Wilson – Meets Steve “Fly Agaric” Pratt WAV

IMB6036 Police Bastard – Confined – Vinyl/WAV

A big thank you to all Iron Man Records Patrons who continue to support the work:

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, Jachim 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….

John Sinclair – Beatnik Youth (Double CD) 8th September 2017

March 15, 2017

John Sinclair - Beatnik Youth

John Sinclair – “Beatnik Youth” on Double CD
Released 8th September 2017 by Iron Man Records.

All Press enquiries to Sean Newsham : sean@mutante.co.uk

Catalogue Number: IMB6032

Release date: 8th September 2017

Label: Iron Man Records

Distribution: Cargo

Disc 1

  1. Testify (9.10)
  2. Good Stuff (4.32)
  3. Everybody Needs Somebody (7.09)
  4. Change My Life (5.14)
  5. Ain’t Nobody’s Business (3.36)
  6. My Buddy (5.13)
  7. That Old Man (3.53)

Disc 2

  1. Brilliant Corners (11.29)
  2. Culture Cide (11.38)
  3. Red Dress (Ruby My Dear) (6.25)
  4. Sitarrtha (6.16)
  5. Do It (6.16)
  6. War On Drugs (6.18)

John Sinclair, the renegade poet, scholar and cultural revolutionary releases “Beatnik Youth” on 8th September 2017 on Iron Man Records. The double CD contains over 80 minutes of music from the restless creative mind of Youth, with some fine spoken word and poetry delivered by John Sinclair.

John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today continues his work for cultural transformation.

Youth is one of the UK’s most influential producers and has been honoured, with an Outstanding Contribution Award by the Music Producers Guild. His career spans more than 30 years and is one of the UK’s most consistent, credible and influential producers.

John Sinclair - Beatnik Youth

You can pre-order the Double CD, Vinyl and T-shirt here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

From Detroit to New Orleans and from Los Angeles to Amsterdam, John Sinclair is still the king-size, psychedelic old-gangster poet, a living legend, a veteran of the counterculture, a survivor of the Marijuana Wars, and one of the last bohemians still standing. As a co-founder of the Detroit underground newspaper The Fifth Estate, manager of MC5, and Chairman of the White Panther Party described on Wikipedia in these modern times as a far-left, anti-racist, white American political collective founded in 1968 and dedicated to cultural revolution his mark on the boho rock & roll underground has been unique.

In 1969, with Richard Nixon in the White House, Vietnam in chaos in the wake of the Viet Congs near-suicidal Tet Offensive, and American cities still scared and scarred from urban riots, even the comparatively harmless agitprop pranks of White Panther cultural revolution had those in power reaching for their metaphoric and sometimes actual revolvers. Authorities remembered how John had organized the MC5 playing outside the 1968 Democratic National Convention in Chicago, the only band actually able to perform before Mayor Daley’s rabid police department violently derailed the massive anti-Vietnam war rally with teargas, billy clubs, and helicopter support.

John was deemed a danger to society and set up like a bowling pin. After handing a couple of joints to a hassling hippie who turned out to be an undercover narcotics agent, John found himself on the bad end of a ten year jail term. At the same time though he became a cause celebre. Free John Sinclair became one more battle cry in an embattled era. Protests, propaganda, and a giant concert in Ann Arbor headlined by John Lennon and Yoko Ono ultimately resulted in John’s release in November 1971. Lennon even wrote a song about him called ‘John Sinclair’ which he included on his ‘Sometime In New York City’ album.

In common with much that happens with John, a meeting with producer Youth (Paul McCartneys ‘Fireman’, Primal Scream, The Verve etc & Killing Joke bass player) that sowed the creative seeds was a matter of stoned synchronicity. As former Track Records boss Ian Grant tells it, Alan Clayton told me he had John Sinclair coming round tomorrow. I said “The John Sinclair?” One night Zodiac (Mindwarp) was on the bill with the Dirty Strangers and Youth was very taken with John. “I want to make a jazz album with John” he said. Since then, the two met at Youths house whenever he was home, and when John was in the country, and recorded the album.

And through the course of those recordings John, always so associated with the 1960s, took a serious step into the ways of the 21st century, with the same intoned poetry, but with melodic backing vocals, highly inventive production, even a nod to hip-hop, but still remembering his first loves of blues, be-bop, and classic rock & roll.

Beatnik Youth is one more step in the Big Chief’s long zig-zag trip that seems set to continue all the way to the far blue horizon. Summing up John Sinclair, you can only say with certainty that the beatnik goes on.

Youth

Youth has been responsible for numerous hits from artists including The Verve, Embrace, Echo and the Bunnymen, Crowded House, The Orb, Sir Paul McCartney and The Charlatans. Among his recent projects was the co-production of Pink Floyd‘s final and largely instrumental album, The Endless River. Youth also remixed David Gilmour‘s current solo album, Rattle That Lock. The Verve’s Urban Hymns brought Youth a BRIT Award for Producer of the Year after three consecutive years of nomination.

Youth says “I’m very proud of the longevity of work on Killing Joke and The Orb, how those recordings still sound fresh… and what I’ve done with The Verve and Richard Ashcroft, and Paul McCartney (The Fireman) and Pink Floyd. It’s only really working with those guys, with my insecurities, that I felt as though I could go, ‘yeah, I am a producer’.” His “university” was Killing Joke after he left school, and it “doesn’t really get more intense than that”.

As a young musician Youth, whose real name is Martin Glover, cut his teeth doing bass sessions for Adrian Sherwood productions and for artists such as Kate Bush whose phenomenally successful Hounds of Love album had Youth on bass. He was also a founder member and bassist of the band Killing Joke. After leaving Killing Joke (and a short experiment with the band Brilliant, managed by Bill Drummond and featuring June Montana, Jimmy Cauty and other key innovators of electronic and indie dance music), Youth began working with Alex Paterson and Cauty as The Orb, a collaboration that was responsible for the introduction of chill-out ambient house music.

Cauty and Drummond eventually moved on to form The KLF, leaving Youth and Paterson to experiment extensively in the post punk British dance music and Acid House scene. This led to the release of two classic albums as The Orb – U.F.Orb and Adventures Beyond The Ultraworld, which incorporated Little Fluffy Clouds, a track that defined ambient house and chill-out and brought these genres firmly into the mainstream.

Youth’s skills as a producer were now being noticed by a much wider audience, not least because of his remix work with band like Siouxsie and The Banshees, Malcolm Maclaren, A Guy Called Gerald, Fine Young Cannibals, Marc Almond and U2. In 1993, he collaborated with Sir Paul McCartney who had developed an interest in remix culture. This resulted in Strawberries Oceans Ships Forest, an ambient album – and the first of three critically acclaimed albums – released under the name of The Fireman.

Over the years, Youth has notched up a staggeringly large and varied list of production and remix credits for artists such as Yazz, James, Primal Scream, Gun’s N’ Roses, Blue Pearl, Art of Noise, P.M. Dawn, Shack, De La Soul, Erasure, Beth Orton, Bananarama, Maria McKee, Suns of Arqa, The Shamen, Kool and the Gang, Texas, Pete Murphy, Tom Jones and Dido. He remains tireless in his quest for inspiration, excellence and innovation in recording great music and also finds time to paint, illustrate and publish poetry.

John Sinclair

John Sinclair the White Panther firebrand who stoked the MC5’s insurrectionary manifesto has roots that stretch back to jazz and the beats, as a writer, avant-garde champion and poet. John has travelled the world, collaborating with like-minded souls; a living embodiment of the original free spirit that fought to emancipate a generation, one of the few still flying the freak flag.

Since the early 90s, Sinclair has released albums of his poetry, but Beatnik Youth is possibly some of John Sinclair’s best work to date.

This poorly served generation needs it: that militant energy which released the bats in the 60s is crucially booted into the 21st Century in a riotous celebration of personal freedom, cultural trailblazers and marijuana.

The following Iron Man Records Patrons have made this release possible:

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, Jachim 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….

Become a Patron too https://www.patreon.com/ironmanrecords

John Sinclair – Beatnik Youth Ambient (500 copies on Vinyl) 28th July 2017

March 15, 2017

John Sinclair – “Beatnik Youth Ambient” on Vinyl.
by Iron Man Records.

Pre-order the Vinyl here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

All Press enquiries to Sean Newsham : sean@mutante.co.uk

Catalogue Number: IMB6033

Barcode: 5060132273319

Label: Iron Man Records

Release Date: 28th July 2017

Distribution: Cargo

Side A

Do It (6:16) Recitation – John Sinclair, Music – Youth, Mix – Youth and Michael Rendall

Brilliant Corners (11.29) Recitation – John Sinclair, Produced by Youth

Side B

War On Drugs (6:18) Recitation – Howard Marks, Music – Youth, Mix – Youth and Michael Rendall

Sitarrrtha (9:19) Recitation – John Sinclair, Produced by Youth

John Sinclair, the renegade poet, scholar and cultural revolutionary will release “Beatnik Youth Ambient” on Iron Man Records. The record is over 30 minutes of ambient, chill out music from the restless creative mind of Youth with some fine spoken word and poetry delivered by John Sinclair.

John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today continues his work for cultural transformation.

Youth is one of the UK’s most influential producers and has been honoured, this year, with an Outstanding Contribution Award by the Music Producers Guild. His career spans more than 30 years and is one of the UK’s most consistent, credible and influential producers, Youth has also hand drawn the beautiful cover artwork.

The record features 4 ambient tracks including 2 tracks completed in late 2015. Do it and War on Drugs were composed and produced by Youth with words By John Sinclair and Howard Marks. John Sinclair presents some illuminating words of wisdom on the life of the artist in the opening track Do It, while Howard Marks delivers some lost last words in War on Drugs on side B. The Mood is maintained by 2 extra ambient tracks taken from the Beatnik Youth album simultaneously released by Iron Man Records on Double CD. The free-form cinematic Brilliant Corners is a homage to Kerouac, Ginsberg and Burroughs and the smokily atmospheric Sitarrtha reflects on the work of John Coltrane.

The record is a smoker’s dream with the 4 ambient tracks clocking in at just over 30 minutes.

LP-3.5mmSPINE_GZ.qxd

You can pre-order the Vinyl, Double CD and T-shirt here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

From Detroit to New Orleans and from Los Angeles to Amsterdam, John Sinclair is still the king-size, psychedelic old-gangster poet, a living legend, a veteran of the counterculture, a survivor of the Marijuana Wars, and one of the last bohemians still standing. As a co-founder of the Detroit underground newspaper The Fifth Estate, manager of MC5, and Chairman of the White Panther Party described on Wikipedia in these modern times as a far-left, anti-racist, white American political collective founded in 1968 and dedicated to cultural revolution his mark on the boho rock & roll underground has been unique.

In 1969, with Richard Nixon in the White House, Vietnam in chaos in the wake of the Viet Congs near-suicidal Tet Offensive, and American cities still scared and scarred from urban riots, even the comparatively harmless agitprop pranks of White Panther cultural revolution had those in power reaching for their metaphoric and sometimes actual revolvers. Authorities remembered how John had organized the MC5 playing outside the 1968 Democratic National Convention in Chicago, the only band actually able to perform before Mayor Daley’s rabid police department violently derailed the massive anti-Vietnam war rally with teargas, billy clubs, and helicopter support.

John was deemed a danger to society and set up like a bowling pin. After handing a couple of joints to a hassling hippie who turned out to be an undercover narcotics agent, John found himself on the bad end of a ten year jail term. At the same time though he became a cause celebre. Free John Sinclair became one more battle cry in an embattled era. Protests, propaganda, and a giant concert in Ann Arbor headlined by John Lennon and Yoko Ono ultimately resulted in John s release in November 1971. Lennon even wrote a song about him called ‘John Sinclair’ which he included on his ‘Sometime In New York City’ album.

In common with much that happens with John, a meeting with producer Youth (Paul McCartneys ‘Fireman’, Primal Scream, The Verve etc & Killing Joke bass player) that sowed the creative seeds was a matter of stoned synchronicity. As former Track Records boss Ian Grant tells it, Alan Clayton told me he had John Sinclair coming round tomorrow. I said “The John Sinclair?” One night Zodiac (Mindwarp) was on the bill with the Dirty Strangers and Youth was very taken with John. “I want to make a jazz album with John” he said. Since then, the two met at Youths house whenever he was home, and when John was in the country, and recorded the album.

And through the course of those recordings John, always so associated with the 1960s, took a serious step into the ways of the 21st century, with the same intoned poetry, but with melodic backing vocals, highly inventive production, even a nod to hip-hop, but still remembering his first loves of blues, be-bop, and classic rock & roll.

Beatnik Youth Ambient is one more step in the Big Chief’s long zigzag trip that seems set to continue all the way to the far blue horizon. Summing up John Sinclair, you can only say with certainty that the beatnik goes on.

Youth

Youth has been responsible for numerous hits from artists including The Verve, Embrace, Echo and the Bunnymen, Crowded House, The Orb, Sir Paul McCartney and The Charlatans. Among his recent projects was the co-production of Pink Floyd‘s final and largely instrumental album, The Endless River. Youth also remixed David Gilmour‘s current solo album, Rattle That Lock. The Verve’s Urban Hymns brought Youth a BRIT Award for Producer of the Year after three consecutive years of nomination.

Youth says “I’m very proud of the longevity of work on Killing Joke and The Orb, how those recordings still sound fresh… and what I’ve done with The Verve and Richard Ashcroft, and Paul McCartney (The Fireman) and Pink Floyd. It’s only really working with those guys, with my insecurities, that I felt as though I could go, ‘yeah, I am a producer’.” His “university” was Killing Joke after he left school, and it “doesn’t really get more intense than that”.

As a young musician Youth, whose real name is Martin Glover, cut his teeth doing bass sessions for Adrian Sherwood productions and for artists such as Kate Bush whose phenomenally successful Hounds of Love album had Youth on bass. He was also a founder member and bassist of the band Killing Joke. After leaving Killing Joke (and a short experiment with the band Brilliant, managed by Bill Drummond and featuring June Montana, Jimmy Cauty and other key innovators of electronic and indie dance music), Youth began working with Alex Paterson and Cauty as The Orb, a collaboration that was responsible for the introduction of chill-out ambient house music.

Cauty and Drummond eventually moved on to form The KLF, leaving Youth and Paterson to experiment extensively in the post punk British dance music and Acid House scene. This led to the release of two classic albums as The Orb – U.F.Orb and Adventures Beyond The Ultraworld, which incorporated Little Fluffy Clouds, a track that defined ambient house and chill-out and brought these genres firmly into the mainstream.

Youth’s skills as a producer were now being noticed by a much wider audience, not least because of his remix work with band like Siouxsie and The Banshees, Malcolm Maclaren, A Guy Called Gerald, Fine Young Cannibals, Marc Almond and U2. In 1993, he collaborated with Sir Paul McCartney who had developed an interest in remix culture. This resulted in Strawberries Oceans Ships Forest, an ambient album – and the first of three critically acclaimed albums – released under the name of The Fireman.

Over the years, Youth has notched up a staggeringly large and varied list of production and remix credits for artists such as Yazz, James, Primal Scream, Gun’s N’ Roses, Blue Pearl, Art of Noise, P.M. Dawn, Shack, De La Soul, Erasure, Beth Orton, Bananarama, Maria McKee, Suns of Arqa, The Shamen, Kool and the Gang, Texas, Pete Murphy, Tom Jones and Dido. He remains tireless in his quest for inspiration, excellence and innovation in recording great music and also finds time to paint, illustrate and publish poetry. All original artwork on the sleeve was hand drawn by Youth.

John Sinclair

John Sinclair the White Panther firebrand who stoked the MC5’s insurrectionary manifesto has roots that stretch back to jazz and the beats, as a writer, avant-garde champion and poet. John has travelled the world, collaborating with like-minded souls; a living embodiment of the original free spirit that fought to emancipate a generation, one of the few still flying the freak flag.

Since the early 90s, Sinclair has released albums of his poetry, but Beatnik Youth Ambient is possibly some of John Sinclair’s best work to date.

This poorly served generation needs it: that militant energy which released the bats in the 60s is crucially booted into the 21st Century in a riotous celebration of personal freedom, cultural trailblazers and marijuana.

The following Iron Man Records Patrons have made this Vinyl release possible:

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, Jachim 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….

Become a Patron too https://www.patreon.com/ironmanrecords

Iron Man Records would like you to become a Patron.

February 3, 2017

The general history of art and literature shows that the highest achievements of the human mind are, as a rule, not favourably received at first. Iron Man Records would like to invite you to consider becoming a Patron.

Iron Man Records has dedicated over 20 years to supporting, promoting, and working with, some of the most interesting artists you may never have heard of, sometimes with a budget you can stick under a glass.

February will see the release of Police Bastard – “Confined” on Vinyl.

One of CVLT Nation’s Top Crust Albums: “Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control and disillusionment.”

April will see the release of John Sinclair – “Beatnik Youth Ambient” on Vinyl.

Ambient, chill out music from the restless creative mind of Youth with spoken word and poetry delivered by John Sinclair.

John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today continues his work for cultural transformation. A psychedelic poet, a living legend, a veteran of the counterculture, a survivor of the Marijuana Wars, and one of the last bohemians still standing. As a co-founder of the Detroit underground newspaper The Fifth Estate, manager of MC5, and Chairman of the White Panther Party described on Wikipedia in these modern times as a far-left, anti-racist, white American political collective founded in 1968 and dedicated to cultural revolution, John Sinclair’s mark on the boho rock & roll underground has been unique.

Youth is one of the UK’s most influential producers and has been honoured with an Outstanding Contribution Award by the Music Producers Guild. His career spans more than 30 years and is one of the UK’s most consistent, credible and influential producers, Youth has also hand drawn the beautiful cover artwork.

Please consider becoming a Patron to support the work. Incredible amounts of time, effort, and money has gone into making these records happen. Iron Man Records would like to invite you to give your support to the artists involved and their work.

Among the rewards, Patrons will get a copy of each release as soon as it is available and Patrons will get their names printed on the sleeve of all future releases generated with their help and support.

You have to build the world you want to live in, and while you may not want to consider running a record label yourself, you can directly influence what happens next. Patrons enable Iron Man Records to continue the work supporting struggling artists.

Please consider getting involved. If you want an alternative to what you see going on around you, you have to make it for yourself. Let’s make something happen https://www.patreon.com/ironmanrecords

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

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

Burn Money – Become A Patron of Iron Man Records

March 3, 2016

Burn-Money-A6-Postcard-No-Crop-Marks

Iron Man Records wants to make all new record releases available on Vinyl.

23 Patrons currently support the record label. You are invited to become a Patron to ensure the insanity continues.

The journey from 1996, when Iron Man Records began, has been back-breaking. The record label has generated a mountain of debt and a serious Class “A” drug habit would have probably worked out a lot cheaper. Everything I earn, working as a Tour Manager, goes into keeping Iron Man Records moving and your support would be much appreciated at a critical time.

Iron Man Records continues to release records by some of the most interesting and talented artists, writers, and musicians. There has to be something that opposes the “reality” that we are surrounded by every day.

I don’t expect everyone to like what the record label releases, but at least you have a choice.

Musicians have to go to band practice, pay for their rehearsals, record their music, and work out a way to release their music. Many musicians have to plan and finance the costs of touring to promote their music by themselves. Musicians also need to eat and have a roof over their head, and I do too. It’s a tough time for musicians and artists, and you have to be mad to carry on sometimes.

I want to return to making every release on Iron Man Records available on Vinyl, as well as via streaming, downloads and on CD. It’s madness in the current economic climate, but a little bit of madness is just what is required. Are you still with me on this?

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I’m not asking anyone to pay for everything, nor am I asking anyone to pay me to run Iron Man Records, I can look after all that myself. What I want to do is invite people to contribute to reducing the costs of producing albums on Vinyl in exchange for a number of rewards to make it all worth while.

Patrons will get a copy of everything the label produces, as it becomes available. Patrons will also get access to digital files of everything, so you can listen on portable electronic devices, and you will get all sorts of other benefits. For example: free stuff from the Iron Man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along. There is method to the madness, all you have to do is join in.

If you want to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

I have put a page together on Patreon https://www.patreon.com/ironmanrecords which appears to be an interesting way to raise money. This will help produce Vinyl in small quantities and to the highest standards. Patreon lets you make recurring monthly donations and helps to reduce the upfront costs of producing music on vinyl. Anything from £1 a month or more is actually really helpful.

Iron Man Records is not in the pop business. The Label’s debts are what it’s worth. The label is trying hard, during a tough time in the history of recorded music, to help musicians and artists develop a sustainable future. To me, the simple way to do that, is to give the bands and artists a record to sell at gigs, that people would love to buy.

Iron Man Records wants to create Vinyl, something special, something that presents music in a format that people want to keep and enjoy. Life isn’t just about computers, mobile phones and social networking. There has to be an alternative. So if you want to join in and Burn Money, become a Patron and let’s make something happen. You have to make the world you want to live in.

Have a look here and any comments, good or bad are invited.

Immanentize

 

John Sinclair – Tour Dates New Orleans 2016

February 11, 2016

JohnSinclair_420Cafe_Frenchy

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

Your Insanity Will Do – Become A Patron Of Iron Man Records

February 8, 2016

I bought a copy of “The Manual” by Jimmy Cauty and Bill Drummond in 1996. I’d been looking for a copy for years. Some of it made sense, some of it didn’t. I liked the writing style and the advice given. I sent my receipt as proof of purchase to the PO BOX printed in the book and requested The Guarantee.

This is the reply that Bill Drummond sent back on headed paper. By reply Bill Drummond became the first Unaware Patron of Iron Man Records. Blame him for everything. A lot has happened since 1996. Your Insanity will do.

Iron Man Records - Your Guarantee

Your Insanity could help Iron Man Records to release more music on Vinyl via Patreon. There are 21 Patrons currently supporting the record label, you are invited to become a Patron too.

Iron Man Records has been running since 1996. The label has released over 30 records and continues to work hard on a daily basis. Iron Man Records wants to make all new record releases available on Vinyl. The label will continue to make everything available through digital channels. You are invited to get involved.

Why help Iron Man Records? Here’s a quote from Detroit Poet John Sinclair, who released an album called “Mohawk” through the label in recent times. This sums up the sort of thing going through my head when I started out trying to bring people together to do something under the label name of Iron Man Records at the start of it all in 1996.

“One of the most important things to young, formative artists is having a group of one’s peers that one can be a part of, can talk to, work with, work out ideas, etc and can give crucial support.

Modern society has succeeded to a frightening degree in alienating artists from one another (and of course from people in general; or at least vice versa) and atomizing what could be a vital, active community into a group of lone, defensive, hung-up people who are afraid to talk to and/or work with anyone but themselves and (maybe) three or four friends.

A community of artists means that a group of highly conscious people can help each other in very real ways. Artists working alone are cutting themselves off from sources of inspiration and influence that can help them immeasurably in their work.

The lone artists have no one to listen to their work, no one to offer criticism and ideas that would bring their work into sharper focus with itself. Hard to get as excited, as completely involved in one’s work by oneself; when you can talk about it with/to others who are trying to do the same thing as yourself and communicate it to others, you can achieve and maintain the state of consciousness Henry James called “perception at the pitch of passion.” And who better to communicate to than those few people who are operating at the same level of awareness and involvement as oneself?

We are now in a period of expanded consciousness in all the arts. NOW is the time to find out what’s wrong with your work, NOW, at least get an inkling of what other real people will think of it and how it communicates.

So: what we want is a place for artists—musicians, painters, poets, writers, film-makers—who are committed to their art and to the concept of community involvement to meet and work with one another in an open, warm, loving, supportive environment—a place for people to come together as equals in a community venture whose success depends solely upon those involved with it.”

In reality, the journey from 1996 has been back-breaking, and the record label has generated a mountain of debt. Everything I earn working as a Tour Manager goes into keeping Iron Man Records moving forward, and in doing so, I try to provide a platform and focal point for everyone involved with the label.

To-The-Gig

I manage to ensure that new records come out every year and during difficult times perhaps every two years. Without fail, Iron Man Records continues to release records by some of the most interesting and talented artists, writers, and musicians. The label seeks to share what resources it has, and provides an alternative to the onslaught of pop culture and everything that goes with it. There has to be something that opposes the nonsense that we are surrounded by every day, there has to be a meeting place and platform for those that demand an alternative. There has to be a mechanism to share contacts, resources and ideas.

I don’t expect everyone to like what the record label releases, but at least the label gives you a choice. You don’t have to buy everything from “the man” and you don’t have to work for “the man” either. As the saying goes: “We may never defeat these swine, but we don’t have to join them.” There’s always another way, and for Iron Man Records and the musicians, artists and writers it works to support “the show must go on, by any means necessary…..or until we are all eliminated”

Sound-System

I can handle the logistics of running Iron Man Records by myself but I could use some help in releasing more Vinyl. At a time when “ownership” of music is becoming less important, and digital services are making “access” a much easier way of listening to more music than ever before, we have been left with a problem to solve.

How can the record label continue to release physical records by artists for people to “buy,” at a time when anyone, with any money left, can “access” more music for free, or at a fraction of the price, using streaming digital services?

We all know how to google an album, or a song, and find it for free. We’ve all done it. We all know how to access music on social networks for free, and through Streaming services like Spotify. Some of us buy our music from download sites. I think its fair to say some of us listen to more music than ever before, and choose to only spend our money on music from our favourite groups.

Iron Man Records has invested a lot of time and effort into making every release available through as many digital services as possible ensuring all the artists get a chance to be heard.

You can find all releases from Iron Man Records on iTunes, Apple Music, YouTube Music Key, Spotify, Amazon Music, Google Play, Deezer, Groove, Rhapsody, eMusic, Simfy Africa, iHeartRadio, MixRadio, MediaNet, VerveLife, Tidal, Gracenote, Shazam, 7Digital, Juke, JB Hi-Fi, Slacker, Guvera, KKBox, Akazoo, Anghami, Spinlet, Neurotic Media, Yandex, Target Music, ClaroMusica, Zvooq, Saavn, 8tracks, NMusic, Q.Sic and others.

From the stats, it is clear that plenty of people want to listen to the music Iron Man Records produces, but they don’t always want to pay for it. Many people want music as cheap as possible, and ideally for free. They would rather have access to music, than ownership of music. Fair enough, I can accept that, enjoy the music the way you want it. But how can the artists be supported to produce more work if people want “access” rather than “ownership?”

It makes me laugh when you hear people talking about how they won’t buy music from Amazon because Amazon doesn’t pay its workers a fair wage, and then get drawn into a discussion about what sites to use to find music for free without having to use Amazon.

People forget that starving musicians have to go to band practice, pay for their rehearsals, record their music, and work out a way to release their music. Many musicians have to plan and finance the costs of touring to promote their music by themselves. Musicians also need to eat and have a roof over their head, and I do too. Some of the more popular releases on Iron Man Records might achieve 23,000 streams over a five year period but only sell about 60 downloads. In the same period they may only sell about 150 physical copies on cd and even less on vinyl. I read recently that 1,500 streams can equal one album sale. If that statistic is correct, in order to sell 1,000 albums, you need to generate 1,500,000 streams. That sounds ridiculous to me. It’s a strange time for music if you are operating independently. There’s not much money coming in from sales here at Iron Man Records yet more people are listening to the music Iron Man Produces than at any time previously.

These days, it’s interesting to note that many musicians would probably earn more per hour, packing boxes and packages for Amazon, even on the poor wages that Amazon pays, than at most gigs they end up playing. But lets move on, you get the point. It’s a tough time for musicians and artists, and you have to be mad to carry on against such odds that are always stacked against you.

Where does Iron Man Records find itself in the digital world?

Streaming is taking off and I have always loved vinyl as a format. I want to return to making every release on Iron Man Records available on Vinyl, as well as via streaming, downloads and on CD. It’s madness in the current economic climate, but a little bit of madness is just what is required.

It is clear to me that if you can produce anything of value in terms of your music, a digital version is necessary so people can access and even download your music on their mobile devices. But if you are serious about your music, you must release it on Vinyl so the really passionate fans of your music, can get a copy to add to their collection and enjoy when they are at home.

Iron Man Records is capable of releasing records and making them available worldwide across pretty much every digital platform. Producing CDs of each release is also affordable within the context of selling physical copies, sending out to press and radio and keeping things ticking over. Vinyl however, is a little bit tricky.

Producing a record on Vinyl is about three times more expensive than producing a cd, which means you have to sell three times more records to recover the upfront costs. So something has to give.

This year has been tough for Iron Man records, income from selling physical sales has continued to decline. In fact physical sales of everything both CD, Vinyl and DVD has steadily declined year on year since 2004 when I started keeping a record. Habits are changing all the time and the market is choosing to access music rather than own music. Times are changing and either Iron Man Records changes too, or it’s game over.

Where am I going with this? I want you to sign up or subscribe to insanity.

Immanentize

I want to start releasing records on Vinyl again and I need help reducing the front end costs. I’m not asking anyone to pay for everything, nor am I asking anyone to pay me to run Iron Man Records, I can look after all that myself. What I want to do is invite people to contribute to reducing the costs of producing albums on Vinyl. In exchange for help and support, you will get a copy of everything the label produces, as it becomes available. Supporters will get access to digital files of everything, so you can listen on portable electronic devices, and you will get all sorts of other benefits. For example: free stuff from the Iron Man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along. There is method to the madness and all you have to do is join in.

I would like to think that if you like what Iron Man Records does, if you would like to encourage the label to produce all releases on Vinyl, and if you would like to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

I have put together a page on Patreon https://www.patreon.com/ironmanrecords which I think is an interesting way to raise money. This will help produce Vinyl in small quantities and to the highest standards with regards to artwork and packaging. Patreon lets you make recurring monthly donations and thereby helps to reduce the upfront costs of producing music on vinyl.

Anyone who donates will get a copy of the vinyl produced and a number of other benefits. Anything from £1 a month or more is actually really helpful, and knowing a small regular sum is coming in each month allows me to plan more effectively.

Everything the label produces is accessible for free online anyway so you can have anything, anytime if you look for it. Offering a small monthly donation means that regardless of what goes on, Iron Man Records can keep releasing music on vinyl and keep helping the bands and artists to survive, and to make more music.

Let me be clear: Iron Man Records is not in the pop business. In fact it’s just not in business. The debts are what it’s worth. The label is trying hard, during a particularly tough time in the history of recorded music, to help musicians and artists develop a sustainable future. And to me, the simple way to do that, is give the bands and artists a Record to sell, at their gigs, that people would love to buy.

Iron Man Records wants to create Vinyl, something really special, something that presents music in a format that people want to keep and enjoy. That’s it really. Life isn’t just about computers, mobile phones and social networking. There has to be an alternative.

Have a look here and any comments, good or bad are invited.

Mark – Iron Man Records

Believe-Nothing

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

February 7, 2016

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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…..
https://www.theasylumvenue.co.uk/events/exodus-asylum-25th-feb/

Links :

Exodus:
https://www.facebook.com/exodusattack?fref=ts

Lost Society:
https://www.facebook.com/lostsocietyfinland/?fref=ts

Police Bastard:
https://www.facebook.com/Police-Bastard-44809514403/?fref=ts

Asylum venue:
https://www.theasylumvenue.co.uk/

Fear Me! Music:
https://www.facebook.com/FearMeMusic

Hostels / Hotels: Hatters Hostel (Livery St)

Seth Faergolzia – Multibird

January 18, 2016

magnum

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!

Best,
Seth
www.faergolzia.com

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:
http://www.brooklynvegan.com/archives/2010/09/dufus_played_hi.html

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/

Become A Patron of Iron Man Records

October 23, 2015

Iron Man Records - Vinyl 12" and 10" LPs

Support Iron Man Records creating Record Releases on Vinyl.

As a Patron we invite you to be the first to hear new releases and you will be sent special updates and news. You will have unlimited access to the Iron Man Records Sound Cloud account and you will be able to choose any T-shirt, CD, or vinyl of your choice from the Iron Man Shop.

WAV files of all new releases will be sent out using a file transfer service.

Stickers, artwork and any other limited items of interest will be offered to you first as they become available. You will also get free tickets to special events.

You may also be first to get an invite to be driven round the M25 for 25 hours on the weekend of Gimpo’s M25 25 hour spin. Fuel and Vehicle included but sanity is up to you.

As a patron, you will join a highly valued group, committed to supporting the future release schedule of Iron Man Records, and will enjoy a copy of everything produced on Vinyl with your support.

Your donation as a Patron will directly support our creative programme of releasing music on Vinyl and will allow us to work with and champion artists, music, ideas and creativity.

To Become a Patron of Iron Man Records go here

Thank You

Mark – Iron Man Records, 23rd October 2015

5-Seconds

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