THE THE Category News

Yello’s Boris Blank Remixes The The’s GlobalEyes With New YelloFier® App.

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Boris Blank, co-founder and music composer of the Swiss avant-garde electro duo Yello, is also the inventor of the new music/recording app Yellofier. He has just re-mixed The The’s GlobalEyes as part of the launch pack for this new device.

About a year ago, together with concept director Håkan Lidbo, programmer Jonatan Liljedahl and designer Håkan Ullberg, Blank filed to implement the ingenious idea that is Yellofier. Electronic Beats by Telekom supported the team of developers with its expertise in technology and communication and enabled a perfect realization. As a result, from April 1st users can go sound hunting with Yellofier app and create music out of the sounds of one’s life. Innovation, sound and technology – these keywords describe not only the philosophy of Electronic Beats, but also the impressive career of Yello, who are always on the lookout for creative sound combinations.

More info here: www.yellofier.com and www.electronicbeats.net

The slogan: “Anything becomes Music”. But what makes the app so interesting for sound explorers who don’t have any music education?

Håkan Lidbo: “You edit sounds and effects by moving and spinning cubes – the interface is different from all other musical interfaces. Therefore anyone, even without any musical experience, can create unique music with Yellofier.”

Boris Blank: “The uniqueness of Yellofier is in the intuitive, visually supported quick handling of recording and editing of sounds, the high quality sound, the playful aspect and of course the built-in Yello soundbase.” Fans using Yellofier also enjoy maximum feedom to remix the original sounds of the successful duo. They can also share their songs with the social media world.

Other musicians are excited about Yellofier and are already working with the app. Matt Johnson / The The, Booka Shade, Carl Craig, Charles Webster, Håkan Lidbo, Henrik Schwarz, Magnetic North, Orbital, Steve Bug, The Orb, Thomas Fehlmann, Tim & Puma Mimi and Trentemøller have contributed songs and sounds to the app. These could be used for own tracks, and thus enter the Yellofier Track Contest hosted by Electronic Beats. More info here: www.yellofier.com and www.electronicbeats.net.

§       Yellofier transforms everyday sounds into music within seconds

§       Developed by Yello co-founder Boris Blank and Swedish music producer Håkan Lidbo

§       Track Contest with sounds of The The, Carl Craig, Henrik Schwarz, Trentemøller, Booka Shade, Orbital, Steve Bug, Thomas Fehlmann

 

 

THE TWO PUDDINGS EXHIBITION

Fifty First State Press, in association with Bishopsgate Institute, proudly present the Two Puddings photographic / audio exhibition, opening January 14th and running until March 31st. A special Q&A event will be held on January 30th featuring award winning broadcaster Robert Elms interviewing author Eddie Johnson.

Our first publication, Tales from the Two Puddings, is a memoir by my dad Eddie Johnson, of our time living above one of East London’s most notorious pubs in the 1960s.

Due to a combination of its cream-tiled walls and the volume of blood spilt, it was also known locally as the ‘Butcher’s Shop’. It became one of London’s busiest and most fashionable pubs of that era, attracting a large, colourful cast of disparate characters including renowned actors, writers, singers, musicians, champion boxers, infamous gangsters, television personalities and World Cup-winning footballers. By the time the Puddings closed its doors for the last time, nearly four decades later, my dad was the longest serving licensee in London.

Tales from the Two Puddings is a poignant, at times hilarious, look back upon a lost world of East End eccentrics, local villainy, vindictive policemen, punch ups, and practical jokes, all now lying buried beneath the concrete blocks and sterile shopping centres of the ‘new’ Stratford.

Tales From The Two Puddings is a brisk and plain-spoken act of witness to the life of a territory whose history is under threat from boosters and land thieves. Here is a remembered and experienced truth, not a fable cooked up by a quango of computers. Valuable, funny, gleaming with recovered memory shards.’
Iain Sinclair – Author of Ghost Milk

‘Lots of West Ham players drank in the Two Puddings. I was a regular and even met my wife Sandra in the upstairs disco there and we’re still very happily married after nearly 44 years. I’ve got some very happy memories of those days but also remember that you didn’t take liberties with the Johnson brothers. They were proper boys!’
Harry Redknapp – Football manager and ex West Ham United player

‘Just out of school and starting work as a trainee reporter on the Stratford Express weekly newspaper the Two Puddings – sitting majestically across the Broadway – immediately became my first “regular” pub. I remember great nights there with The Crazy World of Arthur Brown and several with Screaming Lord Sutch in ‘Jack the Ripper’ mode.’
Barrie Keeffe – Author of The Long Good Friday

 http://spitalfieldslife.com/2012/08/08/at-the-two-puddings/
http://200percentmag.com/2012/08/11/tales-from-the-two-puddings-part-1/
http://200percentmag.com/2012/08/19/tales-from-the-two-puddings-part-2/

To Buy Tales from the Two Puddings Click Here

 

 

MOONBUG SOUNDTRACK ALBUM RELEASED

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Cineola Volume 2: Moonbug, the soundtrack by THE THE to the award winning documentary feature film directed by Nichola Bruce is now available for purchase.

The film follows renowned photographer Steve Pyke on his extraordinary journey across America to meet, interview and photograph his childhood heroes – the men who went to the moon.

This 80 page deluxe hardback edition features 17 new tracks from THE THE, portraits of the Apollo astronauts by Steve Pyke, an extensive interview with Steve Pyke by Matt Johnson plus notes from the director and stills from the film.

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Buy the Moonbug soundtrack Book/CD here

Visit Steve’s official site Pyke-Eye here

Read Pyke’s blog here

An extensive article about Pyke ‘The Englishman in New York talks portraits and cinematic influences’ by Peter Hamilton is in the February 2012 issue of the British Journal of Photography, available here

Find out about Nichola Bruce here

Find out about Moonbug the Movie here

 

 

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Excerpt from Steve Pyke in conversation with Matt Johnson.

Matt Johnson and Steve Pyke photographed by Helen Edwards

"Who's the Daddy!?" Johnson and Pyke photographed by Helen Edwards

 

Matt Johnson: There is one question I have to ask before we move onto other points and that is about the various conspiracy theories that have been circling for years? That the moon landings were a giant hoax aimed at the Soviet Union in order to strike a blow in the cold war space race that the USA was losing at the time. This would reassure the American public that the United States was as technologically advanced as the feared Soviets. You know the stuff, the angles are wrong with the shadows in the photographs, in some of the footage the astronauts look as if they are being held up like puppets on hidden wires rather than lack of gravity, that is was all secretly shot in the desert at Area 51, reminiscent of the movie Capricorn One. What do you think about these theories having now met the astronauts?

Steve Pyke: If I was to think of one question that people ask, and I think this is a real sign of the age we are in, the first question that comes up every time I’m asked what it was like to meet the astronauts is do you believe that it actually happened. What do the astronauts say about these conspiracy theories? Well, what are they supposed to say about it? It’s quite obvious, sitting in a room with somebody, sitting on the edge of a bed with somebody, sitting face to face with somebody that this thing actually happened to, there is no question that these things happened. You could read into trajectories of light and this doesn’t look right and it could all have been done on a Hollywood set and people will come up with these conspiracy theories as they often do.

MJ: Another controversial point it would be remiss of me not to mention is of course Operation Paperclip and the involvement of Nazi scientists and former SS members in NASA’s space programme. At the end of WW2 there was a race between the Americans and the Soviets to capture and enlist Nazi scientists in order to gain a military edge over each other. Consequently some strange collaborations ensued, some of which we know about, such as Project MK Ultra, Project Bluebird and Project Chatter but probably many that, to this day, we do not. The most benign of these collaborations was probably the Apollo programme but were you able to find out any more information that helps shed more light on this partnership?

SP: I’ve always had an interest in history and WW2 is close to my time. I was born 12 years after it ended. One of the questions I asked a lot of people who were involved in NASA, like Christopher Kraft and the older people within it, Max Faget as well, was about people like Wernher von Braun. They had dealings with him yet they weren’t judging him on the fact slave labour in Eastern Europe killed millions in order to send V2 and V1 rockets to Britain. They were judging him as a scientist and what he was technically capable of. What they and the American government at the time were interesting in was getting the brightest minds to work on space travel, well atomic power first and foremost, they were about harnessing these brains for war games not space games. So what came back from the people I spoke to about the German scientists, and there were many of them, I think there was a base in New Mexico, was great respect because without them this would not have happened. Without Wernher von Braun, without the research he originally did at Pennemünde on the German Baltic coast during the second world war, there was no way man would have walked on the moon. It wouldn’t have happened. So their recollections of him were respectful but there was also a humorous side, which all of them spoke about, that the Germans had these renowned drinking parties that used to go on for days at this station. I got the impression they were very closed German affairs but every now and then they would have a big party with all of the directors and technicians from Houston, you know there would be some reason that Wernher von Braun and the others would be in Houston, usually for a lift off, and it was accompanied with a big piss up. They were renowned drinkers.

MJ: The involvement of Nazi scientists is the dark side of the moon landings. Meanwhile the public were spoon-fed the myth that this was some heroic American adventure on behalf of the free world.

SP: What happened with the Germans is that they fled to the South of France, they headed down to Marseilles and were picked up there, actually they were picked up before they got to Marseilles apparently and were taken straight away to California and debriefed. They were incredibly compliant as they knew the way it was going, but looking at this on a wider level they were completely implicated within German state industry and the mass slavery of hundreds of thousands, millions of Eastern workers.

MJ: It’s an interesting fact that there was a lot of close cooperation between American corporations and the Nazis, from before the outbreak of WW2, all the way through and beyond, such as Ford supplying engines for a lot of German military hardware, Standard Oil supplying specialist chemicals and IBM supplying the punch card systems that were used in the concentration camps to process Jews, Gypsies, Communists and homosexuals. Corporate allegiance is to profit of course and not to people, or even to nations, but this stuff needs to be properly remembered especially in an age when corporations are more powerful than governments.

SP: As far as the astronauts were concerned the Germans were just part of the reason they were able to get there. A lot of the things that fire me up as a photographer are photographing people who’ve had an impact on the 20th century, my time, or who’ve witnessed these great events. We were talking earlier about Vietnam but the whole space race started at the point of idealism and America, at it’s post war height in the early 1960’s, with it’s manufacturing power, had a fantastic way of life.

 

Read the full in-depth interview inside the new Moonbug CD/Book. Purchase Here

Radio Cinéola’s ‘Deep Space’ broadcast has landed

Radio Cinéola is back! New broadcast available now! Featuring the enigmatic DJ Food and his ‘Deep Space’ version of GIANT, mixed exclusively for Radio Cinéola, with an exclusive satellite interview between Strictly Kev (aka DJ Food) and Matt Johnson plus some previously unheard nuggets freshly unearthed from the Lazarus vaults. Buy your copy today!

Meanwhile to find out more about DJ Food and his wonderful new album click here  http://www.djfood.org  Only 11 years since it’s predecessor, ‘The Search Engine’ features various collaborations with friends and associates including JG Thirlwell, Natural Self, 2econd Class Citizen, Dr Rubberfunk and others.

 

TEN YEARS AFTER

By Matt Johnson

Time speeds up the older you get, possibly because each passing year becomes a smaller fraction of your age and also because, as life moves on, perception shifts accordingly. Although it has now been ten years since 9/11, it doesn’t seem so long ago that I was typing a small piece for this website in its immediate aftermath.

My family and I had plane tickets to return home to New York on 9/10 but, for various reasons, we’d stayed in Europe. If we had returned that day I’d probably have been wandering the streets besides the Twin Towers at the time of the attacks, as both my son’s school and my studio were just a couple of blocks from there, and whenever I returned from Europe, I was invariably awake early due to jet lag and usually walking around downtown. As it transpired, I watched events unfold from Sweden.

The attacks themselves were so shocking that, in the blazing intensity of that moment, it was possible to believe almost anything. Anti-Muslim hysteria was swiftly whipped-up into a frenzy as the culprits were quickly identified as Osama Bin Laden and Al Qaeda. This, despite the previous error of instantly blaming Muslims following the Oklahoma City bombing, only to rapidly retract when it became clear the terrorists were, in fact, white, ex-military Americans.

Yet, as weeks and months of fevered speculation followed, the doubts began to nag. Two things specifically stuck in my mind like pebbles in a shoe. First, around a year before 9/11, I’d read some disturbing extracts from the document ‘Rebuilding America’s Defences’—a report by a Neo-Con think tank, a cabal of warmongers, named the Project For The New American Century (PNAC). It laid out their agenda in chilling detail. A sentence that especially jumped out is on page 51: ‘the process of transformation, even if it brings revolutionary change, is likely to be a long one, absent some catastrophic and catalysing event—like a new Pearl Harbour’. As the Neo-Cons had recently assumed control of the US government through the rigged election of George W. Bush, this seemed especially relevant.

The second pebble was a radio broadcast I’d heard in 1999 on local New York radio station WBAI. I can’t remember the name of the show or the name of its host, but he was an ex-military veteran of considerable experience, and I distinctly remember him warning, with some urgency, that malevolent forces had been infiltrating the upper echelons of the military/industrial/intelligence complex and, as a consequence, very dark clouds were now forming on the horizon of America. He warned listeners to be extremely vigilant. I got goose bumps whilst listening as he seemed so sincere and passionate.

And so now, ten years after, as we bear witness to yet another choreographed commemoration, another orgy of flag waving, is the general public any wiser as to who was really behind the defining event of our age? An event which not only caused the loss of thousands of innocent American lives but which has subsequently destroyed millions of innocent Muslims’ lives and led to a state of permanent war abroad and a virtual police state in America.

Watching and reading mainstream media, you wouldn’t think there were any doubts at all. In actual fact the majority of them are now so tightly aligned with the foreign policy aims of Western governments that much of their output amounts to little more than state stenography. A more accurate description of this monolithic corporate media would be Ministry of Propaganda, and a more accurate description of many of its journalists would be, to quote Gerald Celente, ‘presstitutes’.

Lately, this output has become an Orwellian parody as illegal invasions and seizures of the resources of sovereign nations by the West are passed off, with a perfectly straight face, as spreading our cherished values of freedom, democracy and human rights. Citizens of these nations are to be bombed by NATO for their own protection, of course.

Such malignant schemes, delivering ‘democracy’ to a country at gunpoint whilst thieving its resources, are obviously long in the plotting, and a complicit media is therefore essential to keep the wool pulled firmly over the eyes of the population of the aggressor nation. As unrest is fomented on the ground of the target country; on cue, the Western media begin beating the drums for war in the guise of humanitarian intervention, and public opinion is consequently dragged into line like a dog on a leash.

In Britain, the BBC—despite a previous worthy attempt to take the Blair government to task over the dodgy dossier affair that helped launch the illegal invasion of Iraq—has since been castrated. Their coverage of the recent attack upon Libya and the true motives behind it was worse than useless, and misled the British public throughout.

It is now left to independent journalists and other outsiders, speaking through the growing alternative media and the Internet, to alert and inform the general public. But how long until the Internet itself is under assault? What will be the excuse to control it, I wonder? Terrorism? Fraud? Pornography? National Security?

So, will we ever discover who was really behind 9/11? My own feeling is that we know a seed by its fruit and it’s now clear, for all to see, the grotesque varieties dangling from the vast tree of death that has emerged from the footprints of the Twin Towers. To know who planted the seed we must simply ask ourselves whose interests have been best served in the decade since 9/11? A decade of near psychopathic aggression and imperial adventure by America, aided by Britain and Israel, which has borne Guantanamo Bay, Abu Gharib, illegal US/NATO invasions of sovereign nations, routine violations of the Geneva Convention, extraordinary renditions, torture, secret CIA prisons, water-boarding, totalitarian police state measures, the Patriot Act, the Department of Homeland Security, the Bill of Rights shredded, the loss of habeas corpus, NSA wiretaps, TSA groping, innocent citizens regularly labelled potential terrorists, a population kept in a state of frenzied fear and herded like sheep. The list is virtually endless and the America many of us once loved is now descending, at an increasing pace, into a corporate fascist state.

Who can doubt that the entire post-9/11 agenda has not fully served the nefarious Neo-Cons/Neo-Fascists? Although it is worth bearing in mind, of course, that since WW2, the USA has bombed 30 countries, attempted to assassinate over 50 foreign leaders, attempted to overthrow over 50 governments (many democratically elected), and crushed or subverted liberation movements in 20 countries. But these policies have now been placed on steroids by the Neo-Cons.

As an informed citizen, it’s always useful to continually remind yourself that your government lies to you—most of the time. Yet it’s also important to remind yourself that anyone who dares question these official lies, such as the fairy tale of 9/11, as laid out in the Kean-Hamilton Commission Report, will be routinely ridiculed or marginalized as a crank, paranoiac, commie, freak, anti-American—or, of course, a conspiracy theorist.

Yet when is a conspiracy theory not a conspiracy theory? Just in my lifetime, conspiracy theories which turned out to be conspiracy facts include Operation Northwoods, the Gulf of Tonkin Incident, USS Liberty incident, MK Ultra, Watergate, COINTELPRO, Iran-Contra, Iraq-WMD, amongst countless others. It always amazes me that so many otherwise intelligent people still doubt that Western governments can so casually lie, spy, and conspire against their own populations.

In Britain recently, the scales must surely have fallen from the eyes of even the most brainwashed and patriotic individual as the lid was briefly lifted on the seething, festering nest of corruption known as the phone-hacking scandal. The fact that so many of Britain’s ruling elite were coated in the slime of this corruption, from top policemen and politicians to media barons and members of the judiciary—and we’ve not even mentioned the banksters—surely didn’t come as much of a surprise to anyone with a scintilla of intuition? Forget the feral underclass of the recent UK riots; here are the real looters of Britain—the venal overclass.

Truth, like life itself, yearns to see the light and, as more and more compelling evidence emerged in the last decade, it became increasingly clear—to anyone with an open mind, that is—that the biggest conspiracy theory of our age is the official version of 9/11. There were just too many bizarre coincidences, too many unexplained events, too much suspicious behaviour that has gone unexplained. It was just not possible to take it seriously. It was a cover up. A whitewash.

It would be naive in the extreme to assume that classic terror tactics, such as false flag operations, agent provocateurs and other black ops, have not evolved in sophistication to match the breath-taking technology of the latest military hardware. Al Qaeda, assuming it exists, is likely to be an asset trained and controlled by the CIA and operated like a marionette. Because, without such an ‘outside’ threat, there could be no justification for the never-ending ‘War on Terror’ or, pertinently, it’s never-ending budget. It is a war against an enemy that is both everywhere and nowhere. It is un-winnable—which is exactly its purpose.

But the biggest question underlying all of the above is: who are the real puppet masters? Who funds these extremist think tanks? Who pre-selects the candidates for government? Who pulls the strings of our representatives once they are ‘elected’? Who secretly directs the intelligence services? Governments come and governments go, but the real power behind the throne is continuous, and asserts its baleful influence upon an unwitting population from the shadows, all the while plotting global hegemony. It is into those shadows, into that darkness, that we must collectively shine our lights.

 

200% INTERVIEW

Interview by Thierry Somers

Photos of Matt Johnson – Oscar Seijkens

Photos of London – Matt Johnson
For the full 16 page in-depth interview you will have to read 200%. Details about where to buy the bookazine can be found via this link www.200-percent.com

200%: What do you think of the state of the world we live in today and do you think there is a lack of music that confronts the issues we face?

Matt Johnson: Is living in today’s world really less secure than living through the rise of fascism in 1930’s Europe or with the threat of nuclear annihilation during the height of the Cold War? I’m not certain it is.

Personally I don’t think younger people today are any less politically aware or active than their 1960’s and 1970’s counterparts – remember, on the eve of the Iraq war there were some of the biggest peacetime political demonstrations in history. The world is teeming with passionate people who are dissatisfied with the way things are being run in our name.

200%: Why do you think that American artists in the 60s like Bob Dylan, Joan Baez and Pete Seeger and the Punk generation in the UK in the 70s felt the urge to express their discontent and write music with political content whereas today’s artists hardly show any interest at all?

Matt Johnson: When we think of the 1960’s and the 1970’s as an era of great political song writing are we oversimplifying and overrating things somewhat too? Were they really that much better than the 1940’s, 1950’s or even the 1980’s come to that? Yes, there were a handful of very powerful innovators to be sure but there were also so many copycats and bandwagon jumpers that the picture becomes very blurred when peering back into the rose-tinted fog of time.

200%: Because record companies believe that political pop music doesn’t guarantee instant commercial success?

Matt Johnson: Due to the fashion of our times, political song writing is not that commercially desirable to record companies at the moment, therefore it probably doesn’t appeal to many young bands, whose main concern is celebrity, so it’s much a question of fashion and commerce as deeply held beliefs on the part of many songwriters.

200%: Are there any artists you can think of today who make interesting music with political content?

Matt Johnson: A large part of the problem is the intense concentration of ownership in the media since the Telecommunications Act of 1996 in the US. This allowed a company like Clear Channel Communications, a little-noticed media giant, to quietly take over many of the country’s radio and concert industries. This was a devastating blow against originality and diversity in the American music industry. It’s no coincidence that more and more so called ‘alternative’ and left-field artists are now allowing their music to be used in advertising campaigns. It’s because it’s becoming almost impossible to get on the radio and you actually get paid too! Which is quite novel really.

200%: What’s in your opinion a good political song?

Matt Johnson: The most effective political song is one which, for the listener, triggers feelings of empathy, inspiration and hope. Reaching people on an emotional as well as an intellectual level. Articulating what the listener may have strongly felt yet not quite formulated into thoughts and words ad help people realise that they are not alone.

200%: Which artist/pop groups do you think have written good political songs?

Matt Johnson: When I first thought about this question I really thought I’d have too many songs in mind. But upon much reflection the list is much smaller than I thought. Also, I realised after writing out many of my favourite political songs that most were either by or about black people. Make of that what you will. Perhaps there has to be a certain amount of tension and oppression for great music to come about?

‘Strange Fruit’, popularised by Billie Holiday but actually written by a Jewish schoolteacher from the Bronx, Abel Meeropol, under the pseudonym ‘Lewis Allen’. This song became a regular part of Holiday’s live performances and she apparently approached Columbia records about recording it but was refused due to the subject matter. She then recorded it with Commodore, a smaller alternative Jazz label. It become the anthem of the anti-lynching movement and may well have helped plant some of the seeds in what was to later become the civil rights movement. It is a shining example of the power of songwriting. (FOR THE FULL LIST PLEASE VISIT www.200-percent.com )

200%: Have you got the idea that songs with political lyrics can change the world?

Matt Johnson: I do think a great song can provide a certain focal point but any lasting change has to come about by mass movement (as in the earlier example of ‘Strange Fruit’ and the anti-lynching and civil rights movements) and not by a single individual’s contribution. Songs and music are just threads in the wider fabric of our culture, not the fabric itself. I don’t believe in figureheads but I do believe in mass movements. As soon as you have figureheads and personality cults you have the poison of ego, megalomania and the struggle for power. That’s where the trouble starts.

200%: Which political issue in the world screams for a political song right now?

Matt Johnson: My goodness, there are lots of issues that young songwriters should be chomping at the bit to tackle. Of course it all depends on perspective though as there are British issues on the one hand and more global concerns on the other.

But for a start …

-The War on Terror and trying to understand how we got to where we now are.

-The brazen political hypocrisy of our leaders. We continually hear the mantra of no negotiation with terrorists? So they just arm and support them instead? Remember the Contras? And who sold Saddam Hussein his weapons? But what about the negotiations with the ANC, IRA and PLO? Even George Washington was considered a terrorist by the British at one point. Dialogue is the only way forward.

-Climate change. Well, time is running out as fast as the snows on Kilimanjaro with this one! What to do except batten down the hatches or head for the high ground!?!

-The bastardisation of our political vocabulary. This dreadful management/marketing/advertising jargon which has infected our language. Political debate seems shrouded in euphemisms.

-The rampant greed of corporations, the corruption of our political system by cash and the subsequent distorting of truth by the paid consultants and ‘experts’ of wealthy lobby groups. In Britain we seem to be selling off of everything for foreign ownership. From state assets like water, electricity, gas, airports, ports, defence contractors, even the London stock exchange, Premiership football clubs, large swathes of our housing stock, not to mention our food companies and farms. Nothing is secure from being sold off in UK PLC.

200%: Some of the songs you wrote became a reality like ‘Heartland’. Did you foresee that this was going to happen?

Matt Johnson: I’m just a voracious consumer of news and current affairs and it seemed pretty obvious, even back in the 1980’s, that Britain was becoming unhealthily dominated by American culture generally and by American foreign policy specifically. The unbalance in this relationship has continued upon this trajectory in the 20 years since I wrote Heartland. We are now in a situation where most of the UK’s foreign and defence policy is formulated and dictated from Washington and yet the people who scream the loudest that we are losing our sovereignty to the Europe Union don’t even bat an eyelid about this.

200%: The media are getting stronger and stronger and have a huge influence on the news and (in America) are even making the news. What do you think this will lead to?

Matt Johnson: The power, or perceived power, of the media in Britain has led to some real problems with our democracy. Because the Labour party lost four successive elections, due in some part to the fact that the majority of the press in the UK is right wing, it decided upon a course of information management known as ‘spin’. So much more poison has been injected into the bloodstream of politics because of this policy. You can’t just blame the politicians because the journalists are equally to blame but we now have everyone wondering why turnouts at elections are reaching all time lows and why politicians (along with journalists) are the most disliked and distrusted of all the professions.

200%: Do you believe that governments and the media form a pact trying to control and redirect the mediative consciousness of the public?

Matt Johnson: No, I don’t think it’s a self conscious conspiratorial pact but it’s just that systems of power have ways of sustaining themselves. It’s in the mutual interests of all those in power to stay in power. And the reason that corporations and individuals accrue power is quite simply to wield it.

200%: In relationship to your other work how highly do you place the quality of your more ‘political’ work and how important is to you personally?

Matt Johnson: I don’t make the distinction between my political and non-political songs. Only between my good and bad songs. All songs, both good, bad, political and non-political are pages ripped from the same diary. For instance, like many people I would imagine, my thought processes during an average day veer all over the place.

200%: You mentioned ‘Climate change’ as a potential political issue in the world which screams for a political song right now. Do you have the feeling that the public awareness of this problem is growing in the world? (Look at the impact of Al Gore’s film ‘An Inconvenient truth’ and Vanity Fair doing ‘A Green issue’)

Matt Johnson: Well, I no longer think lack of public awareness is the issue. It’s really the lack of leadership shown by the developed world’s governments. They are failing to fully grasp the issues and missing the chance to lead from the front. We also now have the problem of the massive and rapid economic rise of China and India. How can the West tell them to reduce their emissions without leading by example.

But, contrary to popular belief I am an optimist and I remain convinced that we will somehow extract ourselves from this mess. The world, by necessity, will need to be a very different world from the one we have grown up in. But that’s ok.

For the full 16 page in-depth interview please visit www.200-percent.com

SWEET BIRDS OF TRUTH

I was in Sweden as I watched the Earth shaking events of September 11th unfold on television. I’ve always felt a deep connection with, and affection for, New York City and it’s people so those harrowing scenes left me in a state of fevered astonishment. Slackjawed. It was also a combination of luck and timing that meant I was here rather than there. My apartment is not that far from where the World Trade Center is (or was) and as I watched the intimately familiar buildings and streets of my adopted home succumb to the devastation I felt a mixture of relief, that my family were with me over here, and guilt that I wasn’t with my friends over there.

Like most people my thoughts have been with the thousands of ordinary people and the courageous emergency workers who died deaths of unimaginable terror in this catastrophe. Against that blue September sky what greater contrast could there be between acts of incomprehensible violence by some and the selfless acts of heroism by others?

But my thoughts inevitably started to drift towards another dimension of this tragedy. The mindset, perpetuated by certain politicians and media in America and the West, that the world really can be divided that neatly between good and evil. As recruitment to the US armed forces booms and record numbers of stars and stripes are handed over the counter to a population increasingly whipped up into the patriotic hysteria of war, should not the question now being asked be not ‘how’ the USA was attacked but ‘why’?

From bombing civilians in every corner of the planet from Iraq, Afghanistan, Sudan and Yugoslavia without troubling to listen to the United Nations, to maintaining chains of crippling embargoes against disobedient regimes as well as the CIA’s funding, training and arming of brutal dictators like Suddam Hussein and murderous terrorists like Osama Bin Laden, America and it’s Allies have been guilty of heinous crimes themselves over the past few decades. How many more monsters are being trained and armed behind our sleeping backs even at this moment? How many more dragon’s teeth are being sown for future generations of innocents to reap?

Violence begets violence begets violence begets violence and rather than creating ever more fertile breeding grounds of hate while bombing people ever deeper into despair and chasing them ever further into the clutches of extremists might not our best defence against this nightmare simply be a more humane foreign policy? Instead of declaring war on phantoms and shadows shouldn’t we declare war on global injustice?
It’s impossible to avoid the awful realisation that what the West has been visiting upon others for years is finally being visited upon the West. If you listen carefully you can hear the eerie sound of wings flapping as the chickens start coming home to roost.

THE THE vs THE CORPORATE MONSTER

THERE’S NO POINT IN ASKING, YOU GET NO REPLY

I know what questions to ask in order to find out when people are doing their jobs and then they’re not. Artists are often able to gain the confidence of record company employees who’ll tell us things about their company they won’t admit to their bosses or co-workers. Though most are afraid to admit it publicly morale is now very, very low at the Universal conglomerate (at least 6 people I’ve worked closely with on my new album have walked out on the company and I know of several more who are planning to follow soon) The Seagrams takeover and subsequent merger of Universal and PolyGram was very traumatic, not only for many artists on the label but also for many of the employees. There are many decent hard working people in this company who wanted to work in the music business for all the right reasons but now find their hands are tied behind their backs as they are not allowed to get behind the projects they really believe in. Seagrams bottle drinks and music using the same machine and the sheer incompetence of this conglomerate just beggars belief. To fully list All the cock ups that have utterly undermined and ruined the release of NakedSelf would take all day and I’d like to stress the positive changes I’m anticipating in the industry rather than whinge and whine about the past year’s mistakes.
Suffice to say it has been the most disastrous episode of my entire career.

THE REAL QUESTION IS THIS

The million dollar question for all artists associated with this bloated company, and this is where it gets interesting, is this: Is this really just sheer incompetence or is this wilful neglect? Because it does seem that nothing/Interscope/Universal can be very aggressive and successful with a certain type of popular music, so it begs the question that is it not really the fact that to pay for that preposterous merger, and in order to pacify their shareholders, Seagrams had to promise to make cutbacks rather than investments for future profits? Was an executive decision taken to only back acts that they thought were ‘sure-fire’ instant commercial hits palatable to corporate radio stations, rather than take a chance on any artist that doesn’t conform to this bland criterion?

SOMETHING FOR NOTHING

I loathe censorship even more than piracy and increasing numbers of artists are now becoming victims of censorship by apathy and neglect. They just cannot get their music heard through the traditional channels.

As nothing/Universal/Interscope seem either incapable or unwilling (or both) to distribute and promote my album properly, and as they’ve refused to give it back to me, then I’ve been forced to consider alternative ways of reaching my audience. After much deliberation I have therefore decided to offer free downloads of NakedSelf on a song by song/week by week basis from my official site. www.thethe.com. By doing so I hope more people (including the bulk of my audience) will finally get the chance to hear this album and hopefully support me by purchasing this CD and future releases. For me to just walk away from NakedSelf now would be like leaving a baby on a doorstep and I just can’t do it.
I believe in this album too much.

This is not a decision I’ve taken lightly, because as some of you may know, I’ve been widely quoted in recent months regarding my opposition to Napster. As musicians and songwriters, as in other professions, we have dedicated our lives to our art and craft and now face a situation of people stealing our work and passing it around the world for free. No one who has ever done a hard days work for a days pay would expect others to work for free, why should musicians?
it’s also a sad fact of life that the general public are still fairly ignorant as to how unfair most record company contracts really are. The artist pays for everything yet owns nothing. To receive fair and accurate royalty accounting he/she has to be able to afford to send in a team of auditors every few years to examine the books and this costs thousands of dollars to do properly. Most artists with more than a couple of years experience now sadly accept that the industry is run on principles of institutionalised corruption.

The record company position is this; If you want your money you can come and find it. If you can afford to find it then you’ve obviously earned so much that we can afford to give you some.

THE ONLY THING THAT STAYS THE SAME IS CHANGE

This weird period we’re going through in our industry right now feels both daunting and exciting and in a way reminds me of where I came from. As a teenager I was turned down by every indie and major label in the UK at least
three times before I finally got a recording contract so in the meantime I started producing and selling my own cassettes at the various gigs I attended.
It was a liberating and empowering experience and taught me how to stay positive in the face of apathy. When you get knocked to the floor you have a choice, you can either curl up in the foetal position and die or you can climb back onto
your feet and fight.

Matt Johnson/TheThe