485:, with Fixsen. In 2009 Fiedler, recalling of the split, stated "it wasn't amicable. In fact it took me years to get over it, which is kinda sad to admit. I haven't spoken to Dave in years..." Earlier (in a 1995 Laika interview), she had commented "Laika is a close working collective; in Moonshake that was never possible. David and I always did what we liked. I have never compromised myself and that's the main reason why I was forced to leave the band. After the American tour David no longer wanted to work with me." Recalling the disagreement 30 years later, Callahan admitted "I felt like I lost my creative partner. Stupidly, I kind of rashly just rang her up once and said, "I don't want you to be in the band anymore," and she was really fucking upset. I felt quite bad about it. It was my fault for not being a very good communicator at that age." Callahan and Fiedler repaired their personal relationship in later years.
569:. I definitely had plans. We were using this big room at a studio called Blackwing that the Cocteau Twins, The Family Cat, and others had used before us. I had hundreds of sheets of paper over the wall with — because I can't read music — mixing and arranging diagrams of horns and samples and whose vocals went where... I had all this stuff written out on scraps of paper and stuck to the wall. It looked like a hoarder’s front room. In the studio I'd say, "I want a double bass on this." And I'd try to find a double bass player on the phone in the studio, and they'd come in the next day. It was all quite chaotic, and it sounds chaotic because of that. I could have carried on recording that for months. In a way I wish I'd got an actual producer in to make a bit more sense of it, but a lot of people like the chaos, so who am I to say?"
478:. By now the divergent styles of the two songwriters was producing too much creative tension for the band to survive for much longer. Callahan: "Margaret probably had slightly more songs than me on the first LP, and was feeling that she really needed to record with just her and Guy on her own, and she said as much to me in a meeting. I started to feel like maybe I was getting edged out of my own band... She wanted to record with Guy, who by that time was not just the producer, but her partner. So it was very much a sewn-together kind of thing. Whereas I was still out on my own." In 2009, Fiedler recalled that "maybe after a while, the tension that was there in our writing and singing styles spilled over into real life. Things did get extremely tense on the last tour we did together in 1993 in North America."
740:) from late June to early August. The latter experience proved disappointing - assigned to "the third stage", the band played from the back of a truck some distance from the main arena. Dickaty recalled "with other so-called 'alternative' artists, we played to a largely indifferent crowd of thrill-seeking metal fans." While unimpressed by their treatment by the Lollapalooza organisation, the band maintained an affection for the United States and continued to tour there whenever possible, Callahan having already discovered that American audiences were "much more open-minded. I think they'd had enough of grunge and all that kind of stuff... we were finding these audiences that had been into
409:) had everything the band should be about on it. It had everything. We certainly thought we'd done something that was true to us that would either be ignored for being too out there or would make an impression. And, fortunately, it made an impression. We wanted it to be both weird and have songs. We wanted it to have an upside-down kind of layering. It needed to have big bass and drums, like some dub or funk records, but we also wanted to find ways to incorporate the samples in a way that didn’t sound like they were sellotaped on, like so many other bands. We wanted it to be completely enmeshed in the songs and the music. And I think we succeeded with that."
312:, and lacked the dub element featured in later recordings. Callahan soon considered this a misstep. "We got really bad reviews in the music press. The record sold rather well because a lot of people liked weird head-fucky shoegaze stuff... I'm told lots of people really enjoyed tripping and listening to it. There's lots of stuff going on in the stereo and the speakers with different pans and stuff. People were getting quite freaked out with it. But it was too close to what a lot of other bands were doing, as far as I was concerned. We were supposed to be heading out on our own, and we kind of made a faltering step."
343:. According to Callahan, the band was "determined...because we'd made such a false step with the Creation EP. The next one should really be a leap. And it was... We spent a long time in the studio kind of dismantling that song and putting it back together. Margaret spent most of the session with headphones, on a sampler, just trying to match things to the music. She turned a song I wrote into something a bit more forward-looking... And then when we got to the studio, we took it apart more. It was all about deconstruction and putting it back together in different ways. And it worked really well."
706:"I like the fact that I can make a record and you won’t get it all in a few sittings, you can go back and hear different things all the time. ‘Cause if I didn’t do that I’d get bored myself, and I like to think listeners want to hear different things. If people do go back, then I’ve been successful... I think the songs are dense, and they hopefully make you think, and thinking is entertaining. People aren’t encouraged to think, and they lack proper entertainment because of that... You should question things until you die. I like music that makes people uneasy. It makes your mind work overtime."
377:, followed in October 1992. It continued the alternation between the different song-stylings of Callahan and Fiedler. Callahan said that "if you listen to the line-up with her and me, it's a schizophrenic band... It’s got a dual personality. We did occasionally write songs together, but we were mostly flipsides to each other... But we'd also play with it more and have really noisy bits in her quiet songs and occasional really quiet bits in my noisy songs. The whole thing was meant to blend. There were definitely a lot of contradictions there, but that’s interesting in a band, isn't it?"
787:. In its band formation (in which Callahan was joined by singer Anja Buechele) The $ urplus! released a single self-titled EP containing four songs, resembling Moonshake's later material but with a lighter and less brutal approach, the inclusion of guitars, and Callahan and Buechele operating as much more equal partners than was the case with latter-day Moonshake. The band briefly experimented with an expanded garage-rock lineup, but did not release any more material (although Buechele later contributed to the revived
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rather than just have loops or beats. I knew that I wasn't going to be able to do that in the
Wolfhounds... We had already started discussions... that we were too mannish, too alpha male. It’s too laddish. We need some female input in this. We put an advert for a female guitarist. I didn't like and still don't like the way I sing now, so we wanted someone to kind of soften my voice and make it more interesting, perhaps even do harmonies. So I put an advert in the
590: and they haven’t come out how I wanted them to. But a lot of people seem to like them, so that's great... I will probably never write any songs better than those. So I'm just glad they’re there. I just wish they'd been recorded or arranged a bit better. If anything, I should have toned down the yelling and sung things more gently because the music's rough and weird enough. I don't need to be all angular over (the) top of it."
826:"a history of making music on the dole, incorporating anecdotes, interviews, musical selections, social history, dirty squatters, social security scroungers, workshy ponces and a whole load of cultural misappropriation", for which the first entry related to Moonshake performing a 1997 record label showcase in New Orleans while Callahan and Michael Rother were simultaneously waiting for imminent DSS Restart interviews back in the UK.
447:"has some of our best stuff on it. It's fantastic. But that was largely recorded separately. I recorded with Mig and John, for the most part, in a studio, and Margaret did a lot of her stuff at home with Guy, and just brought it into a studio to mix. She scrapped one of her songs as well, and we had to come back in again so she could do "Two Trains", which I think was pretty much entirely written and recorded at home."
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alternated considerably depending on which songwriter's songs were being played. Initially, the band's diversity added to its strength - in 2009, Fiedler recalled "I really liked Dave
Callahan's songs and his voice - obviously! That's why I wanted to be in a band with him... We were different people and wrote differently, but came from the same influences -
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was always a bit of a compromise with the other members of the band, most of whom were a bit more rock-oriented. I like rock music, but there were so many other things I wanted to do. In the back of my head I just thought, 'Well, I'm going to do everything now, I might never get the chance to do it again... I went in to see
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In early 2019, Callahan began hinting in
Facebook posts that he was working on new Moonshake material (although he provided no details on collaborators or a proposed release date) alongside his ongoing Wolfhounds and solo work. He also began work on a new blog called 'On the Rock'n'Roll' dealing with
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or
Stereolab, where there were constantly people coming in and out of the band all the time, which is not how I wanted it. I wanted a core that we could work with all the time. I had to audition people all the time, and then we had to do more rehearsals. Every time someone new came in the band, we'd
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already involved), but that they'd also embraced opportunities to improve the material further while in studio. "I remember struggling with "Seen & Not Heard"... trying to get all those different noisy guitars to sound separate from each other, but somehow still the same, was a challenge. It was
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Some of the ideas which would inform
Moonshake had, however, begun in the last stages of The Wolfhounds. Callahan: "We'd used the sampler in the later days... I really loved the potential of that, and it just seemed to me that no one was fulfilling that potential. I wanted to compose things with it
182:
indie scene of the time, the band released several acclaimed albums of abrasive guitar pop and a dozen or so singles on a variety of labels. Following the band's split in early 1990, Callaghan decided that "when The
Wolfhounds finished, I just felt that I hadn’t really done what I wanted to do... It
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and Kate
Blackshaw). The album contained various songs which had been played in the Moonshake set during the previous two years, with subjects ranging from sailor's tales, the lives and deaths of cities, addictions to risk and danger and sexual fantasy in advertising. Regarding his approach on this
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where it was not as hi-fi as the earlier stuff and a splurge of creativity. I didn’t like the studio and I didn’t really get on with the engineer, but somehow we managed to do something. It’s kind of weird because it’s really forward-looking in places and quite retro sounding in others. It’s a very
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Moonshake was left as a duo of David
Callahan and Mig Morland. With the loss of Fiedler's guitar-playing and with Callahan's increasing interest in samplers, the band began moving further away from indie rock and psychedelia and deeper into Callahan's art-punk/film-noir stylings as the duo began to
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Variously described as "bursting with ideas and tension... a richly inventive, endlessly fascinating listen", "big, weird and unnerving" and "one hell of a ground-breaking record (which) stands resolutely alone among all of the albums released in 1992 as no other band has managed to create anything
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Callahan and
Fiedler alternated the lead vocal and songwriting duties for the band, both favouring very different approaches: Fiedler created surreal, ethereal and atmospheric material, while Callahan favoured harsher-sounding urban narratives. Due to this factor, the performance style of the band
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really had it going on, and so did some of the
American bands particularly in the late '80s... it was more the music, the investigation that a lot of hip hop producers did—slowing things down, playing the stereo one bit slower then the one bit faster, running things backwards, playing the samples
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Morland was replaced on drums by Kevin Bass, and although Gates did not continue with the band, Katherine Gifford continued to guest as female harmony singer on live Moonshake dates. One song from this period, "Heart Keeps Beating" was entirely sung by Gifford: although it was never recorded and
223: over the top... When I saw what she was doing on her own, I knew it wasn't going to be like that. Because she was kind of writing really good, almost folk songs." As well as singing and playing guitar, Fiedler shared Callahan's interest in samplers. The pair recruited bass guitarist
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EP (which featured two rare songwriting collaborations between Callahan and Fiedler). The band began to earn many positive reviews for its unusual sample-driven and rhythmically propulsive sound, which drew on indie rock, noise-rock, breakbeats, electronica, psychedelia, dub, art-rock,
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placed on one of the band's albums, the band did record a live version at the Disobey Club in London, featuring Terry Edwards on saxophone plus several guest musicians from London skronk-improv band Skree (as "Skree Timelord Arkestra"). This was released on the Blast First compilation
601:, Callahan was left as the sole surviving original member. Morland's last recording with the band was a non-album single for the Clawfist Singles Club, recorded in March 1994 but not released until March 1995. A cover version of the Jay Livingston/Ray Evans song "Lola, Lola" from the
583:). Compared to earlier recordings, the new Moonshake material was jazzier (with extensive horn parts) and more direct. Callahan wrote all of the songs for the record, with his bleak, vivid urban vision now uninterrupted and untempered by Fiedler's more psychedelic approaches.
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received good reviews which were not matched by sales, and some time after the release of the album Moonshake parted company with Too Pure. The band's line-up continued to fluctuate over the next few years, with Callahan later remembering "it really ended up being like
397:-inspired song... but it just takes it so much further, almost into jazz. I’m just really happy with the way that came out. It was such fun to hear someone doing such good parts on your songs. I couldn't recommend it more, to farm it out to people like Terry."
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have to rehearse. Often, we were playing to clicks and samples that were rigidly looped. And that meant that we had to be rigidly rehearsed, and the drummers had to wear headphones and really be locked in with the samples, which takes quite a lot of work."
689:(where she was later joined by another former Moonshake member, Kevin Bass). Following the end of the sessions, a new female vocalist, Victoria "Tor" Maxwell, was recruited for live touring: she arrived in time to sing on a remixed version of upcoming
553:
members Lee Howton and Claire Lemmon all contributed vocals, ensuring that Moonshake on record would retain a strong female component in spite of Fiedler's departure. Harvey, in particular, made a striking guest contribution on "Just a Working Girl".
678: I started off just combining samples that I liked and playing with them. The songs are all written that way. They start from the connections between the samples before the band gets to play on them.... (There's) some great songs on there."
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Casting a critical eye over the original Moonshake's work, in 2024, Callahan commented "to some extent, it was a failed experiment but I think a lot of it worked. And I think it sounds contemporary now, which shows we were doing something right."
562:. Certainly, it wasn’t the other vocalists' fault; I thought they were great. It seems like every day we were just ushering people through the door, getting them to do a couple of hours, and ushering them out again. But I know we had fun."
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Callahan: "It was my chance — and I don't think I succeeded in this — to go partly back to my original idea for the band, which was to have harmonies. Unfortunately, at the time, my voice wasn’t the kind of voice you could harmonize with
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Callahan and Fiedler began sounding each other out, with Callahan recalling "we'd go to each other's houses and play each other's songs and would get impressed with what each other was doing. My initial idea for Moonshake was to
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featured a far less prominent role for female vocals (reduced more to harmonies) and reduced instrumentation, being recorded by a core group of Callahan, Brewer, Rother and Dickaty (with vocal assistance from Katherine Gifford,
579:). It revealed that Moonshake had completely banned guitars from their new sound, relying entirely on the combination of Dickaty's saxophones with looped and layered samples over the rhythm section (in a similar manner to
821:
and his own free-jazz/rock fusion band, Solar Fire Trio. In 2006, he joined the Ninja Tune band, Loka. Relocating to Poland in 2009, he became a member of both the Trifonidis Free Orchestra and the Tricphonix Streetband.
304:, released in spring 1991. At this point, the band was continuing to follow the harsh-effected guitar-heavy sound which had characterised a lot of the last Wolfhounds recordings. The results drew comparisons with
251:
to name a few bands. Moonshake was a collision - it was supposed to be a collision." Regardless of the divergence in approaches, all Moonshake songs made a strong use of textures, noise and sampler technology.
791:). Post-$ urplus, Callahan involved himself in other work including warehouse work, DJing and ultimately studying for a Master's Degree in Taxonomy and Biodiversity which led to work as a nature writer.
782:
David Callahan's time in the United States was brief, and he returned to London soon afterwards. He re-emerged on the London music scene in the early 2000s, setting up a multimedia/DJ/music project called
565:
The band refused to use an outside producer for the sessions and self-produced instead, labelling producers as "an overpaid imposition". Callahan remembers "(It) came out nothing like I wanted it to
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trumpet thing on the third verse?" I just thought he'd do something kind of token, but he came and did these amazing horn parts, and it just really lifts the whole song... (It's) a noisy,
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666:
album, Callahan has commented "I wanted to empty it out a bit. I was still aiming to fulfil my goal of actually writing songs with the samples, which I probably did the most on
802:, describing himself as a "dissonant electric folk singer" and performing songs informed by folk, blues and experimental sound. In recent years, he has also worked with
605:
soundtrack (backed by another cover of Cole Porter's "Always True to You in My Fashion"), it also featured Melissa Gates in a brief tenure as the band's second singer.
744:
in the late '80s and were tired of mainstream rock and seemed to be waiting for bands like us to come along and go a bit more out there... So we toured there a lot."
1529:
965:(1992, V/A "Independent Top 20 Volume 15", Beechwood Music; the track "Night Tripper" also appeared on a 7" single given away with the vinyl edition of this LP)
537:'s bass player Johnny Dawe covered for the departed Frenett, while horns were added by trumpeter Andrew Blick (Blowpipe) and saxophonist Raymond Dickaty (from
759:. By this time, however, three years of self-management and hard touring with little reward had exhausted the band. In 1997, shortly after the UK release of
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ultimately satisfied both Fiedler and Callahan. Callahan: "We knew we'd done something really good... We thought the "Secondhand Clothes" EP and (
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597:, Dickaty had joined the band as a full-time member and Matt Brewer was recruited as the new bass guitarist. When Morland then left the band to join
335:). Their first single for the new label was "Secondhand Clothes", which showed a leaning towards the dub-bass-heavy post-punk sound of bands such as
798:, initially for live performances in 2004 and 2006, but with a full and ongoing reunion following in 2010. He began a full solo career in 2021 as
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368: and those kinds of people, we really loved that. We thought, "Well, we can do the same and perhaps we can write songs with this stuff.""
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389:— he played the horns on it — and he came in and I just said to him, "Can you do some kind of free jazz on bits of it? And can you do an
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Callahan said that the band was "well prepared" for the recording sessions following extensive rehearsing (with co-producer/engineer
1519:
1504:
1394:"how does it feel to be loved? - london club night playing indie pop, northern soul, tamla motown, girl groups, sixties heartbreak"
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spin-off project Turn On. Ray Dickaty also played with Stereolab, appearing on several tracks recorded around the time of their
865:
767:, New York) and the band finally split, albeit amicably. An EP of Moonshake remixes – originally commissioned to promote the
685:
sessions would prove to be Katherine Gifford's last work with the band: having guested on the sessions, she moved on to form
637:
Kevin Bass left Moonshake in late 1995, and was replaced on drums by Michael Rother (not to be confused with his namesake in
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The band was notable for its extensive use of textures and sampler technology in a rock context. In his 1996 article on
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Following this tour, Moonshake split in half, with Margaret Fiedler and John Frenett departing to form a new band,
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band, existing between 1991 and 1997. The only consistent member was singer/sampler player/occasional guitarist
674:, I'd make up a bassline, put some words to that, and then try and fit a lot of the samples around it. On
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had offered us a deal by then, and I said "I'm not gonna do The Wolfhounds, I'm gonna do this new thing."'
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146:(Fiedler and bass player John Frenett left Moonshake in 1993 to form the more commercially successful
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During his Moonshake years, David Callahan enjoyed brief cameos with contemporaries (and originally,
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and stayed with them until 2002, following which he studied free improvisation. He later worked with
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was released in 1994 (a few months before Fiedler, Frenett and Fixsen followed with their debut as
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In 2022, Callahan and Fiedler collaborated on a remastering of the debut Moonshake album
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for a deluxe edition, which was released on vinyl and as a download by Beggars Arkive.
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641:). This new line-up began recording what would turn out to be the band's final album,
178:, who were active for much of the second half of the 1980s. Often associated with the
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album – was belatedly issued in 1999, though this release was disowned by Callahan.
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The band returned to the United States for three months of touring with (variously)
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728:). With C/Z determined to promote the band in America, Moonshake joined the 1996
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In between studio and writing sessions, the band spent 1992 touring Britain with
910:"Lola Lola" b/w "Always True to You in My Fashion" (1995, Clawfist Singles Club)
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1350:
Moonshake - Dirty And Divine (C/Z) - An interview with singer Dave Callahan"
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Callahan asserts that "some of the best songs I've ever written are on
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In 2022, Callahan said that "most people had faith in us, but not enough."
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During the summer of 1993, Moonshake played the Big Top Frenzy festival in
842:
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and Katherine Gifford provided backing vocals on Moonshake's last album
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David Callahan (vocals, guitars, samplers) had been in indie rock band
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described Moonshake as being among the "post-rock groove collectives".
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remotely similar before or since... a unique album with few equals",
454:, and then embarked on a brief American tour, playing variously with
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were even stickered to alert potential buyers to Hansen's presence.
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in the USA in May 1996 (a licensed UK release followed later, via
1099:"Tone Glow 127: David Lance Callahan (Moonshake, The Wolfhounds)"
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and baggy and all that stuff that was going on in the UK... But
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album. The connection also went the other way: Stereolab's
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as a project name, the band ultimately settled on the name
1239:
Laika interview in Indie List Digest, Volume 4 No. 39
533:, Callahan and Morland drew on a host of guest musicians.
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Callahan recalls that "I wanted to change direction.
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like an instrument. All that stuff that started with
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Moonshake had now signed with the Seattle indie label
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write and record the band's second full-length album,
319:, Moonshake signed to the emerging independent label
645:, in December 1995, completing it in February 1996.
1465:
Whatever Happened to the C86 Kids? An Indie Odyssey
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971:(1994, V/A "Pop - Do We Not Like That?", Too Pure)
693:track "Nothing But Time", which was released on a
1146:, The Dumbing of America webzine, 26 October 2009
1137:"Laika, Moonshake And The Great Margaret Fiedler"
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385:a lot of fun. I remember sending some demos to
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977:(1995, V/A "Volume 16 - Copulation Explosion")
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928:(1992, Too Pure / 1993, Matador / Atlantic)
732:tour of the American Midwest (headlined by
227:and finally drummer Miguel "Mig" Morland.
699:Volume Sixteen +it - Copulation Explosion!
355:and punk. Callahan: "I really didn't like
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20:
1423:"Home | Social History of Pop Music"
849:, performing "French Disko" with them on
201:, and the only person to answer was
219:with samples, and the harmonies of
142:, who initially co-led the project with
16:British experimental rock/post-rock band
1411:David Lance Callaghan profile @ Threads
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1227:Moonshake Tours & Concerts (Page 2)
1215:Moonshake Tours & Concerts (Page 1)
1162:"Moonshake FAQ on old 4AD Records page"
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934:(Mini-album) (1993, Too Pure / Matador)
913:"Cranes" (1996, C/Z / World Domination)
1295:"30 Overlooked 1994 Albums Turning 30"
549:keyboard player Katharine Gifford and
513: was meant to be my kind of
255:Although Callahan originally favoured
1530:Musical groups disestablished in 1997
1490:Access through the Wolfhounds website
1241:, Mail-archive.com, 24 September 1995
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7:
1256:, Studiosaxophones.co.uk, June 2009
907:"Beautiful Pigeon" (1992, Too Pure)
435:and split of original lineup (1993)
37:David Callahan of Moonshake in 1994
1525:Musical groups established in 1991
946:(1996, C/Z-BMG / World Domination)
14:
1515:British experimental rock groups
1352:- interview by Lex Marburger in
809:Raymond Dickaty went on to join
1199:- overview by Douglas Wolk in
997:- article by Simon Reynolds in
1311:The Sound Your Eyes Can Follow
938:The Sound Your Eyes Can Follow
672:The Sound Your Eyes Can Follow
650:The Sound Your Eyes Can Follow
617:The Sound Your Eyes Can Follow
595:The Sound Your Eyes Can Follow
588:The Sound Your Eyes Can Follow
573:The Sound Your Eyes Can Follow
531:The Sound Your Eyes Can Follow
511:The Sound Your Eyes Can Follow
504:The Sound Your Eyes Can Follow
495:The Sound Your Eyes Can Follow
1:
1535:Rock music groups from London
1510:Indie rock groups from London
284:First lineup - early EPs and
1036:- article by Martin Gray in
300:Records for their debut EP,
1340:- listing @ Discogs.com>
1297:- article by Al Shipley in
1001:, July 1996 (reproduced on
940:(1994, Too Pure / American)
794:In 2004, Callahan reformed
726:World Domination Recordings
633:and final split (1996–1997)
1551:
1254:Raymond Dickaty biography
541:and Skree). In addition,
371:Moonshake's debut album,
30:
1520:British post-rock groups
1505:Creation Records artists
1323:Moonshake - "Lola, Lola"
1034:1992-2022 – 30 years on"
898:(1991, Creation Records)
593:During the recording of
424:, as well as supporting
957:Compilation appearances
1463:Tassell, Nige (2023).
866:Emperor Tomato Ketchup
708:
516:White Light/White Heat
439:For 1993's mini-album
43:Background information
1229:@ concertarchives.org
1217:@ concertarchives.org
902:Secondhand Clothes EP
670:. Sometimes, on
315:After the release of
130:were a British-based
1467:. Nine Eight Books.
1337:3 Fingers and a Fumb
1142:12 June 2010 at the
800:David Lance Callahan
611:3 Fingers and a Fumb
476:Nothing Painted Blue
337:Public Image Limited
292:Moonshake signed to
157:and its influences,
111:Miguel "Mig" Morland
1445:Archive.beggars.com
1398:Howdoesitfeel.co.uk
969:Just a Working Girl
414:The Wedding Present
310:My Bloody Valentine
1427:Ontherocknroll.com
1356:, 1 September 1996
1335:Various Artists -
1105:, 26 February 2024
944:Dirty & Divine
769:Dirty & Divine
761:Dirty & Divine
722:Dirty & Divine
691:Dirty & Divine
683:Dirty & Divine
676:Dirty & Divine
668:Dirty & Divine
654:Dirty & Divine
643:Dirty & Divine
631:Dirty & Divine
522:Trout Mask Replica
493:Second lineup and
245:Eric B & Rakim
1474:978-1-7887-0560-8
1354:Lollipop Magazine
1184:by Steve Huey in
1040:, 24 October 2022
877:. Some copies of
859:in 1993, and the
806:and Manyfingers.
757:The Grifters
720:, which released
418:Th' Faith Healers
329:Th' Faith Healers
132:experimental rock
125:
124:
119:Katherine Gifford
56:experimental rock
1542:
1478:
1449:
1448:
1437:
1431:
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1096:
1041:
1027:
1006:
992:
975:Nothing but Time
963:Beautiful Pigeon
904:(1991, Too Pure)
879:Dirty and Divine
875:Dirty and Divine
712:
701:) in June 1996.
629:The C/Z years -
529:While recording
348:Beautiful Pigeon
203:Margaret Fiedler
170:Formation (1991)
144:Margaret Fiedler
104:Margaret Fiedler
96:
64:
35:
21:
1550:
1549:
1545:
1544:
1543:
1541:
1540:
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1495:
1494:
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1475:
1462:
1458:
1456:General sources
1453:
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1301:, 21 April 2024
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1177:
1173:
1160:
1159:
1150:
1144:Wayback Machine
1135:
1126:
1118:
1109:
1101:– interview in
1097:
1044:
1028:
1009:
993:
989:
984:
959:
920:
892:
887:
839:
815:The Duke Spirit
780:
714:
710:
635:
526:odd record."
499:
437:
391:Ennio Morricone
290:
270:on the seminal
172:
167:
120:
118:
116:
114:
113:Raymond Dickaty
112:
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102:
94:
62:
38:
26:
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12:
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5:
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1485:
1484:External links
1482:
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1454:
1451:
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1432:
1414:
1403:
1385:
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1327:
1325:on Discogs.com
1315:
1303:
1287:
1282:Raydickaty.com
1258:
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947:
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935:
932:Big Good Angel
929:
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915:
914:
911:
908:
905:
899:
891:
888:
886:
883:
838:
835:
804:Swell Maps C21
796:The Wolfhounds
789:Bark Psychosis
779:
778:Post-Moonshake
776:
711:David Callahan
703:
634:
627:
581:The Young Gods
535:Collapsed Lung
498:
491:
445:Big Good Angel
441:Big Good Angel
436:
433:Big Good Angel
430:
289:
282:
263:(taken from a
187: because
176:The Wolfhounds
171:
168:
166:
163:
159:Simon Reynolds
140:David Callahan
123:
122:
121:Michael Rother
100:David Callahan
97:
91:
90:
87:
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73:
69:
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1399:
1395:
1389:
1386:
1383:, p. 83.
1382:
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1371:
1368:, p. 80.
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1201:Trouser Press
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1122:, p. 79.
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1003:ReynoldsRetro
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820:
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811:Spiritualized
807:
805:
801:
797:
792:
790:
786:
785:The $ urplus!
777:
775:
772:
770:
766:
762:
758:
754:
750:
745:
743:
742:post-hardcore
739:
735:
731:
727:
723:
719:
713:
707:
702:
700:
697:compilation (
696:
692:
688:
684:
679:
677:
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669:
664:
660:
655:
651:
646:
644:
640:
632:
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626:
623:
618:
614:
613:in May 1994.
612:
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600:
596:
591:
589:
584:
582:
578:
574:
570:
568:
563:
561:
555:
552:
551:Sidi Bou Said
548:
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527:
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523:
518:
517:
512:
507:
505:
496:
492:
490:
486:
484:
479:
477:
473:
472:Bailter Space
469:
465:
461:
458:, PJ Harvey,
457:
453:
448:
446:
442:
434:
431:
429:
427:
423:
419:
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410:
408:
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398:
396:
392:
388:
387:Terry Edwards
383:
378:
376:
375:
369:
367:
362:
358:
354:
349:
344:
342:
341:The Pop Group
338:
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41:
34:
29:
22:
19:
1464:
1444:
1441:"The Arkive"
1435:
1426:
1417:
1406:
1397:
1388:
1381:Tassell 2023
1366:Tassell 2023
1361:
1353:
1345:
1336:
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1310:
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1234:
1222:
1200:
1192:
1185:
1180:
1174:
1165:
1120:Tassell 2023
1102:
1037:
1031:
1030:"Moonshake:
1002:
999:Melody Maker
998:
990:
974:
968:
962:
949:
943:
937:
931:
923:
901:
895:
878:
874:
864:
854:
845:labelmates)
840:
830:
828:
824:
808:
793:
784:
781:
773:
768:
760:
746:
738:Wu-Tang Clan
730:Lollapalooza
721:
715:
709:
705:
698:
694:
690:
682:
680:
675:
671:
667:
653:
649:
648:Compared to
647:
642:
636:
630:
616:
615:
610:
607:
602:
594:
592:
587:
585:
572:
571:
566:
564:
559:
556:
539:Gallon Drunk
530:
528:
520:
514:
510:
508:
503:
500:
494:
487:
480:
449:
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440:
438:
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411:
406:
402:
399:
379:
372:
370:
347:
345:
316:
314:
301:
291:
285:
275:
272:Krautrockers
260:
256:
254:
229:
225:John Frenett
214:
207:
198:Melody Maker
196:
193:
173:
152:
127:
126:
108:John Frenett
95:Past members
63:Years active
18:
1313:sleevenotes
1278:"Biography"
1197:"Moonshake"
1038:Loudersound
995:"Krautrock"
952:(1999, C/Z)
885:Discography
871:Mary Hansen
837:Connections
749:New Kingdom
718:C/Z Records
663:Mary Hansen
497:(1994–1995)
464:Yo La Tengo
306:Sonic Youth
288:(1991–1992)
277:Future Days
115:Matt Brewer
1499:Categories
1179:Review of
982:References
755: and
603:Blue Angel
567:(laughter)
560:(laughter)
452:Portsmouth
428:in Paris.
382:Guy Fixsen
366:Gang Starr
357:acid house
294:Alan McGee
257:Skyscraper
209:have
185:Alan McGee
117:Kevin Bass
1103:Tone Glow
861:Stereolab
851:Channel 4
847:Stereolab
819:Zukanican
734:Metallica
659:Stereolab
547:Stereolab
543:PJ Harvey
468:Liz Phair
456:Radiohead
422:PJ Harvey
353:Krautrock
333:Stereolab
325:PJ Harvey
323:(home of
261:Moonshake
241:Kraftwerk
221:The Byrds
216:Metal Box
155:Krautrock
136:post-rock
128:Moonshake
67:1991–1997
52:Post-rock
25:Moonshake
1186:AllMusic
1181:Eva Luna
1140:Archived
1032:Eva Luna
925:Eva Luna
896:First EP
856:The Word
843:Too Pure
831:Eva Luna
765:Brooklyn
687:Snowpony
622:The Fall
519:or
460:Pavement
407:Eva Luna
403:Eva Luna
374:Eva Luna
321:Too Pure
298:Creation
286:Eva Luna
280:album).
213:'s
189:Creation
84:Too Pure
76:Creation
1166:Evo.org
950:Remixes
890:Singles
817:, AMP,
753:Codeine
751:,
395:Stooges
361:hip hop
165:History
1471:
918:Albums
695:Volume
268:single
247:, and
72:Labels
48:Genres
1005:blog)
599:Moose
577:Laika
483:Laika
317:First
302:First
148:Laika
1469:ISBN
1299:Spin
736:and
681:The
639:Neu!
474:and
426:Pulp
420:and
339:and
331:and
308:and
205:."
853:'s
661:'s
296:'s
265:Can
249:MBV
237:PIL
233:Can
211:PiL
180:C86
150:).
80:C/Z
1501::
1443:.
1425:.
1396:.
1373:^
1280:.
1261:^
1246:^
1207:^
1164:.
1151:^
1127:^
1110:^
1045:^
1010:^
652:,
545:,
506:.
470:,
466:,
462:,
416:,
327:,
274:'
243:,
239:,
235:,
82:,
78:,
54:,
1477:.
1447:.
1429:.
1400:.
1284:.
1168:.
134:/
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