ORGAN THING: JULIE RUIN 7″ for Record Store Day….

ORGAN THING:  THE JULIE RUIN, the rather fine new band led by former Bikini Kill frontwoman (and no-messing riot grrrl) have a new seven inch single, Brightside.   A tune that’s alive with that Hanna energy – “It’s just my heart that’s beating / the message keeps repeating.”

“Brightside” will be available as an exclusive 7″ for Record Store Day (April 19).


Kathleen and her band hit the UK and Europe in May, here’s the dates.

Previous JULIE RUIN coverage


ORGAN THINGS: Ten musical treats you really should have explored in 2013 (part one)




ORGAN THING: New PoiL, Benjamin Murphy painting, Desperate Journalist..

ORGAN THING OF THE DAY: New PoiL, a new two tracker from the roller-coaster-riding Frenchmen, out on May 5th, this is a very good thing indeed, they are one of the finerst bands out there right now…


Artist Benjamin Murphy painting a billboard on top of Great Eastern Bear Gallery on Great Eastern Street, Shoreditch, London. (Music by Desperate Journalist, video Nick Thompson)


Some dates for your diary, Cultivate Evolved will be at all three…


Exclaiming at the 2013 Art Car Boot Fair

Exclaiming at the 2013 Art Car Boot Fair


New POIL artwork

ORGAN THING OF THE DAY: 52 days until the 2014 Art Car Boot Fair….

Today we shall re-run a piece from last year, today we are 52 days away from the eleventh annual Brick Lane Art Car Boor Fair, for me it will be the fourth year as an exhibiting artist. Always one of the most exciting art  days in East London, here a re-run with an added photo album of photos from the day that we haven’t posted here before…. Bring it all on.

The 2014 Brick Lane Art Car Boot Fair happens in a car park in East London on Sunday June 8th.  

Here’s last years look back….

artcarboot136THING OF THE DAY, Some overdue documentation of the recent Art Car Boot Fair ahead of the Open East festival…

The weekend after next, we take Cultivate to the OPEN EAST festival as part of another Art Car Boot Fair event, Saturday and Sunday 26th and 27th July, 2013 at the Queen Elizabeth Olympic Park, East London.

On the first anniversary of the London 2012 Games, the north of Queen Elizabeth Olympic Park opens for a packed weekend of entertainment and activity, art and food”,

artcarboot17We Cultivate collective will be taking part on both days at Open East. All kinds of things going on, bands, art, events, Jeremy Deller’s giant inflatable Stonehenge, We’ll be… well watch this space, we’ll tell you more in a couple of days.

The main ART CAR BOOT FAIR happened back at the start of June, in a car park, around the back of Brick Lane.. Here’s our take on the Tenth annual Brick Lane Art Car Boot Fair…


artcarboot42The madly spinning Cultivate merry-go-round got us invited back again, invited back to take part in the tenth annual Brick Lane Art Car Boot Fair that happened last week (well it was last week when these words started to come together, seems like a lifetime ago now, when was it? 9th June, I was right, a lifetime ago!). Been intending to commit some words to (electronic) paper since the fair happened, scrambled thoughts before it all blurs and we fall off the edge again. Never enough hours in the day, not enough time to paint, let along write, not so much a merry-go-round really, more an ever speeding up treadmill and an ongoing time-eating battle to keep running on that relentlessly demanding treadmill. No time for anything else, must keep Cultivate fed! Been running on the treadmill for far too long already, almost time to turn Cultivate in to different ride.

Gavin Turl

Gavin Turl

Do love the Brick Lane Art Car Boot Fair, love the sense of reality, the down-to-earth feeling of uncluttered fun, the creative spirit, the relaxed atmosphere, the openness, the conversation, the high art, the low art, the healthy dose of pretention, the lack of pretention, the fact that the event is there for everyone. the walking it rather than just talking it – artists and organisers rolling up their multi-coloured sleeves and just getting on and doing it – making it all happen and making it all accessible to anyone who wishes to access it (providing you can afford the entry fee of £5 to get in of course). Love the Art Car Boot Fair, one of my favourite days of the year – I didn’t have to stand in the queue (or pay £5) of course, or dive in to the scrum for a slice of Tracey or Sir Peter, I didn’t have to stand in a (long) line for an hour or more for an impressive slice of freshly-screened Pure Evil, I do love the Art Car Boot Fair.

artcarboot9Now I know what an all consuming (sometimes very frustrating) thing running our gallery space can be, so, before anything else, we at Cultivate would like to issue a massive heartfelt thanks to the Art Car Boot team, must take months of pulling together, it is very much appreciated by us participating artists, we love it, thanks Karen Ashton and team, thank you very much.



So the Art Car Boot Fair happened just over a week ago now (well it was just over a week ago when I first started writing this, covered that issue already up there) and well, here’s a flavour of how it went for us – an artist’s view, a carbooteye view from the back of our “boot” as it were. Third time taking part, my second as “leader” of the so-called Cultivate Collective – I didn’t declare myself leader and I don’t even know if there is an actual collective, but hey, this isn’t the time and place to debate what Cultivate is or isn’t about. I guess there’s more than a dose of truth in the leader tag, seeing as I probably do nearly all the running, doing, hanging, sorting, curating, dictating, napalming, the invigilation, the wrangling, the taking of all the abuse. so yes, reluctant leader, reluctant gallerist, reluctant feeder of the beast – it’s a dirty someone got to do it – it really does matter, art is not a hobby, not doing it is not an option, there is no choice, art must happen, Cultivate must happen.

artcarboot66I don’t know if this tenth annual Art Car Boot Fair was the best one yet? Hard to say when, as an artist participating, you don’t really get to see and explore it all – occupied all day in your own bubble of a car boot, catching a healthy sense of it all, maybe a snatched two minute dash around. From my vantage point in the Cultivate gazebo shaped car boot it seemed as exciting as ever, as busy as ever, as colourful as ever. Yes, this year might well have been the best, the consensus seemed to say it was, the buzz agreed with the consensus. As an artist with a table full of art there really isn’t much time to really go exploring anywhere beyond the immediate neighbourhood and those set up right by us.

artcarboot39So we loaded up a people-carrier type taxi thing with art, with make-shift tables, with sunhats and signs, a hastily purchased bottom of the range gazebo (£15.99, Argos) to counter the threat of Met.Office predicted rain, a healthy hopeful supply of sturdy Lidl carrier bags and a giant sack of recycled bubblewrap – no logo printed Nelly Duff style parcel tape for us, this is a starving artist-led punk-rock-fulled-diy operation. Off we went, short East London journey from Vyner Street to Brick Lane, notices left in the Cultivate window (well it is a rare thing to find our door closed on a Sunday)

The Pure Evil line

The Pure Evil line

A mad rush to get set up before the event starts and the crowds are let in, the queue was already snaking along the pavement and way way off along the street when we arrived three or so hours before the start at 9am, apparently some had been there in the line for hours already, did people really camp outside all night? People Tweeting about what they were queuing for; Sir Peter Blake prints, Tracey Emin, a Gavin Turk balloon (not sure about those balloons), one or two hearting tweets from people wanting to grab their part of the Hundred Pieced Piece. Was it the best Art Car Boot Fair? Certainly seemed as good as any we’ve been to, and most of those who got to explore everything properly. seemed to think it was indeed the very best.

artcarboot48My main contribution this year was the first of three One Hundred Pieced Pieces – the notion of one piece of work, a piece of work that consists of one hundred parts One hundred pieces all painted and worked on at the same time, one hundred pieces on recycled cardboard, each piece hand-painted and worked on at the same time, each piece numbered and signed, each piece individual, each piece to be sold individually, each part on sale for one pound, all for sale exclusively for one day only (they could have sold again and again over the week before the Art Fair, they could have been sold to people coming in to Cultivate and seeing the work in progress, nothing was sold until the actual day), all one hundred pieces for sale at the 2013 Brick Lane Art Car Boot Fair. A piece that (almost) everyone could afford to own a part of – one piece, owned by one hundred different people, one hundred individual pieces that both exist on their own and as part of one big piece. All one hundred parts were painted at the same time over a period of three weeks from mid May, painted on the floor of Cultivate gallery in the evening, after the doors had closed. The work in progress had been on display at the gallery for the three weeks leading up to the fair, as well as documented, as the work progressed, on social media… The pieces all on sale at the Art Car Boot Fair, and once again the sale process documented, people photographed with their pieces, and all up on Facebook after the event, up onYouTube and such… One piece of work, one hundred pieces, available for one day only, made especially for the 2013 Art Car Boot Fair.



So we were billed as the Cultivate Collective in the official art fair publicity, that was fine by us, Cultivate is an ever evolving idea and not just a gallery space halfway down Vyner Street. A loose collective of artists joining in now and again, some more than others.

Alo canvas, Sean Exclamations

Alo canvas, Sean Exclamations

Emma Harvey has been exploring her mouth in the last couple of months, the exploration reached a climax with nine new pop art flavoured small canvas pieces, painted boldly, painted with household gloss paint and presented at the fair. This year we invited Julia Maddison to join is with her rather unique monoprints and her inspired use of words, we invited London-based Italian street artist Alo, a man who’s been earning a lot of attention with his recent pieces at Cultivate as well as work all over the streets of East London (the man has been rather prolific in recent times). We had more of Lewis Banister’s rather popular painted dollars, Gareth Morgan’s stylized figures, Zoe Crosse and her lush oil-painterly colour – real painting rather than just picture making, SixOneSix with his recycled knitting patterns, his organic pieces on found wood, his pointed face-shapes and such, Loolie Hapgood’s body-part prints – hearts and other (sometimes erect) organs, paste-up artist D7606 joined us with a telephone box print or two – all on view and on sale in our “boot” alongside a healthy supply of exclamations, leafhearts and associated layers on canvas, cardboard and recycled vinyl records. A “car boot” full of art from Cultivate people who have grasped both the spirit of our artist-run gallery and the idea of the Art Car Boot Fair…


Carrie Reichardt

artcarboot110They come in all shapes and sizes, rushing indeed, some opting to take on the challenge of the crazy scrum at the Emin International stall or the Peter Blake boot (the Sir Peter Blake scrum looks particularly manic, not off a fight to get a piece) – others are making the tactical decision to check out us smaller names first “Thought I’d check out what you have first, get first choice while they fight over the superstars over there”, actually the start on our stall is a little manic as well – gates open at Midday and within the first hour, the hundred pieces of the 100 Pieced Piece had all been fought over and bought up. We quickly sold out of the Alo canvases and Lewis Banister painted dollars – exclamations, mouths and leafhearts are flying, hardly time to talk, sorry if I was rude to anyone, the first hour was a touch frantic, all rather exciting, if we can’t get excited about sharing our art then what can we get excited about?

artcarboot1Seems some scenesters are getting a little sniffy, “oh there’s too many people, it has all got too popular” read one review, actually most reviews would have you believe Tracey and Peter (and maybe Gavin Turk) were the only artists showing work, there were actually over seventy invited to take part this year. Actually being behind a stall, once the early rush and the frantic freneticness has calmed down a little, is a great place in terms of people-watching, people-listening – all shapes and sizes, hipsters smiling at the unfashionable, dogs getting on with each other, cowboys, pearly kings and queens, boys in dresses, old ladies barging people out of the way so they can ask about Roa or “who does the big mushrooms?”, elder gentlemen in panama hats and immaculate ties, English eccentricity, old school punks, young hoodie-wearing kids telling us they’re just starting to collect art and trying (successfully) to haggle over prices, “I’ve only got fifteen quid left mister”. People walking past with bits of Pam Hogg, a Marcus Harvey print of Thatcher, people performing, celebrities, film stars, art frenzy, hair let down – and yes Tracey Emin did roll her sleeves up and stick it out to the end with the rest of us. Someone said I sold a painting to Patsy Palmer, someone from

616 at work

616 at work

Eastenders apparently, don’t ask me. There goes yer man from Dexy Midnight Runners again, no one karaoking Come on Eileen at him this year, he loved that last year. The great big snake of a line for Pure Evil goes on for hours, he’s got another of his great big ear-to-eat shit-eating grins on his face, he’s been screen-printing non-stop all day. Frivolity abound everywhere you look, smiles everywhere, the spirit is good, even the shop keeper asking if I’m the one “sticking bloody great big pictures of telephone boxes in his wall” does it with a smile, “No, not me” I tell him, “well whoever it is, tell him to come clean it up!”




SixOneSix showed up with more bits of wood, paint and a hooded top to hide under while he worked away behind the Cultivate stall – his latest pieces selling before he’s finished them. Loads of good conversations as things slow down a bit, art still selling but now there’s time to chat, debate, discuss, dance, (drink), share, enjoy…

Joshua Compston is remembered and celebrated (by Darren Coffield) “It was one sleepy Sunday afternoon, sitting in Joshua Compston’s bedroom by the Thames in leafy Chiswick, when he dropped the bombshell. “I am going to move to the East End and start a gallery, an art movement to revolutionise the lives of the working classes”, he announced with great aplomb….” (more via .

Emin International, Tracey at work

Emin International, Tracey at work

Seems very fitting to remember Joshua Compston at the 10th annual Art Car Boot Fair. Hard, even for those of us who were around during East London’s “wilder” times, times when now fashionable coffee-drinking hang-out streets full of desirable places to live, were anarchic no-go areas, hard to recall that there once was a time when the notions of art and galleries and such in the East End was simple ridiculous, we all have a lot to thank Joshua Compston for in terms of all the exciting living breathing art around us – and it is exciting, keep you cynical smile to yourself, these are exciting times to be making art in, and East London, for all its faults and problems for all of Foxton’s greed, is an exciting place to be making art.

Yes, this tenth Art Car boot Fair might just have been the best one of all, it was an exciting pleasure to be part of it. Thanks everyone, we had a great time, we left with smiles (and enough money made to pay last month’s overdue gallery rent)


An album of flavours from the 2013 Art Car Boot Fair, including the One Hundred Pieced piece…. click on the images to enlarge or to run them as a random order slide show

SOUNDGARDEN demo version of BLACK HOLE SUN, new DIAMOND VERSION with added Tennant, BRITISH PATHE and painter BEN FENTON

aaa_cultevolved_april10_23Hhot shoe, burning down the avenue, have you seen junior’s grades? Things, some quick things today,  no time for Things, got cultivating and things to do innit….

Soundgarden,  you’ve got to love a bit of Soundgarden on a Thursday haven’t yer? ‘course you ‘ave! Soundgarden are kicking out some Superunknown style 20th Anniversary edition action any moment now, and with it a bag loads of demos and vinyl things with interesting b-sides and such, including this original sketch book demo type version of Black Hole Sun that;s they just officially posted up



Diamond Version have announced details of their debut album release, CI, out on Mute on 2 June 2014. The first single from the album features Neil Tennant from Pet Shop Boys and is a collaborative take on the old gospel hymn, Were You There?’:


Julia Maddison at Cultivate

Julia Maddison at Cultivate

Here comes the record label hype – “Diamond Version’s debut album pairs blistering electronic rhythms, deconstructed techno and dread static with clipped slogans borrowed from advertising and marketing, in both lyrics and track titles such as ‘Science For A Better Life‘, ‘Access To Excellence‘ and ‘Raising The Bar‘.

CI (which stands for Corporate Identity), follows on from a series of five 12″ singles released through Mute, and is the culmination of nearly three years of hard work which began when Raster-Noton and Mute both curated the 2011 Short Circuit Festival of electronic music at the Roundhouse in Camden, London. “It started with the Roundhouse,” recall Diamond Version. “Daniel [Miller, Mute founder] has always been interested in what we do. We shared ideas and experiences, and then it was very clear that we should do something together.”

A Ben Fenton painting, sold at Cultivate this morning...

A Ben Fenton painting, sold at Cultivate this morning…

This is the collaborative project between two of the most groundbreaking, experimental and visionary creators in modern music and, although Olaf Bender and Carsten Nicolai have worked closely together since founding Raster-Noton in 1996, it wasn’t until they formed Diamond Version that they started working together as a duo.

For the debut album, Diamond Version came up with an unusual list of possible vocal collaborators. “We tried to find unpredictable vocalist collaborations – something that you would not think of in the first place, so it didn’t feel streamlined. We wanted to break a certain kind of logic.”. As well as Neil Tennant of Pet Shops Boys, guest vocalists on the album include musician and poet Leslie Winer and Kyoka – a Raster-Noton recording artist

After a triumphant return to Sonar last year (documented by The Creators Project here), a series of dates with Depeche Mode, and a headline show at London’s Village Underground Diamond Version debut their audio-visual live performance on a series of dates, with more to be added – Full details




Meanwhile – “We’re pleased to announce the uploading of 85,000 films to YouTube. View and share here” said British Pathe :


And well, we though posting up Nailed Up For Nothing ahead of the egg eating holidays would be just a step to far even for us….


BEN FENTON at Cultivate as part of the red wall

BEN FENTON at Cultivate as part of the red wall


Diamond days, Diamond heads, Diamond Dave, more of this tomorrow, maybe… hot shoe, burning down the avenue, have you seen junior’s grades?

ORGAN THING OF THE DAY Some black light, some Banksy painted over, some art-flavoured fundraising and a 25 second outburst from Dublin’s Girl Band

ORGAN THING OF THE DAY? Some black light, some canvas repainted, some Banksy painted over, some fund-raising and a 25 second outburst from Dublin’s Girl Band

blacklight_coverAs we’ve pointed out before, the days of us having to review hundreds of musical things are over (I estimate I’ve written something like 20,000 music reviews – albums, singles, demos since Organ started), all we need now is a links and all you need is a mouse and your ears. Of course we’re not going to waste your mouse-clicking time with links we don’t think are worth investigating, and this glorious fuzz of deliciously considered artful noise from Kent’s Black Light Brigade that came in to our inbox  this sunny Tuesday morning certainly is worth some hasty mouse action…

Hello, I was wondering if you would be interesting in reviewing the Black Light Brigade – Black Light / Black Heat album?  We are a band from the Medway towns with a heavy DIY ethic, that deal in fairly experimental improvised noise rock, that has been described as “sonic youth battling early Melvins”. It is our first album and we are looking for blogs / zines sympathetic to the DIY scene to review it. A google search brought us to your door… anyway, the album is here…”:


Today, I make no excuses for using the Organ pages to bring this to attention, some fundraising going on via Cultivate Gallery

MILD MILD WHERE? What’s Tracie doing? Where’s mild anyway? Today’s blank canvas and a touch of fundraising

TRACIE and The Second One Hundred Pieced Piece - made for the Pink show at Cultivate - July 2013

TRACIE and The Second One Hundred Pieced Piece – made for the Pink show at Cultivate – July 2013

TRACIE ANGIOLINI, one of our regular visitors at Cultivate, is fundraising for St Joseph’s Hospice. I have a massive respect for St Joseph’s, the place is a vital part of the Hackney community, the real community and the real Hackney that is, not the here-today-gone-later-today coffee drinking Hackney, St Joseph’s is a rather vital part of the real East End of London, the real community (so East London that I met Barbara Windsor there once). Community is important, art needs to be about community, galleries need to be, we like to think Cultivate is…

Over to Tracie…

“I have been volunteering at St Joseph’s Hospice for the past two years and have been blown away by the services they provide. These services are provided to all members of the community regardless of race, faith or creed. Everybody, those nearing the end of life and those with life-limiting illnesses is treated with care, dignity and respect.

So despite my advancing years and creaky bones I have decided to drag myself across a blisteringly hot desert to raise much-needed funds to enable the hospice to continue its good work. After the trek we will be completing a community project (painting a school/hospital) watch this space…….”

Now you could just go cut to the chase and donate via Tracie’s Sahara desert trek and community project page but then, we thought we’d like to do a little more to support our near neighbours just along Mare Street . Part of Tracie’s plans involve a fundraising art auction and raffle, that should be coming along in May, more about that is in a couple of weeks, I shall be donating some pieces and indeed exhibiting some of the work at Cultivate, hopefully a few of my fellow East London artists will join in. I pass the hospice every day on my way to Cultivate, and I think most people who have lived around here for any length of time have been touched by the place in some way, indeed we lost a good friend of the gallery late last year and I know St Joseph’s was a great comfort to him and his friends, so we’d also like to do this something in remembrance of Ian Mackenzie Smith

This week I have put a piece of work up on ebay, a recent painting of mine. All funds from this sale will go to Tracie and St. Josephs. This is partly about fundraising and partly about publicising and supporting what Tracie is doing. I shall be creating and donating another piece of work later on.

The piece for-sale on Ebay right now is a piece called TOURIST TRAP – MILD MILD WHERE? The piece measures 50cm x 50cm and is on deep-edged canvas, the piece is part of my “blank canvas” series of works – pieces painted on found objects, canvas pieces that others have worked on and such. This particular canvas was bought at a jumble sale at St. Jospeh’s a couple of weeks ago. One of those dreadful generic pre-printed canvas pieces, a slice of tat that demanded someone paint on it. The original print is a mix of Banksy images and London tourist images, including Banksy’s Mild Mild West (now remind me, where in London did he paint that? Ah yes, Bristol… he must laugh his head off when he sees all this cheap tat that cashes in on his art)

The auction ends on April 23rd, here’s the link



Dublin’s Girl band have a new 25 second single, they also play a free gig at the Lock Tavern, Camde n, London on April 19th. Download their latest album from here, pay what you want


More growth at Cultivate

More growth at Cultivate





ORGAN THING: FOREBRACE or DON VITO? JEALOUSY MOUNTAIN DUO or HONEY RIDE ME A GOAT? An experimental music dilemma in East London…

zz_jel_flyerThing of the day .Thing is, which thing are you going to choose to be this Tuesday 15th April? Over there up the Kingsland Road, you’ve got the serious challenge of experimental avant-progheads Honey Ride Me A Goat along delicious threat of yet another Alex Ward outfit in the shape of Forebrace, while over at the Old Blue Last you have Germany’s Don Vito piledriving at you alongside insect-flitting no wave of fellow Germans Jealousy Mountain Duo…

Where do we start? Well i guess we start with GUNCLEANER, for they open things up at the Old Blue Last  with their pulsing throb and their buzz and their pecking at your musical inside with their currents and their tins blowing in the wind and….well what the hell is that? Here’s the link to the vacant fulfilment  of it all

JEALOUSY MOUNTAIN DUO are a, to quote their own biog, “Two-man German band Jealousy Mountain Duo’s self-titled longplayer was released by experimental German label Blunoise, a perfect portmanteau of Jealousy Mountain Duo’s disparate ’60s jazz and noisy, math-rock influences. Jealousy Mountain Duo takes a deconstructivist approach to its experimental blend of post-modern jazz and mathy indie rock, its guitars looping looping and conflicting melodies, its drums working in and out of rhythms, eschewing any semblance of straightforward timekeeping for an abstract counterbalance to the swirl of notes and tones. The result is tightly controlled chaos, a sonic maelstrom where form doesn’t necessarily follow function. This, truly, is radical stuff. In both senses of the word”. P. Wall


And if those  two haven’t pecked at your head enough to make you want to miss the latest episode of Nashville and all those guitarists mess up the tor manager’s day, then DON VITO will. They’re from Liepzig, they’re an easy listening pop band so take your little sister along… Wel lactually, someone else said

“The band’s description of their music “hyper kinetic instrumental noise tohubohu” couldn’t be any more accurate. The moment Don Vito let a bit of chaos out of the sack all appendages within hearing distance begin to fidget hysterically. It is like being hit with the spray from a machine gun. Welcome the apocalypse of rock smiling at you from three lunatics who appear to thrash at their instruments more than to play them. But somehow they never loose continuity in this chaos of interwoven high speed-grooves.



But that’s in one part of East London, while in another part of East London you have… ….

zz_honeyride“An evening of 3 bands on the outer edges of rock music, featuring the brutal post no-wave clamour of Housewives, the head-spinning convolutions and dissolving structures of Honey Ride Me A Goat, and the long-awaited public debut of Alex Ward’s improv-rock quartet Forebrace”

FOREBRACE  are Alex Ward (clarinet, amplifier); Roberto Sassi (electric guitar); Santiago Horro (bass); Jem Doulton (drums)

High-octane quartet featuring members of Dead Days Beyond Help, Nøught and Snorkel. Forebrace released their debut album “Bad Folds” at the end of 2013 to warmly enthusiastic reviews, and are now finally bringing their sonic intensity to the public stage. Taking off from such reference points as the raging electric violence of Last Exit, the dense contrapuntal babble of Ornette Coleman’s Prime Time ensembles, and the pummelling immersiveness of Swans, Forebrace live will be an experience to leave one drained, exhilarated and inspired.

“…a monster of a group… The sheer audacity of the sound leaves a gorgeous auditory residue lingering long after listening.” Paul Acquaro, The Free Jazz Blog.


HONEY RIDE ME A GOAT  we’ve said loads about the goat riders, here’s what  the scribes at Forced Exposure have to say “Their music is an unholy melding of the scratchy, post-punk shards of guitar scrapes from D. Boon and Arto Lindsay, the disjointed rhythms of Beefheart, the psychedelic jazz-wail of Joe Baiza and James Ulmer and sheets of sound not heard since Rudolph Grey was releasing his wares. HRMAG capture “that” sound and throttle it sideways: songs veer left and right, flow from jazz-like jams to claustrophobic, repetitive, airtight rhythms in a heartbeat; some songs fall apart, others never stray from an ass-tight compositional sound. It’s not “math-rock” and it’s not free-jazz. HRMAG have carved their own musical path.”



HOUSEWIVES – Experimental guitar-band based in South London, interested in the relationship between noise and sound. Housewives’ sound (or noise) is indebted to the scratch and scrawl of No Wave and Post Punk. Melody is often tossed aside in favour of clanging dissonance and sharp rhythmic turns. This Heat’s Charles Hayward noted ‘a sort of monochromatic surliness slowly warms up to a barely controlled anger, hypnotic and building from the simplest elements’ in Housewives’ sound. The influence of the likes of Luigi Russolo, Steve Reich and Phillip Glass can also be found within the space and noise of the group’s DNA. Upset The Rhythm put it best: ‘their songs creep out of chaos into urgent bursts of energy and loud focus.’


Running times at POWER LUNCHES look like this  Doors: 8pm. Admission: £5.
Stage times: 8.30 – HOUSEWIVES, 9.15 – HONEY RIDE ME A GOAT, 10.00 – FOREBRACE (446 Kingsland Road, London E8) . Here’s the Facebook event page

No times for the OLD BLUE LAST (38 Great Eastern Road, Shoreditch, London EC2) but here’s the Facebook Event Page for that one

And here’s a bit of purpled up Ziggy while you make your minds up…. (of course if you don’t live around here and your reading this in Market Drayton, Shropshire or Springfield Ohio or the middle of Paris or some such place you ca nstill explore it all on line so stop you’re complaining and thank us for the service…. have a nice  day now)


ORGAN THINGS: Rckay Rax at Residence gallery, Glenn Fitzy Fitzpatrick at Cultivate and…

Vusy times for those who like to explore art in an around London, last night East London saw the opening of two new shows at the big Wilkinson gallery space in Vyner Street as well as a late evening opening at Cultivate where Glenn “Fitzy” Fitzpatrick is currently showing his battle decks and his very intricate illustrative style alongside his tales of times as a tank commander in the first Gulf War, a fact that puts his recently petrol pump piece exhibited at the Chinese Open in to some new light.



.Fitzy’s extremely detailed drawings are laced with layers of meaning, of conspiracy and spiritualism, of manipulation, of life since he got out of the army and questioning of it all. The Gravesend artist has his drawing prints and sculpture on show at Cultivate Evolved, as one of the guest artists, alongside the seven in-house artists, the red wall and the latex and ballgags of Brighton’s Michelle Mildenhall until April 23rd.

Rckay Rax

Rckay Rax

Last night saw the opening of a show called The Sucker, a solo exhibition from Rckay Rax over at the Residence gallery

“The unsung hero of the London underground art scene”
- Wolfgang Tillmans

“He dragged me by the hair around the dancefloor. I finally felt alive!”
- Susanne Oberbeck, (No Bra)

“For his first solo show the multi disciplinary artist exhibits a series of collages compiled from heterosexual porn magazines (“because it’s cheaper than gay porn”), depicting cut-up body parts and limbs that form hybrid humanoid entities, often entangled in apparently sexual positions, or trying to look sexy – yet the titles imply representations of institutions and figures of authority, or cliches of heroic manly behavior and technology used perhaps in cheap book titles.

Rckay Rax

Rckay Rax

These entities, while satirizing are also carving out a place outside of binary structures and judgment, western ideas about hierarchy and cause and effect. Aimlessly menstruating legs and seemingly non sensical sex positions undermine notions of agency and purpose, like sluggish, proliferating creatures exhibiting a “vampiric relationship between body and mind that is holding back evolution”, trying to escape outdated 20th century ideas about sex and human interaction.

The seemingly inappropriate and cheap sexualization of institutions and figures of authority – the pope, the law, architecture, politics, power, language – largely made up of female porn models’ body parts – images that would traditionally be perceived as immoral and irrational – highlights a hypocrisy of associating power and authority with masculine qualities.

Subverting gender expectations and placing itself outside ideas about morality and judgement (“boogie man” is in fact an entity made up of lush female breasts and body parts), the artist is not only poking fun, but also imagines more poetic, future human and sexual interactions as well as reproduction (“birth”) that incorporate objectification and narcissism instead of dismissing them.

The playful, machine-like creatures are reminiscent of Deleuze and Guattari’s notion of “becoming” as well as William Burroughs cut-up narratives intended to subvert western binary language systems – but unlike Burroughs Rax largely uses images of women to illustrate his ideas – which could be seen as feminist or simply because they were cheaper. - Susanne Oberbeck, (No Bra)

THE RESIDENCE GALLERY is an intimately plush space, you can explore the opulence at 229 Victoria Park Road  London E9 7HD.  The Sucker tuns until May 25th

Some previous NO BRA coverage here at Organ…..



Also check out …. Park Seungmo at the always interesting and often excellent Hada Contemporary, 21 Vyner Streer, Bethanal Green, East London, as well as the late4st things street artists Alo and Skeleton Cardboard have been painting on the Hackney Road…

An album of photos from the last week in and around galleries in East London, click on an image to enlarge


Photos (SW)

ORGAN THING: Two short run London art shows, SUNLESS in the south, BENJAMIN MURPHY in the East



Sunless opened last night at the rather large Bermonsey Project over in South London.  A group show curated by London artist Matthew Tudor...

Artists : Julia Maddison, Julie Ann Steward, Katrine Storebo, Paula Lucido. Tariq Muhammady, Susannah King, Philip Weiner, Mathew Tudor, Katherine Meynell, Phoebe Davenport, Jillian Knipe, Cate Halpin, Alberto Condotta,Claire Palmer, Laura Fishman, Anna Lytridou, Sean Worrall, Matthew Randle, Elina Jokipii and Sandra Beccarelli.

“A collaborative exhibition inspired by Chris Marker’s essay film Sans Soleil(1983) and the experimental short film La Jetee(1962). The work is a mixture of Film, Painting, instillation and Sculpture which is influenced by the theme of memory and how these (seemingly) precious moments can be altered or distorted over time, gradually eroding our sense of self and place. World histories separated (only) by distance are constantly being rewritten, and as a consequence our own personal histories become unreliable”.

Opening times; 12:00 – 18.00 pm. From Saturday 12th April until Monday the 16th at Bermonsey Project over in South London.

BENJAMIN MURPHY - Seven years of Sketch Books

BENJAMIN MURPHY – Seven years of Sketch Books

Meanwhile, a 48 bus ride away in East London, Benjamin Murphy’s Seven Years of Sketch Books show opened at the Hoxton Gallery….

Never before seen by the public, Benjamin Murphy’s sketchbooks will be cut up and displayed on the walls of Hoxton Gallery.  Expect to see; preparatory sketches for tapedrawings, drawings that were plans for tapedrawings that never happened, drawing of old friends, coffee stains, electrical tape, doodles, nonsensical scribblings, lists. Et cetera” 

The best sketchbooks are very personal, very private, deliciously raw things, we might have expecting a little more of the rawness revealed tonight, a few more of the secrets an artist’s sketch book can so often hold – this felt a little too selective, a little too “finished” and like we really weren’t let that far in.  A naive exposure, an interesting exposure never-the-less, a show that reveals maybe far too much about the artist while at the same time not really revealing anything that we didn’t already know (or suspect) from previous gallery encounters, street encounters (and social media outbursts) with the rather industrious Benjamin Murphy… The development around the room is intriguing, the comic book style and illustrative nature revealing itself over the seven years of the still relatively young artist. It is indeed a brave thing to do, some might say you need an ego to do it, but then putting something on a  wall and kind of saying “look at me” is always going to be in some way, especially when the artist is male and not afraid to put himself our there, about ego, opening your sketchbook certainly is…  The show can’t be seen as a total triumph, but it is an interesting look at an artist who is emerging as an interesting figure….  Couple of pieces from a guest or two on the wall as well, but this really is all about Benjamin Murphy this time, and yes, despite a reservation or two, it is well worth you dropping in and exploring. Dreat place to see the works as well, really like the warmth of this gallery, Benjamin Murphy’s bold black and white style works well in the space, he has an energy we like….   (SW)

SEVEN YEARS OF SKETCH BOOKS runs until April 16th at the Hoxton Gallery….

An album from the two shows, click on the (random order) images to enlarge or run the slide show….