Strippers, Down & Outs, & Other Ne’er-Do-Wells: CAAW Album Launch
[Review in PluggedIn Brighton, published September 26, 2019 by Chris Hibberd]
Brighton, the city of a thousand coffee shops. That’s a thousand too many for me!
Coffee comes in jars emblazoned with the words Nescafe as far as I’m concerned. I don’t care how many civet arseholes your coffee beans have passed through. However, I will be braving a cafe in a couple of weeks. Not to drink overpriced brown water but to hear live the new album from CAAW.
As reviewed recently, we said that Strange Pictures
“opens a window into a world of bourbon-soaked memories with jazz-inflected avant-garde music playing and burbling in the background”
which as Presuming Ed is licensed to sell grog you too can have without the need to furtively smuggle in whisky miniatures to Irish up your coffee.
Read the full review here.
Pastel Wasteland Interview
When we spoke, you mentioned how Caaw is a new band, and the project came about as a culmination of years of solo work in your home studio. What are the main differences you are finding now you have a live band to bring the work to life in a new way?
Well, when I was writing and recording in my home studio I was using samples to fill in what I couldn’t play myself, which created some interesting results, but I wasn’t really getting the sound I wanted. With the band there are three other creative brains working with me, so the music is starting to move to another level – the arrangements are becoming more complex, and we’re challenging ourselves more musically.
I’d always wanted to create something with the same kind of feel as Nighthawks At The Diner by Tom Waits – that sleazy, dive bar jazz thing, which was difficult with samples, but with the band we’re getting somewhere close to that, which means we can focus more on the writing and the arranging…
Read the full interview here.
[Fringe Review, Published June 2, 2018 by Simon Jenner]
Billed as a rehearsed reading director David Eaton has managed more in the flexible NVT Studio space. With Kasha Goodenough on production and managing, Vanessa Barrett and Mark Green on seedy costume designs – this is a full costume performance. The overall scarlet/black detail of costumery is carried to Adam Kinkaid’s scarlet/black scene painting. Keith Dawson’s light design is unfussy. Leanne McKenzie’s light and sound operation comes to the fore in balancing the live musicians: Adam Hewitt music director, Becca Huggett singer, guitarist Matthew Clark and Neil Rocks on drums. Marie Ellis deserves notice for voice coaching.
Read the full review here.
[ULTIMA THULE / Leicester: Local Bands/Artists. Updated 25/9/2010]
One of Leicester’s “best kept secrets” of the mid-1990’s, Cardboard were the most authentically psychedelic, trippy and eccentric of bands around. They took over the mantle from Courtyard Moth really, with dozens of memorable gigs over an 18 month period. They are only documented by the one cassette: CONCENTRATE (on Sycophant) when the line-up comprised: Matt Formica (vocals, guitars), Pete Chipboard (bass), Mr. X (percussion, vocals), Steve Pinepanel (drums), Mr. Y (keyboards), Adam ‘Ski’ Hardwood (samples) – you guessed they were not really a serious troupe, one part Syd Barret era Pink Floyd, the other Bonzo’s with an experimental prog edge. For a while Matt bought almost everything I compared them to: Nine Day’s wonder, Cornucopia, Gnidrolog, etc., and regularly frequented the UT shop. At one time they were doing really well and a record deal was in the pipeline. Then line-up problems caused them to refocus, with a friend of ours Malcolm joining as the new drummer, when they would psychedelic freak-outs spinning their outrageous take on the Pink Panther Theme to its limits, and some. Eventually though they fizzled out, with Matt attempting reinvent them under the guise of Psydeboard, and later with the name Electric Orange, but the magic was now lost. A shame, as they were amongst Leicester’s finest.
Original article can be read here.