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C86 Show - Indie Pop

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C86 Show - Indie Pop
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  • Leigh Goorney - The Long Decline & Kenny Wisdom
      Leigh Goorney in conversation with David Eastaugh  https://gnuinc.bandcamp.com/album/moribundiing https://www.facebook.com/leigh.goorney The new album by The Long Decline finds Leigh Goorney (formerly Kenny Wisdom) and his ever-shifting collaborators pulling together strands of history, politics, and autobiography into a startlingly unified whole. Produced by Cos Chapman (Rude Mechanicals), the record is perhaps the band’s most accomplished to date. Includes unlimited streaming of Moribundiing via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.  
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  • Palden Jenkins
    Palden Jenkin in conversation with David Eastaugh  https://penwithbeyond.blog/about/ https://www.palden.co.uk/podcasts.html About Palden I was born in Hartfield in the Ashdown Forest in Sussex in 1950, in a nursing home which not long before had been the American Generals’ HQ in Britain in WW2. A fine start. I grew up in 1950s Cardiff, Wales, and in 1960s Liverpool, and here my spiritual path began at age 16, tripping out on acid and beginning to see things in an entirely dfferent way. Went to university at the London School of Economics in 1969 during its time of revolution. I never looked back. This was the big change-point in my life, which set the course for all the rest of it. In today’s terminology I was radicalised, thereafter dedicating my life to world change, and personal change with it, though very much tied up with it. Later I lived in the mountains of Snowdonia, Wales, then I had to leave the country in 1974, regarded by the authorities and media as a traitor and even a murderer, to live in Sweden until 1980. I’m really grateful for the safety and healing Sweden gave me. I married a Swedish lady, Berit, and we had two kids and many adventures, partly in Stockholm and partly in the forest in northern Uppland. There, as an English teacher of political refugees, inadvertently I started my later humanitarian work, in which I came to specialise in trauma recovery, social reconstruction and freelance intelligence work in conflict zones. During that time, after seven years’ study, I became an astrologer. Since then I have counselled a few thousand people, writing three astrology books and founding the astrology camps in the 1980s. But I didn’t easily fit into Sweden and, when I found out I was exonerated of my former alleged crimes, I returned to Britain. This involved a painful end to my marriage and the loss of two children. I landed in Glastonbury and I cried my eyes out with grief for two years in men’s groups and therapy groups. This was a big change too, opening me up for something. Then came my instructions and I came alive again. In 1983-84 I started the UK camps movement – first with indoor gatherings in Glastonbury, then with summer camps, at first near Glastonbury, and later round the country. The Glastonbury Camps, spontaneously started and lasting three years, were followed from 1987 by the OakDragon Camps, from both of which many other camps organisations sprouted, in several countries.   By 1990 I was burned out, and there were quite a few people in the OakDragon who wanted to take things a different way. So, sad about that, I left and started again. I  went into book editing with an enlightened publisher called Gateway Books. In 1992 when I was asked to write The Only Planet of Choice – a book of communications from some cosmic beings called the Council of Nine. It was a privilege to write. I was also involved with editing a series of books by and about the Austrian genius Viktor Schauberger, and five books of alternative ideas about Jesus, and lots of other books too, through the 1990s.
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  • Brinsley Schwarz
    Brinsley Schwarz in conversation with David Eastaugh  https://brinsleyschwarz.bandcamp.com/album/shouting-at-the-moon https://brinsleyschwarz.bandcamp.com/album/tangled https://unexpectedcd.bandcamp.com/album/unexpected   Legendary British musician and songwriter Brinsley Schwarz returns with a new solo album this Autumn.Shouting At The Moon represents the third part of a trilogy begun with his debut solo release Unexpected in 2016 followed by Tangled, his first album for Fretsore Records in 2021.Founder of the 70spub-rock icons (if icons is not too strong a word!) of the same name, and subsequently Graham Parker and The Rumour, Brinsley’s passion for writing and recording reignited in recent years following two albums and tours with that band, as well as duo shows with Parker, resulting in Unexpected. The gestation period for the songs on Shouting At The Moon goes back even further.“I wrote ‘The Chance’, ‘Nothing Is What It Seems’ and ‘What In The World’ sometime between the late 1990s and early 2005,”he explains. “‘Hard To Change’ and ‘It’s Been A Long Year’ were written during 2024 and 2025 and recorded during that time. So you can see a big spread in time of writing and recording;some songs were recorded and were intended for my first solo album. But we had a surplus of recorded tracks and so we could pick tracks based on how the songs seemed to gel together as an entity, as an album.”As with Tangled, Brinsley pays tribute to his friend with a well-chosen cover: “Graham Parker wrote ‘Watch The Moon Come Down’ in the late1970s. One of my favourite GP songs.I loved rearranging and recording it.” Key to this revived activity has been producer, engineer and keyboard-player James Hallawell another Parker collaborator, also noted for his work with the likes of The Waterboys and Jackie Leven. “He helped me record my first album Unexpected,”says Brinsley. “We just carried on recording.”
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  • Bill Dickson - Rousers
    Bill Dickson in conversation with David Eastaugh  https://rousers.bandcamp.com/album/1979-sire-session Inspired by the New York Dolls, Ramones and such immortal ‘50s rockers as twangy guitar hero Duane Eddy, the Rousers were woefully under-documented in their prime. A few major labels sniffed around, including RCA and Warner Bros. subdi­vision Sire. But no one committed them to vinyl until Reynolds issued their “Party Boy” b/w “Don’t Let The Band Stop Playing” 45 (produced by Wayne Kramer of the MC5) via Jimboco in 1981.  Reynolds corrects this oversight today with the release of the demos that the original Rousers lineup—vocalist Jeff Buck­land, rhythm guitarist Bill Dickson, bassist John Hannah, lead guitarist Tom Milmore, and drummer Jerid O'Connell—cut for Sire in the label’s basement studio on New York’s Upper West Side in 1979.  Tracked to tape under the sharp ear of Ed Stasium, hot off sessions with the Ramones and Talking Heads, the 1979 Sire demos are raw, radiant, and long overdue for release. They captured the Rousers in full dragstrip ignition mode: dueling Gibson guitars plugged into Fender amps for maximum punk twang, hiccupping Elvis/Buddy Holly vocal inflections, and a rhythm section built for backseat makeouts and beer-splashed dance floors.  With nods to Duane Eddy (“Ram Rod,” “Movin’ N Groovin’”), the sweat-soaked charm of originals like “Be My Girl” and “Product of the USA,” and a rip-it-up cover of Wilson Pickett’s “If You Need Me,” Rousers 1979 Sire Session is the missing chapter of NYC punk’s golden age, finally pressed to wax.  Never before released, the tapes sat shelved in the Rock & Roll Hall of Fame’s Sire archives for decades, digitized and re­stored in 2024. Mixing duties were split between Bob Stander (Parchessi Studio) and Ed Stasium himself, ensuring pe­riod-authentic crunch meets modern punch. The result is 13 tracks of grease-slicked melody and garage-pop swing, crowned by the kinetic rave-up “Bumblebee Rock” and the shoulda-been-hits “Lonely Summer” and “Be My Girl”—a song that splits the difference between Tommy James stomp and Marshall Crenshaw shimmer.
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  • The Lovely Basement - Katie Scaife & Kevin Bache
    Katie Scaife & Kevin Bache in conversation with David Eastaugh  https://thelovelybasement.bandcamp.com/ https://www.facebook.com/TheLovelyBasement/ The Lovely Basement are Katie Scaife, Kevin Bache, Steve Dew and Paul Waterworth. The band are based in Bristol, UK. The idea back in 2018 was to combine the feel of the Velvet Underground with a hint of the twang of early country music. In the words of the band “we failed, but liked the sound of the failure. Slow, driving and dreamy by turns, we anchor our songs in the tried-and-true combo of two guitars, bass, drums and fine harmonies to float our passing thoughts on class, death, the pull of ennui, the push of irritation, existential OCD and taking it easy.” First two albums (Just Because You Can and the eponymously-titled second album) were released on Breaking Down Recordings, a Bristol collective label. Albums that have received very good reviews in magazines and independent radio stations in Europe, America, Australia and New Zealand. Lazy Travellers is another wonderful album by The Lovely Basement. Ten new songs with echoes of The Velvet Underground, The Clientele, Luna or Cowboy Junkies.
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