With each issue
TQ Zine gets better and better and gradually fills up adequately the slumber of Radio Free Midwich, which we still invoke to wake up when the stars are right. The last few issues have seen a shift into high gears, with offering of cdrs to subscribers and extremely interesting interviews, which seem to get even better with the
oncoming issues that will celebrate a year since the first light of day.
#10 comes with a cdr sampler of the superb
Linear Obsessional label, featuring released, as well as exclusive, tracks from the label's 2017 output,
which has now been posted as non-subscriber earcandy. Everything sounds great, but I especially dig the tracks by Kassia Flux (also reviewed and interviewed in issue 11), Steven Ball, Far Rainbow, as well as Lost Robots. The latter band is given an extensive feature in said issue to mark their recording return after nine years with the album
Arms in which they offer a stunning combination of kraut rock, This Heat-style madness and the sound of Canterbury. Also included, aside from expected reviews, is a free download coupon for Nat Lyon's nice
Slant Front Desk (expect dark pop with a hint of western), and the highlight, which is the first part of an interview with Jamie Stewart, aka harsh noise artist Wrest, co-founder of the important NE England label Fuckin' Amateurs, and member of Satanhartalt and Oppenheimer, whose works have been covered
here. In this interview he talks extensively about the town of Blyth and noise and it's a great read.
I've just received #11 in the mail, and it's a fantastic job. Aside from the second part of Jamie's interview, where he recounts the founding and course of Fuckin' Amateurs, followed by a list of notable Fuckin' Amateurs releases, as well as an extensive feature of Charlie Ulyatt's music, consisting of two reviews, an interview and a free cdr of his latest release,
Inaudible Gestures.
Charlie Ulyatt seems to be a relative newcomer to the experimental underground, with his earliest outings dating from 2016. In his interview he states that he drew large inspiration from Earth/Dylan Carlson, which is reason enough to give his music a chance. He also cites Dean McPhee and John Fahey, though I would also point to Slint and late Talk Talk as referential points to his guitar playing. On his first release,
Dead Birds, there is indeed a lot of leaning on Earth's reform material, especially
Hex, as well as Carlson's solo material.
Shifting is a much more experimental affair, offering a string of prepared guitar/e-bow offerings, creating an electric/drone counterpart to Jon Collin's guitar experiments. On his most recent release,
Inaudible Gestures, (which is as I said offered free to TQ subscribers) he abandons the guitar for a molestation of the cello (which he says has recently started taking lessons on) creating highly entertaining avant-drone/free-jazz, with referential points possibly being Roof, Revolutionary Ensemble, and modern-day masters Diktat.
I wanna thank TQ for introducing me to Charlie, whose music can be found on
Bandcamp, is offered for free, and deserves financial support. TQ in itself deserves our support and subscriptions for the great work that must continue, so head over to the
blog and get in touch!