ORGAN THING: Beg, Borrow, Steal, Jeff The Brotherhood, rushing around like a working man and a new video by Anguish Sandwich

No news on the choice of colour today, wonder why that is? Anguish? A gathering of artists and their alter-egos for your entertainment and inquisition? Beg? Steal? A generation less skilled in DIY? Wednesday bloody Wednesday,  “Watch this superb new video by Anguish Sandwich. ‘Of Your Heart’ is on the debut LP ‘An Actual Thing’. It’s coming out on 9th November (Odd Box is releasing the limited run of cassettes).We also have a launch show in London on 7th November at The Stags Head in Hoxton” said someone somewhere just now…. So we did, we watched it, we listened to it, it made out hearts feel superbly happy…..


Meanwhile over at ever excellent radio station that is 90.3 FM KEXP Seattle JEFF THE BROTHERHOOD performing a live version of Rush’s Working Man and a whole lot of other things that bring out a need for some Mad Dog 20/20

“t’s not just because they’re young (or high) that brothers Jake and Jamin Orrall consider the “classics” bands like Pixies, Beck, and My Bloody Valentine. JEFF the Brotherhood draw from some fairly obvious influences for their sludgy punk-metal sound, but on their new EP, Dig the Classics, the Orrall’s point to the diverse influences for their ever-present pop melodies at the root of all their songs, including also The Wipers, Teenage Fanclub and their contemporary Colleen Green. But if you know these guys, you know they’ve gotta make it sound like JEFF. So get ready for a blazing set, featuring an original from their forthcoming LP, two hits from Dig, and a beer-swillin’ non-EP cover of Rush’s “Working Man”:



Coming up this Thursday…. “BEG, BORROW, STEAL #5 – Alter-Ego Maniac”s

A gathering of artists and their alter-egos for your entertainment and inquisition (at Toynbee Studios 28 Commercial Street, London, E1 6AB) on Thursday 23rd October at 7.30pm

“What is it that makes an alter-ego so appealing? Whether it’s Marcel Duchamp as Rrose Selavy or Cindy Sherman in one of her many guises, artists are often drawn to becoming ‘someone else’ or presenting a side of themselves not seen in daily life.

beg_borrowFrom dragging up to dressing down, via pseudonyms and second life, a multitude of artists who masquerade as others will present themselves or be presented in their multiple forms. Featuring performances, interviews, discussion and some mental gymnastics as performers and audience flit between aliases and audience are invited to find new sides to themselves. All are invited to interrogate the artists and their AKA personalities”.

beg_borrow2Artists include

James Cawson
Eleanor Fogg
Laura Dee Milnes
Daniel Oliver (introducing Harvey Harris)
Amelia Stubberfield

£3 online or on the door, including a free drink


All of this means nothing of course, well no, of course it means something, doesn’t it? Going off and things, what is it that makes an alter-ego so appealing? Is this enough for today? Do we need any of this? I get up at seven and start all this, got no time for… enough. More tomorrow, maybe? Or maybe not? What if you don’t want a free drink?

ORGAN THING: Shepard Fairey has just unveiled a new George Harrison portrait.

Silver version

Silver version

ORGAN THING OF THE DAY:  We make no secret of the fact that we’re really enjoying Shepard Fairey colour pallet right now.  The pop artist has just unveiled a new George Harrison portrait…

“I was honored to be asked by Dhani and Olivia Harrison to work on a portrait poster to coincide with the major reissue of George Harrison’s first six solo albums, released between 1968 and 1975 on The Beatles’ Apple Records label, digitally remastered from the original analogue masters. The Apple Years 1968-75 will be available on CD and digitally on September 22. Designed to complement Harrison’s 2004 collection, The Dark Horse Years 1976-92, the new box features an exclusive DVD with several video pieces, including a new seven-minute film with previously unreleased footage. The Apple Years box also includes an exclusive perfect-bound book with an introduction by Dhani Harrison, new essays by award-winning radio producer and author Kevin Howlett, and rare and previously unpublished images”.

Poster For George will be offered in two editions, Red, and Silver. Both editions limited to 400 signed and numbered copies. Red edition available from Obey Giant web store on 10/23/14 at a random time between 10am and 12pm PST. 1 per household/person. Silver edition to be released 10/24/14 through the George Harrison estate web store at 10am PST located here:

Please read more from Shepard at the Obey Giant Blog here:


ORGAN THING: A Bag load of Guerilla Toss, Cleft, Daniel Miller remixing Swans, The Kut, Memnon Sa and…

Hackney WickEd

Hackney WickEd

Five hundred? Never mind, on with it all, have some remixed Swans while we fire up the coffee and deal with this flood. The original version of ‘Oxygen’ is taken from the new Swans album ‘To Be Kind’.  ‘Oxygen’ (Daniel miller Mix) will be released as part of a four track single on November 24th on Mute. I don’t know we still come here and share these things with you, still, who else is going to shout about Guerilla Toss over here? We still care a lot about gorillas and swans and the garbage pale kids that no one loves and whatever they”re doing at Three One G today? What are they doing today anyway?


Thing is, what is the thing? What kind of people name their band Guerilla Toss anyway? Who are these people! Why are they so damn good!? yes! This why we do it, we need to move to Boston, that’s Massachusetts, not Lincolnshire, well if anyone has an empty space in Lincolnshire….


here’s some more, could have said here’s some more toss just then, they’re clearly not toss though, and if you haven’t heard their Bat yet then you do need to, we won’t post that again today, here’s more of what they do for a day job when their not covering the the might Meat…


And here’s a blast from 2006, why? Because we can have a blast from 2006 that’s why!


SOME GIRLS “I Need Drugs” from the album “The DNA Will Have Its Say” CD/EP available from Three One G….

And something infectiously poppy from right now right here.   The Kut released a new single yesterday, ‘I Want You Maniac’ came out on Criminal Records on Monday 20th October


And while we’re here avoiding the wind and the man and doing what we really should be doing, something maybe not quite so poppy and a little more droney Memnon Sa, “Out from the mists of London emerges Memnon Sa with the debut release ‘Citadel’. Memnon Sa is the new instrumental psych-folk/doom brainchild of the talented Misha Hering (Among the Bones, Holy Mountain Studios). ‘Citadel’ is a masterfully bleak collection of compositions, which combine the crushing suspense of the doom genre aligned against almost Boredoms-esque passages of texture and psychedelic and folk overtones”.


and Cleft, Cleft are off on tour…. “We’re going on tour again!  Hooray!  This time we’re going with our best mates Alpha Male Tea Party and it’s going to be a lot of fun. Here’s the dates, it’d be great to see you.  The links are to Facebook events, but there’s also ticket links and information in those that are publicly available if you don’t have an account. 23rd Oct – London (Brixton Windmill), 24th Oct – Brighton (Bleach), 25th Oct – Bristol (Stag & Hounds), 26th Oct – Birmingham (The Flapper), 28th Oct – Leeds (Wharf Chambers), 31st Oct – Manchester/Salford (The Kings Arms). Then in December we’re off to Scotland: 10th Dec – Glasgow (Bar Bloc), 11th Dec – Dundee (Buskers), 12th Dec – Edinburgh (Sneaky Pete’s)


And that really is enough for the day, things to do, paint to throw, a dirty job, but someone’s got to do it…

VANYA BALOGH at Cultivate

VANYA BALOGH at Cultivate


ORGAN THING: SkinGraft unleash Doomsday Student, The Infinite Three breath, Tracey draws and the Lamb lies….

infinitethreeSomething moving in the sidewalk steam.     Pretty sure that this Monday morning there should have been a message about the choice of colour and that in may be far from the last adventure but that last great adventure is you drawing.   “Tracey Emin can. Her new exhibition at White Cube in Bermondsey is a masterclass in how to use traditional artistic skills in the 21st century.”   Drawing is important, don’t let it be said that drawing isn’t.  Rather like the dark edges and slight hint of menace that comes with The Infinite Three

“Dear friends, I do hope you’re all well and happy. My band, The Infinite Three are playing a free show on Saturday the 1st of November at The Arts Depot in Finchley.  It would be truly splendid to see you (and have a drink or two with you) there, if you’re free that night. Here’s some directions And here’s some more info about the gig. And here’s a thing for those if you on the Book of Faces.  Happy Autumn! Love, Dan”

Finchley in this case is in London, London in this case is the big city in England, Infinite Three in this case are one of those well kept musical secrets that lurk in the leisure hives of this city….


Really should have mentioned these new Infinite Three recordings when they came out back in May, never ever enough time for any of this, and you’ve got the recording now, there they are, just up there…  “In late Summer of 2013, The Infinite Three locked themselves in a shed, lit a candle for the ancestors and pummelled their way through several new songs; repeating them endlessly until they no longer knew who they were or why they were there. Songs Of The Breather is the resulting record. Nine songs of cosmic birth and solid food”.

 Up Straight (2014). Tracey Emin

Up Straight (2014). Tracey Emin

It really is the last great adventure, drawing…. to draw its to be don’t you see, how can you even think of leaving home without a pencil and sketch book?  Two new releases out this month on the best record label in the world. Skin Graft news desk has announced that the label is releasing new albums from both dubiously named yet gloriously excellent CHILD ABUSE in the shape of  “Trouble In Paradise” and DOOMSDAY STUDENT’s “A Walk Through Hysteria Park”   Downloadable tastes of both albums are available via the excellent Skin Graft jukebox, although if vital labels like SkinGraft are to survive and finance cutting edge (uncommercial) bands that save us from the obvious and bland, then they need you to actually buy the releases rather than just hoover up the free downloads, do go explore that pages of downloads, everyone is vital, vital that SkinGraft exists, vital that we draw your attention to these things, vital that we all draw.  Art is the only question to which there is no right or wrong answer, art should be first at school, without it we are nothing…. draw things….  imperial aerosol kings, oh have the whole thing, something moving in the sidewalk steam.


Doomsday Student live at Trans Pecos in Queens, New York City on July 3, 2014.

ORGAN: Denmark’s Black Light, White Light have a new album, Ron Athey coming up at Horse Hospital….

Gold-Into-Dreams-Front-Cover-FramedSunday, leaf sweeping day, get them leaves out of my car park… had to do it myself, how frustrating is the self-appointed art media in this city, so much going on and they miss so much of it, or they’re more interested in telling you who went and what sold that what was actually there. We killed this Organ thing off years ago, but hey, if you can’t make the car park and you’re more interested in what colour hat Harrison Ford is wearing at Frieze and who spent what on who then we shall have to do it ourselves (again)  Glorious day, no ranting and raving and drooling today, the sun is out, things need painting and while things are being painted, Denmark’s Black Light White Light have an album out…


Denmark’s Black Light White Light have an album out, Gold Into Dreams, and on a sunny October Sunday it all seems rather pleasant in a refined and mellow Dandy Warhols, Primal Scream, Stone Roses kind of easy on the ear way. It doesn’t bite like any of those fine bands could, and it might not sound so good on a cold wet Wednesday, for today though, it serves more than a purpose, you can go relax with the whole thing here, there are worse ways you could spend a day or two while you get on with whatever you need to get on with

Meanwhile, coming up at the Horse Hospital on 24th Oct 2014, “very excited to produce an event in one of my favourite venues!” Said Mr Athey

Ron Athey presents: xenolalia

Ron Athey

Ron Athey presents: xenolalia – An evening of sound arts including spoken word, percussion, vocals, glossalalia

Maria Sideri: Daughters of Beulah – electronic soundscape, vocals and songs referencing both William Blake and Mahalia Jacksons beulah
Sage Charles: spoken word; and a new blastbeat drum solo
Jose Macabra: digital sound composition and vocals
Ron Athey: text piece; glossalalia call and respond
Catherine Hoffman: performance for the voice
plus: all 5 artists have collectively authored an automatic writing text

Kind of like this today….


Liverpool, 2014 (SW)

Liverpool, 2014 (SW)






ORGAN THING: Agreeing and more than existing at We Could Not Agree, an art show in an underground car park…

“We are a challenge to Frieze because in many ways we don’t exist…” so said curator and (slightly stressed-out artist-juggling) organizer Vanya Balogh last week ahead of the opening of We Could Not Agree.

wecouldnot_signWe Could Not Agree is an ambitious art show, a show that opened last Monday evening in a delightfully brutal concrete celebration of an underground multi-storey car park. An art show down underneath the almost peaceful greenery of Cavendish Square, just west of the retail hell of Oxford Street. An expansive art event just about within spitting (gobbing?) distance of the giant marquees of Frieze. London is extra busy this week in terms of art (in terms of the business of art?). Art is everywhere this week, unfriendly galleries that usually hide behind the formality of their closed doors are getting themselves all in a lather, setting up their stalls and advertising extended opening hours, satellite fairs here there and everywhere charging unwitting artists an arm and a leg just to plug in a light – there really is an art fair happening this week that charges artists a fortune to take part and then asks for an extra thirty quid for each light they wish to plug in to light their work. This is Frieze week, the so-called London art season, and far too many of these satellite events looking to exploit artists rather than working with them, treating us painters and sculptors as their cash cows to milk and milk and milk some more on the back of Frieze.



Meanwhile down in a 20.000 square foot basement of an underground car park, something has come together, something different, something that has been coming together in various places in and around London all year, something that is very much right here, right now.

The glue that holds together the hundred plus artists, the ten curators and this very agreeable We Could Not Agree event is the sense of artists really coming together themselves, people making things happen rather than waiting for things to happen for them – a whole thing that in many ways, in terms of Frieze and the art establishment really really does not exist.

Opening night...

Opening night…

The glue that holds this exciting show together is that glue that’s bonding artists right now – artists communicating, doing it themselves, curating themselves, artists not part of an art system that pretty much spits them out and dismisses them the minute their final art school show is over and done with, spits them and doesn’t ever take a second look if they don’t fit in with the establishment requirement at that precise time. It has always been about the necessity of artists coming together and doing it themselves, doing it outside of the establishment. And when artists do, you get an energy like we’ve been seeing all over London all year – you get a thirst, you’re invited to come explore something that might just be a little more out there, laced with a bit more of a risk, something that’s not afraid to sometimes fail rather than just politely play safe. And We Could Not Agree is very much a show brave enough to fail as it thrills, to risk falling as it triumphs, a show that demands you explore, that you poke in the corners and find the real delights – the delights like Megan Pickering’s poignantly relevant piece that could so easily be lost amongst the more noisy attention-demand performances and pieces, or the delicateness of Birgitta Hosea’s simple shadow puppet piece that makes use of the dark concrete environment so perfectly, or Michael Croft’s brilliantly placed car crash barriers or… so much to explore down here.

wecouldopening92The energy rather than the art itself is the thing that unites this show, the pieces have enough space to breathe, to stand alone, to speak for themselves, united in their isolation, together as one exciting whole, and art show alive with individualism, united in the show’s diversity.


Calum F. Kerr

“Today for the first time I was able quietly to circumnavigate -3 Cavendish Sq and witness all the exhibits – there is so much wonderful work and curation and a genuine feeling of esprit de corps or morale amongst us – I will post particular work that I photographed today over several posts – but I first wanted to draw attention to the remarkable work of Sali Yule-Tsingas – here she kindly demonstrated just one small aspect of her work – intimate self woven orbs of her hair – a tiny moment in a genuine world of her installation – beautiful”. Said Martin Sexton via Facebook earlier today…



The show opened last Monday, it kicked off what’s shaping up to be a busy London art week, not sure why everything has to be shoehorned in to this extremely busy Frieze week? Well no, that’s wrong, art has been busy and happening all over town every single week of this rewarding year, not just during the cattle market art fair season, and yes we do know why so many choose to shoehorn everything in while the attention is there to be grabbed – art does like attention, we artists don’t put our art on walls to be ignored, and while this show is a continuation of something that has been going on all year in London, as far as the mainstream art world goes, it really doesn’t exist. And that, as an artist involved in it all, is the exciting thing right now – this whole other London art world that is coming together – artists are coming together, the “esprit de corps “ as Martin Sexton puts it – artists are curating, making things happen rather than just waiting around It isn’t like the YBA thing of the 90’s, that was exciting at the time, it hinted at the possibilities but that was way back then, a million miles away, another time, another world, and that was very much part of the establishment from the off, that door has long since been shut and the desire to open it again on the part of the artists has long since faded – the let’s-get-on-with-doing-it-ourselves option is far more inviting and rewarding right now, the alternative channels of communication that enable these comings together, on-line networks and communities empowering the word-of-mouth gatherings, and yes people like Geoffrey Leong in this case enabling the curators like Vanya Balogh, Alice Herrick and Cedric Christie to make events like this happen again and again all over the city. These are exciting times to be making art.


So we’re in an underground car park in Central London, there a lot of art to take in down here, ten curators and over one hundred artists. There weren’t many restrictions in terms of the curators requirements (some apparently required more than others, Sarah Sparkes and her selected artists united in their area, their hollow). The emphasis was on installation, sculpture, performance, and less on painting – so we painters had to be inventive and find something to paint on and install, in my case a found set of hinged and weathered wooden screens I was delighted to find waiting for me on top of a pile of thrown-out junk on an East London back street – “Emma Street, E2”.

SW - "Emma Street, E2"

SW – “Emma Street, E2″

There’s a lot in here, not over crowded, this is a very big space, a space that requires you repeat you walk around the circle of parking bays at least three or four (or five or six) times, things missed on the first circuit jump out of the second or third lap, things missed on first visit jump out on the second. Installations, sculptures, colours, shapes, not all of it works of course, how could it? A lot of it does though, so much of it does work – Michal Ohana-Cole’s Home Sweet Home demands a smile, Glenn Fitzpatrick’s further comments on wars over oil, his throne made more powerful when you learn that he spent the first gulf war in a tank fighting for that oil. Martin Sexton’s film-fuelled installation, Andie Macario’s (uncomfortable?) performance, Jeffrey Disastronaut’s mini, the repeating banners of Danny Pockets, the precisely placed precisely measured piece of Patrick Morrissey and Clive Hanz Hancock (did they make it for the space or was the fit happy coincidence?), Victor Velvet’s blood, Vanya Balogh’s metal rods… So much to really ignite excitement, so much to question, to enjoy, to dismiss, to want more of, to want less of, a whole body of disagreements agreeing with each other in so many positive ways – a thrilling show, a buzz of a busy opening, wonderful sound down there, and yes, a show that it really is exciting to be taking part in. Survival may be tough, but these are exciting times to be making art in this city of ours. We Could Not Agree exists, exciting that it does, go explore, things are more exciting when you go peel back the layers and explore for yourself.


We Could not Agree goes on until Sunday 19th October at QPark car Park, Cavendish Square, London W1. Open midday until 8pm

There’s an Organ interview with Vanya Balogh here and there’s a film, made by Marina, here at Organ, photographed and animated on opening night.  There’s 164 photos from the opening night here and some more from a second visit here.


ARTISTS INVOLVED – Sarah Sparkes, Sarah Doyle, Charlotte Squire, Calum F Kerr, Miyuki Kasahara, Anne Robinson, Birgitta Hosea, Ashley Scott Fitzgerald, Frog Morris, Rebecca Feiner, Phillip Raymond Goodman, Alice Herrick, Paul Hazelton & Tom Swift, Lindsay Sekulowicz & Sonia Levy, Jeffrey Disastronaut, Aly Helyer, Kate Kotcheff, Maria Teresa Gavazzi, Michal Cole, Tasha Marks:AVM Curiosities, David J Batchelor, KeelerTornero, Vanya Balogh, Martin Sexton, Glenn Fitzy Fitzpatrick, Andie Macario, Jim Racine, Maslen Mehra, IHTGW Continent, Patrick Morrissey & Hanz Hancock, Nadia Ballan, Gzillion Artist, Danny Pockets, Rekha Sameer, Julian Firth, Jude Cowan Montague, Kievan Sarrafan, Tom Estes, Paul Sakoilsky, Steve Smith, Joanna McCormick, Shuby, Susana Sanroman, Lorenzo Belenguer, Greg Tate, Jim Roseveare, Piers Jamson, Sean Worrall, Xiao Yu, Martin Paul Everett, Ray Gange, Spizz Energi, Toni Gallagher, Lucinda Bolton, Victor Velvet, Francesco La Porta & Caballo, Unstoppable Achievers, Oko Oko, Thomas J Ridley, Dan Knight, Urban XXX, Stimulus Ltd, Mark Woods, Stathis Lagoudakis, John Plowman, Michael Petry, Gillian Duffy, Hugo Madureira Starkaberget, Dermot O Brien, Charlie Whinney, Rebecca Scott, Kate Lyddon, Hermione Allsopp, Roberto Ekholm, Paul Eachus, Pascal Rousson, Michael Croft, DJ Roberts, David Fryer, Jake Clark, Tim Mitchell, Alexandre Bianchini, Derek Mainella, Jai Moodie, Tracey Moberly, Amanda Burns, Mark Miller, Megan Pickering, No Name, Caroline Stevenson, Adam Piper, Jess Hurd & Jason Parkinson, Nerys Mathias, Cedric Christie, Dallas Seitz, Isolde Nash, Jessica Bailey, Joseph Turnbull, Bernd Kaiser, Lina Audzeviciute, Goran Chanter, Jack Felgate, Jake Garfield, Joe Nava, Ami Evelyn Hughes, Helmut Kaiser, Georgia Kemball, Melissa Kime, Heath Lowndes, Moe Streel, Kate Thackara, Roger Clarke, Zanne Andrea, Adam Burton, Peter Fillingham, Ben Garrod, Poppy Jackson, Norman Mine, Benjamin Owen, Salli Yule-Tsingas, Anne Deeming, Sellotape Cinema, and Andy Elton.


ORGAN THING: Spotted ‘monumental’ German painter Jonas Burgert from the top of the 55 bus from Hackney…

Spotted some art from the top deck of a slow moving 55 bus that was weaving us through the building work of Hanover Square (LondonW1) earlier this week, a glimpse of some rather expensive paintings through the big windows of a upmarket gallery that demanded more attention. Made a point of going back the next day (on the way to have another look at the We Could Not Agree show in that Cavendish Square car park) to see who and what it was. Riding around on buses can be good, see all kinds of things, No Nose potatoes on top of bus stops, naked people painting giant red abstracts and the occasional interesting art show that demands more investigation. The good looking show turned out to be a solo show from German painter Jonas Burgert, a solo show called Stuck Hirn Blind, apparently his first solo show in London since his 2006 Saatchi Gallery show.

Jonas Burgert @ Blain/Southern

Jonas Burgert @ Blain/Southern

‘STÜCK HIRN BLIND’ (Poison Against Time) is to be found at the Blain|Southern gallery and features some rather “monumental” paintings “illustrating the meaning of existence through apocalyptic scenes with unearthly creatures, amazons, skeletons, animals”, as well as some rather beautifully coloured bronze sculptures.  The colour is the thing that drags you in (passing it on a bus in the dark while the gallery was in full flow and the lightning dramatic helped), it didn’t disappoint in the cold light of a wet Wednesday afternoon, the rich colour is the initial thing, the powerful detail is what really demands attention though, there’s a lot to discover in that electric colour and intense texture. Would it be blasphemous to compare the epic feel to something that might be seen on the pages of 2000AD? Probably, almost certainly? The work certainly is monumental, the scape powerful, the smaller pieces intense, the bronze is beautiful, maybe it is about the texture? And then there’s the survival that’s coming through the colour and the texture, the technicolour wastelands, a wretched dystopia splashed with trademark fluorescent colours that draw you in to the canvas, vivid, creatures at play? Wrought with anguish? Alive? Powerful… Certainly worth getting off the 55 bus a stop earlier for…  (SW)

Jonas Burgert @ Blain/Southern

Jonas Burgert @ Blain/Southern

“Burgert’s paintings present a world in which time is suspended, once removed from our perception of the every-day. In this paradigm – an environment which is in constant flux – human beings are depicted as unique, contorted creatures both familiar and fantastical. Often naked, sometimes splashed with the artist’s trademark fluorescent colours – a melange of acid yellows, electric blues, purples, pinks and reds – each appears to be engaged in some form of quest, the purpose of which is not immediately apparent to the viewer or, it seems, to themselves. They appear as dream-like figures, frozen in a moment of time – on the cusp of a revelation or point of awakening”.

According to Burgert, humanity’s desire to find meaning in existence beyond physicality creates an enormous need for an overarching narrative that invests a purpose: “In our mind, we create existences as heroes, gods or clowns. They lead unbearably loud, malicious, cynical, witty and passionate lives, in wonderfully strange or terrible places. In my art, I merely try to paint the scene of this ongoing process of debate and negotiation, with all its peculiarities.”

Jonas Burgert – Stuck Hirn Blind
Until 22 November 2014
Blain|Southern gallery
Hanover Square, London

ORGAN THINGS: New Diagrams, Child Abuse in town….

Glorious day don’t you think? Here’s a taste of something new from super furry Diagrams. Phantom Power is from Diagrams’ upcoming album Chromatics, more of former Tunng member Sam Genders’ lush chamber pop glowing with a simple, almost whimsical feel. You don’t need words, there’s the song and here’s a link should you want more. Chromatics is out at the start of next year on Full Time Hobby.


Here’s the hype from the label.  When songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist’s imaginative and inventive arrangements that made up 2012’s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams’ brand new album Chromatics.



“Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory,” reveals Genders of the album’s themes. “And there’s lots of hope in the songs. They shouldn’t be taken too literally mind you… in my head Chromatics is life in Technicolor; with all its ups and downs.”

Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it’s without doubt that Genders’ next offering falls closer to home comforts and marks the next step in Genders’ renaissance. Take lead track ‘Phantom Power; it’s the track which truly sums up what it’s like to find yourself forever reassessing. “It’s about feeling like you’re losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it’s possible to sort yourself out,” explains Genders.

Meanwhile Child Abuse are in London town tonight, playing a free gig at the Unicorn in Camden (well almost in Camden), tonight being Friday 17th October, more about what Child Abuse are doing, via that link you just passed…


Meanwhile on things go down underground on level three of that underground car park today and for the rest of the weekend…. open midday until 8pm Qpark car park, Cavendish Square, London W1, over one hundred artists down there waiting for you…. well their art is waiting, not all one hundred of the artists, although there are a few around to talk to and question and interact with if you want to….




we couldnot_narrow






ORGAN THING: More Frieze week, more from the car park, the Sculpture Park, Kaws, Yayoi Kusama, We Could Not Agree…

Bay 43 of the car park

Bay 43 of the car park

Found myself taking the short walk in the rain from Cavendish Square (London W1) and a second visit to the circular stimulation of the We Could Not Agree show in that car park, a short wak down Harley Street to Regents Park and the Frieze Sculpture park (via the chaos of the limousines and the expensive wallet-carrying clothes being ushered from taxis to take part in the art buying bun-fight and the main Frieze arena). The Sculpture park is free, out in the open, there, breathing amongst the falling leaves of now suddenly very Autumnal beauty of Regents Park. Worth the walk in the rain just for the glorious strangeness of Japanese art superstar Yayoi Kusama  (not sure about that Martin Creed video screen) and the scale of that KAWS piece (especially if you’re not expecting it to emerge from the trees, suddenly there occupying your eye-line behind Franz West’s attention-taking Sitwurzt. The scale of the Brookyn artist Kaws’ piece just grabs your breath for a second if you’re not expecting it (sorry if that’s just been ruined that by telling of it here)


Wanted to go back and explore We Could Not Agree without the throb of crowds and the noise, well there is still a bit of noise in there, the cars parking above, the echo of the sound-art mingling with the ambient amplification of the feet, really does sound good down there.. Worth mentioning the sound art in the sculpture park as well, the henge-like circle of black speaker wedges – really worked in yesterday’s traffic hum and drizzle. There’s an interesting q&a with sculpture park curator Clare Lilley here. Would it be more exciting to find all this in a less formal setting? Yayoi Kusama in the middle of a scrap yard? Giat cartoon sculptures emerging from rubbish dumps, coming to life in an abandoned building and the natural layers of growth always rather than carefully managed formal parks.  Enough, a formal park in the middle of London is a fine place to go explore twenty sculpture on a wet Wednesday afternoon

Megan Pickering at We Could Not Agree

Megan Pickering at We Could Not Agree

There’s an album of photos from both the park and more from the car park down the page, wanted to particularly go back and search out Megan Pickering’s rather relevant piece, so easy to miss things on an opening night in a show as alive and busy as the We Could Not Agree show is. The photos are just beyond that taste of Grubs Tuckshock, We Could Not Agree goes on until Sunday (SW)

frieze_sculpture5 - Yayoi Kusama

Yayoi Kusama

Grubs Tuckshock appear to be a rather experimental two piece from Bristol, not clear if they’re active now of they’ve just been busy putting up some old things from 2004 on Bandcamp. Whatever the case, rather like it, here it is, do what you will with it….


The photos…. more photos, click on one to enlarge and run the slide show…

ORGAN THING: We Could Not Agree, the animated video

An animated video piece from last night’s opening of the We Could not Agree show, an art show in a circular underground car park in central London featuring over one hundred artists. The show runs daily from Tuesday 14th Oct until Sunday 19th October, midday until 8pm at QPark Car park, Level -3, Cavendish Square, London W1.


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