Catalogue

Pressing no. 1: A Thousand Little Obstacles
Pressing no. 2: The Nu-Rave Vagrant (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 3: A Life In The Shape of a Room Named ‘POP’ (self published as a flyer in 2008)
Pressing no. 4: A Funny Thing Happened On The Way To The Record Shop
Pressing no. 5: Of A Year
Pressing no. 6: Gloomy Sunday
Pressing no. 7: …at least it’s the end of the world…
Pressing no. 8: A to B
Pressing no. 9: Tears, Kissing and iPods
Pressing no. 10: Five Years (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 11: Escaping Portobello
Pressing no. 12: …And the Memories I Made (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 13: Break Up Scene (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 14: Small Moments, That Take On Significance Later
Pressing no. 15: Before the Morning After (self published as a flyer in 2008)
Pressing no. 16: Isolation
Pressing no. 17: The FROG Princess (self published as part of The Polaroid Press Pack in 2008)
Pressing no’s. 18 & 19: Nostalgia & Before The Dawn Heals Us
Pressing no. 20: The Electric Kissing Party
Pressing no. 21: Friend is an Angel
Pressing no. 22: Word Play
Pressing no. 23: Bringing Out The Dead
Pressing no’s. 24 & 25: Outbound (self published as part of The Polaroid Press Pack in 2008) & Inbound
Pressing no. 26: The Hiro
Pressing no. 27: Manhattan
Pressing no. 28: Power Out (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 29: The Last Train (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 30: The Third Perfect Listening Space
Pressing no. 31: Adventurers
Pressing no. 32: The Pub at The End Of The World
Pressing no. 33: Sunday Sketches
Pressing no. 34: Words
Pressing no. 35: The Model (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 36: Bed (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 37: Goodnight, Goodbye
Pressing no. 38: Battersea (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 39: Material
Pressing no. 40: Stormy Weather
Pressing no. 41: The Last Page (self published as part of The Polaroid Press Pack in 2008)
Pressing no. 42: BFI
Pressing no. 43: Do You Remember the First Time?
Pressing no. 44: Economy
Pressing no. 45: Notes
Pressing no. 46: Stop
Pressing no. 47: Vice Like Hangover
Pressing no. 48: Realisation
Pressing no. 49: In Mind (source text for Pressing no. 52)
Pressing no. 50: Answerphone Message: 5/11
Pressing no. 51: To Build A Home (published in ‘We Cannot Lie All Night Together’, a limited pressing ‘zine sold on Los Campesinos! North American tour in January 2009)
Pressing no. 52: Her Wilderness and Waves (self published in 2009)

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Pressing no. 52

Her Wilderness and Waves

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And most of the landscapes I crave aren’t blemished by outcrops of power and pylons. I want cracked, salt-scored wooden panels, pebbles, a cwtch with a girl with very black hair wearing a coat as long as my own. There is a siren on the speakers: H.M.S. Ginafore, sketching the Scottish coasts for me.

Nothing but grey-skies from here. Holed up in the living room watching the world of parents and push-chairs prepare for the winter. Bare bones of trees poke from behind the roofs of houses opposite, but that’s as wild as it gets. I paint a sickly picture but it’s really all quite comforting, quite controlled.

I’m put in mind of an untyped story, and rifle through old notebooks and photographs to piece it together. I look over images of Hastings to find a line of best fit, trying to divorce aesthetics from memory, failing, but in the end I have enough things to work with and work through. I have this review to write, for starters, due too soon.

Crash-zoom on curtain netting, the television bores me. I start looping Ginafore’s voice about the back of my head, comforted by the whisper, by her curling tongue and the thought of her wilderness and waves. I wish I didn’t have to leave it there.

I move, washing my face, trying to stay awake. I can’t sleep the day away. The sadness is about trying to push through the mattress, being absorbed by it and swallowed whole, left to the skewering of bed springs, the duvet covering every trace of me as an alibi. This ugly cycle of grim lows and elation – never manic but distressing all the same – keeps me in mind of the crashing of the sea.

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Bah! I hate being stuck in my own company! I haul my greatcoat on and step out for breakfast. The cold tries to creep up and under, but body heat prevails. Keep calm and carry on. Motion is now reassuring. The face in the toy shop never changes, the vintage shop is never open, the church is still a chain pub, but right now I’m not sure I want that stability.

The revelry and turmoil of the shore-line is appealing.

I watch my breath steam and feel little droplets of vapour condensing on the bristles of my beard. Mittens have appeared on the hands of children now, a sign that all the excitement of winter has crept upon us. The first, maybe only snow of the season came and went very quickly. A sugar frost remained for a few days on rooftops and car bonnets that evaded sunshine.

On a steamy bus it stirred memories. At home the melting water seeped through the sky-light seal and forced action. The bucket is still there, the erratic dripping on rainy days a terrible frustration. I also managed to lose my gloves. Perhaps, now, a colourful pair of mittens? Would they suit me?

My feet have take me to a café and a wicker chair. In mind of the chill I order a bacon buttie and a strong black coffee.

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This is about five years ago: The early hours of the first day of a new year we wrapped up and went downhill, maybe seven of us, a little sickly by this stage as we’d been drinking since five. This is to set the scene. We were heading to the waters at Netley.

I can sketch most of the area from collated memory. We would have walked through a crumbling gate of dark wood onto thorny shards of shell and shingle, yawing ropes swallowing ankles whole to twist momentum. Overlooked by empty pubs, some back gardens, some flats, a corner shop and probably a sweet shop, now dark. Groynes sporadically interrupted the beach, obstructing passage. There was probably a dog.

I know who I was with, am still in regular contact with one of them, but cannot place them there. I can see only the splash of light that illuminated me and the lapping tongue of water a few feet away. I can see a near-black expanse of empty space, and in the distance the fires of Fawley burned like the city of tomorrow.

Blinking, far off, regular and binary. None of the fading or flaring of a twinkle.

It burns. The refinery towers are distorted by the darkness between us, and what is doubtless tall is made a metropolis in imagination. It could be a city that houses a million souls, and in the quiet night of another year I decide that it is.

Strange to think of then now. The southern coast is far from untamed and the illusion cast by The Racket They Made involves crags and thickets of gorse, not oil processing on the Solent.

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Coffee makes my breath hot, and the tongue-sour taste does little to shake my reflective mood. Tonight may not be a night to go out. One more night at home. One more night to run around my memory. I don’t leave a tip, the sandwich was terrible.

It is cloud-dark when I get back to the flat. The flatmate leans with his back to the door in the front room, smoking out of the window despite the leaves and crisp packets scrabbling to spill in over the ledge. The lights are off. It’s a great shot.

We’d be normal, chatty people if we didn’t write. I have in mind a night when we settled in his old room in Angel, lit only by candles and on a heavy drink. A battered chopping board sat on the floor between us cluttered with fragments of lemon and juice.

We swapped stories and shots and avoided talking about the important shit because that’s what words and pictures are for.

The album cover stares at me guiltily. Deadline. Where to begin in writing about this? There have been too many words over too few days, where are the words to convey the thoughts and sensations stirred by chords and hushes?

The flatmate doesn’t speak at all tonight. He just fixes on the faces in windows over the road. I don’t know why.

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Notation.

Lists.

I have the facts. It is 27 minutes long, thirteen tracks in length, self recorded, the sleeves hand made. It is on Fence Records. Is any of this important? I’m not sure any more. Would these words help someone purchase this? Is that my job? No – subjectivity is key. I must listen again, filter again.

Subjectivity is key. Why bind in 200 words what could be said in 2000? Why tell stories with more? Why tell stories? These songs are the first I’ve played on fresh ears since
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In writing about these sounds I should admit what is stirred in me, in me. I react to music in my own way, buoyed by memories I have made, memories with other people, with myself, in pursuit of others. Memories that I want to dive back into, sometimes, with such a passionate strength, not to relive them or play them back in black and white but to actually experience those moments again. And I have to hope that you do too. So when I write that The Racket They Made invokes in me some coastal purity you know that I mean, despite its alien presence in my life at this time, I want what it conjures. It helps me avoid myself.
And somehow I have to distil that.

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I relate to the ocean at Hastings through journeys. I would make a beeline for the Old Town on arrival, alarmed as ever by the sense of threat that wallows around its red brick. Last time I went a group of kids in a piazza smashed Hello Kitty umbrellas as if they were Les Paul Guitars. It made me unbearably anxious. My refuge was The Stag.

‘Heroes’, Bowie’s call to arms, was on the jukebox box again, as it was every time I drank there. I smiled and ordered a pint before settling in with my notebook. The Stag is a pub that actively resents the smoking ban, joists creaking for want of nicotine. A sickly patina coats the surfaces and the scored tables seem to pre-date carpentry. The beer garden is stepped, offering a crooked view of the hill-bordered Old Town, crenelations and exposure-blasted fortifications peppering the folds of the coastal landscape.

The barman, young, stuttered to the pretty punk I could never be like that. I was brought up by my big sister and I could only hit a woman if she hit me first, and could hit me back. I couldn’t bully like him. The sentiment is a twisted version of the familiar, content strange. Her response: Oh I can hit him, I just can’t push him across the road

‘My Girl’ started playing, but despite their giggles it was clear to me that he had no possession of her, or even of himself at this stage.

I thought: I wonder if in towns like this nobody grows up. Maybe if we follow a certain route the responsibilities of life never change and then we never have to slip out of playground thinking.
Maybe everybody just thinks they’re growing up, gleefully judging the rest of the world, but maybe that’s just me.

The barman was so genuine I could have wept. To try and keep her close longer he offered temptations. I’ve got animé, I’ve got foreign DVDs, I’ve got British, I’ve got

Quadrophenia?

I snorted some of my pint into my glass, this new category of film established, and left grinning.

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Back in bed now under cover hot mouth uncomfortable twitches coffee slinking slowly through nerves and depression and I need to calm down. Back under cover eyes shut open shut sick with tension heavy lunged seeing sentences bleached blonde sneaker stares and I need to calm down. Breathe. Back in bed staring at the blinds and an afternoon’s dark grey ache up my side after long abandoned stretches empty bed empty headed empty I need to calm down. I need to write this fucking review, it is just a fucking review. A review. A fucking review. I return to Ginafore, let her sing to me for a while.

Her journey, like mine, is only mapped by the spread and rupture of cables and haulage. I usually find ghostly beauty in that, but today I’m driven to think beyond the flourish of grey it represents. What is this? Play.
Her voice loops to a faded seaside synth and swirl. Close clips of soft lips trapped by the mic. She is endearingly near to the receiver. Coughs trickle through with the creak and strain of an old guitar neck. Double tracked vocal haunting. ‘Comfort in Rum’ has the narrative and melody of rocks on the edge of the ocean. The twinkle and static of a satellite rolls behind your eyes, blinking in the dark. Phone clicks and coughing, again, ghostly, spare voices, creep and crawl into the world of each song. An album of reprisals, the title track resurfacing as a motif and a sentence. The chorus on ‘Nobody Knows…’ friendly chorus, a gang, a multitude of the genuine and affectionate. The segue is astounding “Save me!”. When ‘And The Racket They Made When The Lights Went Down’ comes back with a crackle and pop of drum skins and night. Danger in the sea, Jenny Casino/H.M.S. Ginafore its siren.

Notes = Remembrance.

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Leaving The Stag I pitched for the beach. The Old Town fisheries hum with the odour despite the coastal breeze. A cloying, salty smell, almost soupy in texture, contrasting with the husky dry wood each shop is cased in.

Tall monoliths for hanging catch point out to the horizon. Black. Impressive. They always tickled me. Twin funicular railways pincer what little of the town is worth exploring. I marched over broken tracks and onto the stones, taut tow-lines running from the ramshackle sheds to the array of rickety buckets beached there. Ships look strange out of the sea, there seems too much of them, as if what penetrates the waterline ought not to exist. I cherished that alien sensation. There was a romance to the disintegration I was surrounded by.

Continue.

“Amusements”. Tourist Traps for spunking change away, bright lights and 8-bit jingles that turned my stomach. The fountains in the crazy golf course ran green. I’m not entirely sure it was deliberate. The sound of the tide is a constant there.

There were greater gaps between sights after that.

The pier, broken by the elements. Beaten and scored and dented on all sides, fenced off and bolted and barricaded, collapse blissfully imminent. How long will it last? Rust alone cannot bear a load indefinitely.

Nothing lasts forever, I should know that by now, should have then.

Nothing lasts forever.

Nothing but grey skies on that walk. It was beautiful, then.

I walked beside the sea for half an hour until I got to where I was going. I will leave that memory alone.

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There is dripping again in the bucket in the hall outside of my bedroom, regular as seconds, a gentle reminder of the passage of time. No, not gentle, if water flows inside my home as well as out. I don’t have much time left, I need to finish this.

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H.M.S. Ginafore
The Racket They Made
(Fence Records)

I find myself cast unashamedly to the the shoreline by H.M.S. Ginafore’s re-released mini-album The Racket They Made. A few years old now, these recordings have the scratchy and hushed quality of much of Fence’s output, but Ginafore’s broken lullaby voice is still one of the label’s highlights.

Each track creaks and spits with the home recording pitfalls of faulty equipment and too-close mics, but here it seems to work in the album’s favour. It enhances the intimacy of each song, whispered in your ears by an understated vocal performance. Satellites pop behind the lament ‘Comfort in Rum’, while ‘St Abbs’ conjures a warmth and frivolity that will make you long to visit the house she sings of.

Much of the record revolves around repeated musical and lyrical motifs taken from the title track, phrases and lines bubbling through and scratching at your memory. To hear the rollicking ballad later swallowed in drum loops and samples, and for it not to jar with the rest of the album, is a beautiful thing, and demonstrates the dexterity of Ginafore’s low-fi.

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© Matthew Sheret, 2009

Pressing no. 51

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Zombie, 2008

To Build A Home

He has no idea how hard this is.
___________For starters, it’s still far too soon to volunteer this. Also, I’m not drunk enough. I tried but

______I stop staring at my records and start rifling through them. I’m struck with the urge to play Closer instead, but that’s for another time, maybe soon. My breath fogs a little, and I realise that it is as cold now as it was when I first pla- wait!
__played this. I’ve found it. 12inch EP, minimal black-heavy sleeve design, black inner, sleek black vinyl, a swamp of black.___________Seeing the cover photo spins me. When I played it that day I held it up to her, admiring the beautiful shot, silently sharing where it was taking us. I slipped it down the side of the bed and curled around her

Fuck___________________This is hard.

___________I click my stereo on, set the record on the turntable, side A, simply marked ‘Build’.___________The lid is dusty, thumbprints prevail, even noticing this a part of some ritual: She would lie out of sight while I played anything I had to share, and I suppose even now that is true, in a way.
This was special though.________________The memories I see as I lower the needle arm: Fireworks bursting in the school ground opposite, showering us with colour through the window; her shoulder, goose-pimply; her hand clutching mine to her hips; one candle; one pillow; rumpled clothes.

___________

______There is an impossibly long crackle of silence, and it begins.

This is hers, now.

© Matthew Sheret, 2008

Pressing no. 50

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Alexandra Palace Fireworks, 2008

Answerphone Message: 5/11

“Look at this shit! Trees collapse beside the pile of burning tyres while Amy Johnson – Dead Aviatrix – staggers about swigging from a bottle of Scotch. She’s laughing. I told her she was beautiful and she coughed fuel onto the fire. There are twelve of us at the peak of St Catherine’s Hill, waiting for someone to light the first fuse. Our rebellion failed, and The Nu-Rave Vagrant led us from the city along a dormant railway track to get clear of the mobs. God knows what the papers said. Christie is starting to look sickly, but chats happily with the idea of a twee revival. It’s clear this is a celebration of something, but of what I’m not sure. Britain is brown, for the winter, and in the suburbs there’s a bun fight over what might mean more: The gun or the grenade. My subconscious is running riot. Against all odds I’m still awake. It took so long to get here, and we’re all very tired, but somehow it feels like sleep might be too dangerous. I’m cavorting with ghosts Matt, so just think what might be waiting for me behind my eyelids.

Call me back…”

© Matthew Sheret, 2008

Pressing no. 49

Hastings, 2008
Hastings, 2008

In Mind

I’m put in mind of the waves: this ugly cycle of grim lows and elation, never manic but distressing all the same. The sadness is about trying to push through the mattress, being absorbed by it and swallowed whole, left to the skewering of bed springs and a duvet covering every trace of me as an alibi.

Bah! I hate being stuck in my own company.

I swing my great-coat over my shoulders and step out for breakfast. The cold tries to creep up the layers but body heat prevails. I’m still in mind of the crashing sea though. it’s probably the fresh smack to the face this morning wind brings, a reminder of countless childhood ambles on the Solent shore.

Maybe the motion is reassuring. Familiarity surrounds: The face in the toy shop never changes, the vintage shop is never open, the church is still a chain pub. But the wave, the idea of the wave, is pure revelry in turmoil, something that I find terribly appealing right now.

Destination met, thinking on salt air, I order a bacon sandwich.

© Matthew Sheret

Pressing no. 48

Ticket Theatre Dance in rehearsal, 2008
Ticket Theatre Dance in rehearsal, 2008

Realisation

As much as I would like to melt into the matt surrounds of the studio, I cannot. While part of my remit requires the silent and motionless interpretation of the very physical four hours before me, the other part is explosively disturbing.

I have to break an invisible boundary that delineates Fluid Territory from Static. Outside of this fictional perimeter life stands still. To the eye of the dancers this is represented by:
__________The stereo, which emits a sound locked in the same progression.
__________The mirror, which imitates depth and movement impassively.
__________The video camera, which locks and freezes inspiration and spontaneity into a pause-rewind-play cycle of predictability.

Inside of this perimeter the bodies can do anything they are capable of.

My presence alters this dynamic, as I take my lenses, break into their space and seal stolen moments in chemical reactions. The flash-snap instants break the impression of an inner and outer space. I remind the dancers that the wall does not exist, the the borders between motion and stasis can be punched through with a blink and leapt with a glance.

© Matthew Sheret, 2008.

Pressing no. 47

Party, 2008
Party, 2008

Vice Like Hangover

and when I wake my gut burns and twists. My temples pound out a syncopated rhythm and my pupils filter the world through sadness and grey. My ears are ringing loud enough that I can’t hear my friend snoring behind me, just feel the hot and boozy breath huffing between my shoulder blades. I shudder.

Another day, and I wake again feeling better. Sunlight leaks through the seams in the blind. The Sunday morning sensations of guilt and unease are absent, instead manifest by a head on the pillow beside me. The realisation that we weren’t drunk enough to fuck bursts from my lizard-brain with electric relief.

and somewhere else I lurch up and away, pulling on last night’s rumpled shirt before almost washing my face in a basin filled with vomit. Too much, for my eyes, this house has a heavy vibe. Dark thoughts and an ugly mood drive me into Abney Park. History is starting to fuck with me. I pore over tombstones and think about being forgotten. It scares the shit out of me. I start thinking about
________this is hard.______This is really hard. I realise I only have words, and that isn’t consolation today, and I also realise how ridiculous this all is.

and I wake again, and again, and again, and again in an off-kilter North London bedroom, often chilly and mostly alone, these days. Still sunlight bounces off of the face of a pocket watch and spits onto the ceiling, forcing space into a life that feels cramped.

© Matthew Sheret, 2008