STORIES FROM THE STUDIO 8. PROGSOL 2004 5. ITALIA 2002 4. MANNA FROM HEAVEN - by Marianne Timmer I was invited to take part in a group exhibition in Florence organised by my old friends Marco Paoletti and Isa (Aerografica 1) who I’d met at an airbrush show in Castrop, Germany a few years ago. Marco runs a very successful airbrush school in the beautiful city of Florence http://www.artandheart.it/eng/default.htmI and every year gets his students to exhibit with some proffessionals from all over the world (see Aerografica 2) This year it was held in the beautiful location of The Limonaria, an old building where they used to grow lemon trees...now an established art gallery (see Aerografica 3)...in a beautiful park overlooking the city. Marco asked me to bring some new work so I thought this would be a good opportunity to show the new painting just completed for Fish’s Return To Childhood tour later this year. I also showed the painting for the Syd Barrett DVD and Lepidoptera both of which were painted last year, plus a few art prints of my older work. In all there were 5 ‘maestri’ artists with some years experience exhibiting with Marco’s students...all in this wonderfully spacious gallery. I was honoured to be in great company...with one of italy’s best known airbrush artists Guerrino Boatto www.gboatto.it who specialises in hyper-realistic paintings of cars (which have to be seen to be believed), Maurizio Forestan www.maurizioforestan.com whose custom painting was the best I’d ever seen, Renate Frei from Switzerland www.airbrushartdesign.ch whose figure art and erotica paintings were beautiful, Karel Kopic www.karelkopic.cz from the Czech Republic who again, I had had met in Castrop and whose work I admire enormously. On the opening night the Maestros (ha!) demonstrated their skills (see Aerografica 4) and elsewhere there were was a demo of bodypainting, where two of Marco’s students were airbrushing a Gustav Klimt style of imagery on to a model (see Aerografica 5 and Aerografica 6). You can see me and Joolz in front of my stand (see Aerografica 7), behind us at the top is the Return To Childhood painting with Lepidoptera below that and bottom right the clipped wing of a huge cardboard standee that Sony kindly sent over from London of the Judas Priest ‘Angel Of Retribution’ sleeve. Throughout the weekend
I had a few Marillion fans arrive to see the new ‘Return’
painting...including Geoff Kendall (see Aerografica
8) who now lives in Bologna with his Italian wife on the Sunday
and Roberto and Deborah...our friends from Milan turned up too (see
Aerografica 9). During the weekend there
were ‘talks’ by Karel, Maurizio and myself (see Aerografica
10) where Marco asked questions in English...and translated answers
to audience in Italian in my case (see Aerografica
11). We had a great time and met some brilliant artists...on a
cautionary note though...avoid the Grappa at all costs...it took a
hefty dose of homeopathic ‘Nux Vomica’ from German artist
Uwe Furtner to get me through the final day after a heavy Saturday
night drinking with all the artists!!! After doing the painting for the first album by RAK...Lepidoptera see www.artofrak.com Julie and I were invited to attend Progsol...a two day Rock Festival near Solothurn in Switzerland, organised by a team of people with Patrick Becker, who runs the Swiss record company Galileo Records www.galileo-records.com This was so I could show the Lepidoptera painting at an exhibition inside the concert hall with other works, to co-incide with the band's appearance, who were to premier their album live. After being picked up at Zurich airport by Patrick and Roberto Scilingo who I'd been dealing with for publicity of the exhibition, we drove to the head of the Progsol Association's home, Dominik Schoeni, to meet him. He took us into his music room which was covered in Marillion albums and picture discs. On one wall he had a mural painted of the jester from Thieving Magpie...(see pic PROGSOL1.jpg) After a day of sightseeing in the mountains and in the beautiful old part of the city of Solothurn on Friday, including a visit to the chocolatier with Roberto (see pic PROGSOL14.jpg) we went to the venue to organise the exhibition. We had been loaned a lot of easels from Karin Facheris who runs the airbrush association in Switzerland see http://www.airbrush.ch so this made the whole exhibition of about 30 Giclée prints, the RAK painting and Masque books, easier to set up. We saw all the bands, including Cosmos and Galleon who were really great, playing on the Friday, in between looking after the exhibition. Cosmos sounded like Pink Floyd some of the time which was nostalgic for me and got me into the spirit for the painting I had to do of Syd Barrett on my return. The Italian band Moongarden really blew us away that night, one of the best bands I've heard for ages, we got talking afterwards, and who knows...I'd love to do something for them in the future as they were really special. On the Saturday we had a private view for some of the sponsers of Progsol and it was my first meeting with RAK, who brought the CDs of the new album with them...so we had a chat before I gave a small talk about my work to the people there. I met a brilliant Swiss artist who I'd met once before at an Airbrush exhibition in Germany...Salvatore DeVito (see pic PROGSOL16.jpg), he showed me some of his latest work and we talked for awhile about art in general and what we'd been doing since we last saw each other. Also, I met Karin again, she made me a present of a new cutting tool her ex-husband had invented, which was brilliant...I shall use it this week. Basically the cutter is positioned in the middle of a circular piece of metal set on a spindle, and you move the cutting tool around by following the lines on your masking film or paper with two hands on the circular metal band. Karin demonstrated the tool to me after the private view (see PROGSOL18.jpg). On the Saturday evening at the exhibition I met Guy Marais who was there to look at the Iron Maiden work I've done...he runs the Maiden fansite http://www.maidenfans.com/imc and we talked about Iron Maiden and Judas Priest, I'm working on their new album at the moment. I also had a long chat with Fernando Von Arb, the guitarist from the Swiss band Krokus see PROGSOL3.jpg I met the band RAK, who I did the Lepidoptera painting for...see PROGSOL11.jpg and 13.jpg, also they have a tradition in Switzerland to 'baptise' a new album by pouring champagne over the CD...I did say that only the Queen gets that honour over here...but in the pic PROGSOL20.jpg you can see Lepidoptera well and truly 'launched'!! I was asked by Andreas Dahl if Julie and I would like to go to Norway for a long weekend, see the sights and take in the Fish Rockafella gig in Oslo. We arrived at the Spa Hotel where Fish, 'Never The Bride' and crew were staying. After a few drinks we went to the Hotel's conference suite to see a special screening of the Northern Lights tour film in 2002 that Andreas and Benji had organised. The film was introduced by the Hotel's owner (and Fish fan)...it was hilarious...and the out-takes even funnier! After that it was a short bus ride to Roy's Bar in Holmsbu...Roy is (you guessed it) another Marillion/Fish fan and the bar was soon heaving with rock and trolls! Friday night's gig
at the Rockafella was a triumph. 700 - 800 vikings jumping around...doing
the berserker pogo...crazee. I took some Giclée prints to show
and sell...and apart from the lights going out, plunging my Next day we had a trip to Vigeland Park, a spectacular park with 650 amazing sculptures depicting nothing less than the birth, life and death of man with all the states in between! Later that afternoon we went back to Holmsbu for our last night in the hotel and a wonderful meal at Benji and Christines...who live nearby. Next day we went to the Frederik Sørensen museum...in the woods of Holmsbu, a magical place, full of spirits of the forest...and a few trolls of course! Classic Rock magazine has a section called Sleeve notes where an artist talks about a particular sleeve they have designed, Mark has now featured twice. Sleeve Notes 1 Painkiller by Judas Priest Released in 1990, Painkiller was not only the final Judas Priest album to feature vocalist Rob Halford, it was also the last word in heavy metal imagery. Its sleeve featured a robotic biker punching the air as he streaked across the skyline of a burning city on a mighty mechanical steed with whirring chainsaw blades as its wheels. The band originally suggested a Hell's Angel-type character on a motorcycle, but also with a metallic creature. My recollection is that he would have been a pillion rider, or maybe even made into part of the bike, says the artist responsible for the sleeve, Mark Wilkinson. Eventually, I had the idea of flipping the idea on its head and having the metal creature sitting on the bike; making the bike the living creature instead. And the chainsaw idea came to me because my studio at the time was above a hardware shop! It's a typical fantasy Priest character, you don't know whether it's from heaven or hell but you do know you wouldn't like to meet him on a dark night or to upset him, chuckles Priest guitarist Glenn Tipton. We did feel that maybe we'd over-used that type of image, but itıs sort of expected from us. And itıs just a bit of fun really. Mark also worked on Priestıs next album, 1997's Jugulator, which took longer. He explains: Nobody could really come up with an interesting new idea for the cover. The metal creature cranking its carcass out of hell had been done so many times. And to me Painkiller was the last sleeve of its type in terms of heavy metal imagery. Wilkinson recently revisited Painkiller when his company L-Space Design updated Priest's original 12 sleeves for a catalogue re-master campaign. Consequently, he feels that the reproduction of all the colours has been improved. Like the sound engineers returning to the master reels, we went back to the original illustrations and they're now much more faithful, he says. Sleeve Notes 2 Misplaced Childhood by Marillion The concept behind the album that broke Marillion into rock's big league had come to vocalist/lyricist Fish after a drug binge in which he later claimed to have seen the ghost of a small boy on the stairs of his flat. Like its two full-length studio predecessors, Misplaced Childhood was illustrated and conceived by British artist Mark Wilkinson, who had also lent Fish a book called Demien by Hermann Hesse, that helped the big Scotsman to solidify the idea. Misplaced Childhood was the last of a trilogy of Marillion albums to feature the band's jester mascot, hence the fact that he's climbing out of the window on the sleeve's rear. A small boy called Robert Mead graced the front cover. I lived next door to a pub and the family who ran it had a ten year old who looked just right, explains Wilkinson now. He looked just like the Demian I had in my mind, so I did some drawings and sent them to Fish, who agreed. Childhood boasted the enormous hit Kayleigh and soon Mead was a mini-star, out on tour with the band in his own Marillion tour jacket. Robert now works as a staff reporter for the Essex County Standard in Colchester, reveals Mark. I photographed him a couple of years ago for the Masque book. He remembers the time vividly, being flown to Berlin for the Kayleigh video, appearing in costume at the album's launch party at Ronnie Scott's Jazz Club. It was an exciting time for all concerned. Strangely, Wilkinson prefers the art he created for Fish's 1990 solo debut Vigil In A Wilderness Of Mirrors, or Marillion's own 1982 debut Script For A Jester's Tear, to Misplaced Childhood - the original artwork for which still hangs on Fish's wall though he understands why it remains such an enduring image. It was Marillion's time, he says. The press, who by and large hated them, conceded that it was a brilliant achievement. Even the concept album idea, well past its sell-by date, seemed fresh. The artwork fell in with all that collective goodwill, I think. Fish, who soon begins a new studio set called Field Of Crows, will be playing the entire Misplaced Childhood album at a special show at Liverpool Cavern on June 24, plus another post-1988 set at the same venue 24 hours later.
The invitation to appear on MTV in Milan came as a bolt from the blue! Oh well, I had asked if Julie could come too as we have never been to Italy and always wanted to, so hoped we could take in some of the sights. No problemo! But...why me? Why now?? I could have understood it if this was 1986 during the height of Misplaced/Kayleigh mania! The answer to the question came just before the show started. Enrico Silverstrin, the show's presenter met with me for a pre-show chat and explained that he was a huge fan of both the artwork and Marillion in the mid eighties and thought a piece that was to feature Frank Kozik, an American artist...very much the latest young turk on the block could be broadened to include an album sleeve artist from a previous era with a very different style. Me! It was a good idea, to compare and contrast the differing approaches to create a picture and I was flattered to be asked. Frank, it seemed was unable to be there in person due to a trip to Japan but the interview was VT'd earlier in the week and I was to appear live just after it had been broadcast. 'Supersonic' is a 1 1/2 hour MTV-Italy show that goes out Friday nights and usually features 3 bands playing live followed by some informal chat on a large sofa with Enrico. The audience filled the studio and surrounded the sofa during the chats with bands and surprise guests...I was more surprised than anyone to be there frankly! The format of the show reminded me a little of 'The Tube' with a presenter certainly less lugubrious than Jools Holland and thankfully less flirty than the late lamented Paula Yates! The three bands on that night were our very own Stereophonics and two Italian bands, 'Shandon' who were promoting their own hybrid of Ska and Hard Core which they call 'Skacore' appropriately enough and a real quirky band called 'One Dimensional Man' whose singer reminded me a lot of Ian Curtis from Joy Division. Both great in their own ways. After the Stereophonics had played their set and spoken with Enrico, I was invited on and we sat and watched the screens as the VT. of Frank Kozik rolled. I recognised instantly where he was coming from...he's taken the underground art from the 60ıs of Victor Moscoso for Zap Comix, Robert's Crumb and Williams and various contributors to OZ and IT magazines. He's interlaced that style with a few twists of his own...a smattering of schocks including fascist imagery of Hitler, Manson (Charlie not Marilyn) and toon-sex to spice up the mix. It was great stuff, if a little suspect politically. But thatıs the point of course. I mean are we really so shocked any more by pretty much anything visually? The final comment from Frank about evil doers like Hitler and Bin Laden being remembered in a few years time only by their media pics...as cranky icons that may well be duplicated on wallpaper in years to come left me feeling a little weary. I'm certainly not beating a path to the local DIY store if that comes about I can tell you! Now...the thing with Italian TV where English guests are concerned is that the question is asked in English, then Italian...you must remember to pause after a few sentences to allow for an Italian translation, followed by the next question in Italian then English...you get the point. So, out of my 15 minutes of fame (Andy...thank you) seemed to me to be taken up by 10 minutes of translation! It was disconcerting, but Enrico spoke 10 to the dozen anyway in...both languages, so I guess we packed a lot in. The only disappointment to me was that he only wanted to concentrate on the first 3 Marillion albums...Iıd brought plenty of new work but the opportunity never presented itself to show it. We discussed the different approaches between Frank and me in creating artwork...his use of Xerox cut-ups and screenprinted flat colour, me the fine detail of airbrushed realism. The larger canvas that LPs allowed me to cram in the detail as opposed to the single defining image that CDs demand today to get the attention. We briefly showed Fellini Days to illustrate that, but considering the Italian subject matter it was disappointing not to have discussed it in more detail. The hidden meanings of the old gatefold covers were talked about though, the symbols....'Sleeve printed in Slough'....what the heck did that mean! He honed in on the Iron Maiden work for his last question...what was it like to take over from Derek Riggs...was it difficult to define a new style...etc. Enrico thanked me as we went to a commercial break and when he came back gave all the contact details out of 'Masque' on screen. Overall he was a great interviewer of a show which must be difficult to present in 2 languages. My daughter Hannah declares him as extremely 'fit' too, which means she finds him 'fanciable' I guess. I managed to blag Stereophonics' Kelly Jones autograph at the end for her too so she was very happy. The executive producer, Jane Fraser....a Londoner came up at the end of the evening to warmly thank me for coming...she thought the feature worked well and was really interesting. A few more glasses of bubbly later and we were on our way back to the hotel. The taxi driver had 'Deep Purple In Rock' blasting out the speakers as we sped off into the rainy Italian streets...it was...as they say...a Fellini moment! The next day Roberto Melloni who I'd met in Haddington a few times collected us from our hotel and took us around the city. We saw the Duomo Cathedral of course, and the Cathedral of fashion next door the Vittrio Emanuele Gallery, La Scala, the Castello Sforzesco and naturally Leonardo's Last Supper which was just awe inspiring. We met up again in the evening with a feast of Freaks for our very own last supper, but this time at an Irish Pub called The Pudding Tavern. Along with Roberto and Deborah his girlfriend, Fabio, Luka, Simona, Jimmy, another Roberto, Max, Marie Louise, Monica and Marina from the Web Italy, George and Loretta and Mauritzio we had a great time shooting the breeze about all things Marillion and Fish...Italian style! As ever in this strange, twilight world of the freaks and friends, they were all fantastic company and we rolled back to our Hotel in the early hours, our short trip at an end. 'Fish is manna from heaven for me' Among all his official artwork (partly taken out of Fish' house) in the attic of the Poldrate Centre, leaning on the piano, Mark Wilkinson is answering questions. He turns out to be a natural storyteller, who speaks with passion about his profession. Before he was an artist, Mark used to be an engineer. But he did not like the job at all. "It was at a company where everybody was kind of family of each other in a negative way. You had to do everything together, even marrying. And they ruled everything for everybody. I did not like that at all. I could not stay there. So I escaped by going to the art college. I got a year to prove myself. I succeeded, but I still was a rebel. For instance, I like art history. But the teacher of graphic designing was a sour cynical man who found that rubbish. He said: "Where do you think you need art history for when you make covers for books?" Then I switched to illustrating. Rather soon after the academy I met Fish. That was in 1982 in the Venue Club. I was shocked when I saw the band. Fish tearing his heart out of his body, fighting rubber plants (veggie-vandalism). The members of the band were types with long hair, wearing skirts. I thought that stuff has been destroyed. Punk was full swing. And all these people, screaming 'Grendel, Grendel' I did not go mad on the music at all. Somebody said to me: 'This band can be huge.' I looked at him and said: 'You are in sain.' But of course I was wrong. Nowadays I like the music a lot more. I like for instance the powerful drums in Assassin. But my favorite album is Clutching At Straws." Looking back Wilkinson describes the meeting with Fish like 'Manna from heaven'. "That man has so many ideas. I can't imagine that I could work together with another person for 20 years." The relation between Wilkinson and Fish has positively changed among the years. "At the time of Script I go a whole lot of orders. Fish briefed everything I had to paint on the cover, even the rubber plant that I did not put in. Things got a lot freer. Now I don't get a checklist, but only a rough idea. He trusts me enough. It is much more a two-way process." The worst cover he made for Marillion is the Clutching at Straws one. "Musically it is my favorite album, but from a artistic view, it is a failure. The first three sleeves were a story and with Clutching they wanted another direction. They actually wanted 28 persons of writers on the sleeve. I could not do that; I did not have enough time. Now, with the computer, I can do it. I just would insert pictures instead of painting. So I had to do it by hand. And there was panic too. Nearly daily Fish called me to say that it should be delivered quicker, or that I had to change something. But everything you do with Fish is traumatic." On the attic of the Poldrate Centre, behind Mark is a hole in the wall. As Mark said this, he looks concerned behind. "I expected to get his head out and shout: 'You bastard!!!'" 'Sometimes I undo 11 times' Working with the computer saves Mark some time, but not a lot of time. "Because I do exactly the same with the computer as by hand. I still make airbrushes and so one. The most important function of the computer is the 'undo'. Sometimes I undo 11 times or more. Another plus of the computer is that you can put things over each other, or you can add easy images. And, for instance when I make the cover for John Wesley, I cannot go to America each time when I created something or changes something. With the computer, I just mail it, he mails or calls and says what I should change, or that it is all right and then I continue the work and mail it again when it is finished. Also the paint should not dry. Especially when you have to work with a deadline - and working with Fish is always working with deadlines - then is a computer rather handy. Another new thing that changes Mark's work is the coming of the CD. "On a LP-sleeve you could paint rather a lot. A CD-booklet is much smaller. Then you can't work with a lot of details. You can see it on Sunsets, that does not work. Fish also counts that in. For his new album Field of Crows I got the instructions to work with one big crow. In the past Fish probably should have chosen for a big tree with one crow in it. Also by the Fellini Album Fish was aware of the limits." Mark feels sorry for that. " I love working with details very much. I also like to work true to nature. My inspirer is Salvador Dali. By the way, it always are the small things that makes or breaks it. At art college you are already taught that the most important thing of a concept is the thing you probably would see as the most unimportant: the spaces between the figures." The artist tells why he stayed working with Fish and not with Marillion or both. "Of course it was a problem for me what I should do after the split. I knew that Fish first solo-album, Vigil in the Wilderness of Mirrors, was very important for him. Fish asked me if I would design the new booklet and showed me the concept. Normally I would have said that I could not to that, but Fish said: 'You got seven months'. For that reason and because I knew how important it was for him, I choose for Fish." Mark looks at the original artwork, which hangs on the wall left from him. "As a pity the colors of this painting fade away. Fish hang it on the brightest place in his house. But he said that, when he has money, he hires me to fill it in again. By the way, the seven months I had to create the cover of Vigil was unprecedented luxury. For Suits for instance, I got only a week." One of the fans asks if Mark does not get problems with the rights when he uses people like Madonna on an album cover (Vigil). Mark: "Not when you just use a face in a bigger concept. And probably it would be a problem when you make a caricature of somebody. For instance when you make her breasts much bigger. But I got problems with the members of Marillion. I painted them on Vigil. Then John Arnison called and demanded that his face and Mark Kelly's must be taken off the cover. Otherwise they should go to the judge. That's why I changed them into clowns faces." "These problems had to do with Fish quitting the band. At that time Fish and I were already working on the book The Masque. When the other band members heard that, they also want to be involved. But we did not see why. The ideas for the covers were all Fish ideas and I did the artwork. When Fish and I were brainstorming about a sleeve concept, they were hanging around in the pub. So later on they did not give permission to use the artwork for the book and we had to go to the court." 'Round fish with bagpipe; typically a Fish idea' Mark's work is a constant challenge. When I paint cannabis leaves, he got problems in America where hash still is a taboo. The Fish-logo would be a problem to the Spanish fans; they could not read it very well, so Mark changed it for Spain. And then we have the fish with a bagpipe. Mark: "Yeh, that was typically Fish. He came with the idea to choose a round fish with a bagpipe for a logo. I said to him: 'But Fish, fishes are long and tender.' (Someone in the crowd shouts: 'Fish not', reply from Mark: 'I am glad you said that'). But Fish still wanted the round fish with bagpipe. The solution came when my daughter was watching Little Mermaid from Walt Disney. There I saw round fishes and then I knew how to paint it." And so there are more of these kinds of examples. For the boy on the cover of Misplace Childhood he used a figure on the book of Herman Hesse. The boy next door looked very much on the 'Herman Hesse' boy, so that kid was used as a model. On the end of the question and asked session Mark says that he likes this session very much. He always appreciates mail from fans. "I also design for Judas Priest. From these fans I got only one e-mail. And that was a mail, which was addressed to another person. Of course I work for my principals, and I want to satisfy them, but more important to me is that the fans like my work. That is why you are doing this. That is why I enjoy my work so much. It is a challenge to please about 50.000 people with a CD-cover. And that is why I appreciate reactions from fans so much." Marianne Timmer Haddington and beyond...an overview 19/9/01 The last Company Convention was only my third but judging by the reviews (and I would agree)...it was easily the best. I'm constantly amazed by the unique set of people worldwide that 'get' what Fish is all about when critics by and large do not. But I loved it. Not just because he gave one of the best performances I've ever witnessed at St. Marys, with a mid section of four songs that finished with 'Tilted Cross' sung accapella that chilled the spine. Not because Sunday night was one of the most joyful nights I can remember with the sight of Westie's gravity-defying body surf encapsulating the general madness of the crowd. No, for me it was just meeting you the fans, listening to your thoughts about Fish, about the artwork, how important the lyrics have been over the years for so many of you. I had an hour's Q&A after four hours of 70 shilling that lubricated the tongue (perhaps overmuch?) After that I sat and listened to the crowd. The questions got more interesting for me as the weekend drew on. I met so many people from all over the globe and it struck me that this 'community' was so fulfilling for me as an artist. I don't get this reaction, this interest about my work from any other source, except for the week when a thousand Iron Maiden fans logged on to the Masque website to find out who the hell I was when it was announced I was doing the Wicker Man artwork! One lady from Mexico gave me a papyrus scroll with a hand painted image of the magic forests and animals of the Conqistadors, as a present. She disappeared before I could ask her name but not before she told me how much the Marillion and Fish artwork had affected her over the years. My work was the reason she was hoping to make a career as an artist herself and this was a sort of 'thank you'. I can't tell you how much that meant to me. So this is my 'thank you' to all the people I met that made my weekend so special...I hope to see you again next time. This week after the atrocities of last, it is important I think to reflect on just what we have got sometimes. We, unlike others, have freedom and the art to celebrate it, I look at the cover of 'Sunsets on Empire' and reflect on the horrific vision of 'The Hill' in Vigil and realise how close for comfort the mad scotsman is sometimes!
I flew into Dortmund
Airport in a small 30-seater full of businessman on their way to Although I had little
idea of what to expect, I flew into a maelstrom of activity and Most of the art I saw
at the publisher's office in Herten (about 20 minutes away from the The Editor of Airbrush-Art
and Action ; Mainman of the show and brilliant Artist in his The Press Conference
was interesting, the painted model showed up in a stretch Limo Andy Penaluna - an
Artist and designer from Wales, perhaps the world - authority on the The next day was the
'hanging day' at the hall and that was a revelation. How it all went On to the Saturday
and day one of the Show. I had my stall set out selling a few Fish Day two of the show
was pretty much as before. But I did get to meet some great artists Anyway, enough already!!
I had a great time, met a few Fish Fans, met a whole bunch of All The Best, MARK WILKINSON 15/11/98
OF RAINGODS AND MEN, OR; TAKING TEA WITH TLALOC I hadn't been to the
Farm for a while, so it was great to see everyone again. Tammy , After tea and 'Addams
Family Values' on the box, it was down to business. Fish wanted When I got back home
I had a play around in PhotoShop and supplied all the Seriously I really
enjoy faffing about with PhotoShop on the computer and could see the We discussed this in
some detail and the proposed ideas with Tlaloc - the Raingod meshing Before then, a test
of allegiance! Listening to endless vocal comps for a track that I
forget all! Come the revolution
and we all have to list our top ten faves before the machine gun At last the time was
right. Fish played me a song called 'Incomplete' as an Hors d'oeuvre 'OK, lights" said
Elliot and Fish dutifully turned 'em off. The volume was cranked up
to Well it is long but
never outstays its welcome. It has a sort of Ambient trip-hop AND I WANT A TAPE FISH! We all sort of soft- shuffled up the wooden hill at about quarter to four. No one spoke. I wish I could remember
more, to report...more accurately. But in the end, I am no Nick MARK WILKINSON 9/98
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