Wednesday, 16 May 2018

Shooting in the Woods

When it comes to locations for band photo shoots Dayglo Fishermen almost always chose somewhere local to where they are recording or performing. There is never a desire to go anywhere even remotely exotic. The band likes to keep things authentic and maintain as close a connection as possible to the music.

During the band's early years, from 1990 to 1994, there was one location in particular that Dayglo Fishermen visited for photo sessions: the woods on a hill to the west of Hexham, Northumberland, just a short walk from what was then the band's only production facility: Artlite Studios.

The first major shoot in those woods was in early 1992 during the recording of the 'Magic Organ' album. The photographer, Mark Chapman, masterfully captured the tension of the music and the mood of the band, with the straight and almost bare trunks of the trees in the background adding a level of bleakness and melancholy to the scene.

The official photo from the first Hexham woods shoot in 1992, taken during the production of the 'Magic Organ' album. From left to right: Peter Fothergill, Sean Wills, Richard Burton and Eamonn Maddick.

Another photo from the 1992 shoot.


An excellent group photo, but missing the dramatic angle of the one finally chosen


The second major shoot was a year later in early 1993. Dayglo Fishermen now consisted of just Peter and Richard, and the shoot was for the cover image of the forthcoming album 'The Dayglo Fishermen'. The photographer, J. Lorne Inglis, needed to create a lighter and more contemplative impression, and he succeeded. The resulting photos, especially the one finally selected for the cover, illustrate the dramatic change of mood in the band from the previous year. It was a perfect complement to the album's music.

The success of the shoot is all the more impressive if the weather is taken into consideration. It was a bitterly cold and grim day, and the lack of any insulating clothing meant that the band suffered considerably, with fears of hypothermia mentioned in the notes. Such torturous conditions are not apparent in the photos, which is a testament to the band's professionalism. Or perhaps the band was simply in a state of cold-induced delirium...

The photo chosen to feature on the cover of the band's 1993 album 'The Dayglo Fishermen'. Peter Fothergill (left) and Richard Burton.

The chosen photo as it appears on the 'The Dayglo Fishermen' album cover. Design by J. Lorne Inglis.

Interesting close-ups, but not quite right for the album

If a print of this photo was found in an attic it could well be mistaken for one that was taken in the late 19th century

Within a couple of years of that 1993 photo shoot the woods were cut down. The landscape became truly desolate, but it may well have appealed to Dayglo Fishermen had they not long since moved south to a slightly warmer climate. The woods, so I'm reliably informed, were soon replanted and have since grown back to their former glory.

If the band becomes nostalgic perhaps they'll be found in those woods again one day.


Thursday, 1 February 2018

Instruments of Mass Destruction

In an exclusive article, Dayglo Fishermen band member Richard Burton finally reveals the influences and secrets of the incredible guitar sounds he creates for the band's albums...

Through the years fans have continually asked me how I achieved certain sounds and effects from my guitar as heard on classic Dayglo Fishermen songs. Now I’m finally going to reveal all! 

Northern Days

The first ever recording of my guitar work took place in March 1988 (yes that long ago!) at Peter’s studio on a track called ‘Secrets of Passion’ which employed my first classic guitar set-up of Hohner Stratocaster (the blonde one, below), Carlsbro Hornet 45 watt combo and Pearl chorus and Ibanez analogue delay pedals. It's a very 80’s sounding set-up which can be heard all the way through our first solo album ‘L’Amour de la Vie’, think Andy Summers, The Edge etc.

The guitars used on Dayglo Fishermen's albums, seen here at the band's Cozmic Studios production facility

This sound was soon supplemented with an Ibanez flanger pedal which featured heavily on the next couple of ‘solo’ albums with Peter ‘Sensations Without Thoughts’, ‘Love’s a Dangerous Language’ and especially on ‘Curious Comforts of Obsession’ on tracks like ‘Spirit’ and ‘Opium’.

In a parallel universe a band called the Dayglo Fishermen was stirring! Enter David (Dave) Fothergill who would use my equipment on the first Dayglo Fishermen album ‘Drenched’ to great effect. There is some nice ambient guitar throughout the album especially on ‘Easy Projector’.

Loving the first Dayglo Fishermen album so much, and having worked with Peter over the past few years, I pushed myself into the band! And so began my journey with the Dayglo Fishermen.

The first album I worked on was ‘Strange Plaice’ from 1991, which is probably the most fun I have ever had in a recording studio – lots of jokes and cartoons come to mind! But as far as the guitar was concerned I was finding my feet, trying to mesh with the keyboards and add something original to the mix. The sounds were a mix of delay, chorus and flanger with occasional overdriven guitar (through my amplifier), trying to emulate the sounds/styles of Prince, Cocteau Twins, Def Leppard etc.

Recording 'Strange Plaice' at Artlite Studios, circa January 1991. I'm in the centre holding my Hohner Stratocaster. Such sessions were cramped, frenetic and fiercely creative. The other band members (left to right) are David Fothergill, Peter Fothergill (back left), Peter Carmichael and Eamonn Maddick. Top right is Richard Carmichael, who was a guest artist on the previous album, 'Drenched', and who just happened to be visiting the studio.

This sound was employed for the next few albums – ‘Fresh Gin’, ‘And So It Is’ – but change was on the horizon.  Around early 1992 the musical world was waking up to heavier guitar oriented music in the form of Grunge and ‘Achtung Baby’. Not that we could ever emulate this sound, nonetheless we certainly went for a heavier guitar sound which was reflected in our ‘Magic Organ’ album, along with darker lyrics and more metallic keyboards. The main guitar sounds on this album were compressed distortion from guitar effects (various boss effects borrowed from fellow band member Eamonn Maddick) and an over-driven guitar amp along with some delay – please note that there was little chorus or flanger used which was unusual for me at the time – have a listen to ‘Hate’, ‘Silent Scream’ and ‘Burn the Flag’.

More change was on the horizon with a major line-up change to the band, or should I say split. To cut a long story short we parted ways with Sean and Eamonn and so it was back to just me and Peter. The resulting album ‘What the Hell’ saw a more refined guitar sound, and so did the following album 'Keep to the Path' – check out ‘Loving the Enemy’ – with a strong use of delay and chorus, but it was with the next album that the guitar stepped up a gear.

The ‘The Dayglo Fishermen’ album from 1993 was our most accomplished to-date, incorporating a mix of ambient, dance, prog. and rock influences and this was reflected in the guitar sounds and set-up. The set-up included a new guitar – a Fender Stratocaster (the Black one in the earlier photo) and new effects - Boss Compressor/Sustainer pedal (see below) and most notably an Ibanez Wah Wah pedal. Songs which showcase the new sounds include ‘For a Day’, ‘Trash’ and ‘Down and Out’.

The Boss effects pedals

The following albums ‘Animate’ (1993) and ‘Big Spoon’ (1994) featured a similar guitar set-up but more refined. And so ends our Northern Chapter.

South Bound

In the autumn of 1994 the band relocates to the South East of England (London and Buckinghamshire) and we start work on a new album in late 1995 with a brand new member - vocalist Ginny Owens. The 1997 album ‘Space Dog’ features an eclectic range of guitar styles and sounds, which fit the broad pallet of songs. Two songs which stand out from a guitar perspective are ‘Worlds in a Room’ and ‘Space Dog’.

A more complete and assured guitar delivery was achieved on the next album ‘Painting Aliens’ (1998), featuring new sounds from my Fender Deluxe 122 50W amp, Aria Pro multi-effects unit (chorus, delay and EQ) and Boss Turbo Distortion pedal (shown above). A bigger much fuller sound was achieved throughout the album but most notably on tracks like ‘Underground’, ‘Passion’ and ‘Painting Aliens’. Of note during this period I was influenced by guitarists such Robin Guthrie, The Edge, Johnny Marr, Robert Fripp etc.

Rare images of me during the recording process - Left: preparing to record for the 'I Can See a Boat ... It No Longer Floats' album in early 2006. Right: working with Peter on the 'Midnight Souls Still Remain' album in 2014.

Over the next few albums - ‘Comet Nerdlinger’ (2001), ‘Queen of the Sunset City’ (2003) and ‘I Can See a Boat ... It No Longer Floats’ (2006) - the guitar sounds mature and are supplemented by new guitars - Fender Stratocaster (the red one), Epiphone Les Paul, Takamine acoustic guitar, and my favourite effects unit – the Boss ME-50 multi-effects unit (see below). From a guitar perspective, highlights include ‘Requiem I’, ‘Soncabaret’ and ‘When Summer Ends’.

The Boss ME-50 multi-effects unit

Recent Times

And so to recent times with the release in April 2010 of ‘Moons That Cast Their Light’, and ‘Midnight Souls Still Remain’ in October 2015. Both albums are the pinnacle of the creative path the Dayglo Fishermen have undertaken over the past (nearly) 30 years, with strong creative songs and some of my best playing and sounds to date. All this and Sean coming back to the band, too! 

Songs ’Never a Shadow (Without a Light)’, ‘Out of the Picture’, ‘Fractured Heart’ and ‘Midnight Souls Still Remain’ encapsulate this new found song writing confidence and creative streak.

My latest guitars

From a soundscape perspective the guitar sound benefited from new equipment including new guitars - Schecter Omen Extreme and Fender Telecaster (the blue one, above), Marshall 100w combo amp (see above) and Zoom G1XN multi-effects unit (below).

The Zoom G1XN multi-effects unit

A New Chapter

The story does not end there though. Work is already underway on our next album, which promises to be predominately instrumental and a return to some of the themes of earlier albums such as ‘Big Spoon’. Already there is some interesting guitar laid down on our new state-of-the-art 32 track recording system… so watch this space for more news.

In the meantime, happy plucking!

Richard Burton - 12 January 2018

Full Equipment List


Effects:

Pearl chorus pedal
Ibanez analogue delay pedal
Ibanez flanger pedal
Ibanez Wah Wah pedal
Boss compressor/sustainer pedal
Boss turbo distortion pedal
Boss flanger pedal
Aria Pro multi-effects unit (Chorus, Delay, EQ)
Boss ME-50 multi effects unit
Zoom G1XN multi-effects unit

Guitars:

Hohner Stratocaster (Blonde)
Fender Stratocaster (Black)
Fender Stratocaster (Red)
Fender Telecaster (Blue)
Epiphone Les Paul
Schecter Omen Extreme
Takamine acoustic guitar
Custom Precision bass
Yamaha TRBX174 bass

Amplifiers:

Carlsbro Hornet 45w amp
Fender Deluxe 122 50w amp
Fender Mustang practice amp
Marshall 100w combo amp


Monday, 1 January 2018

Space Dog - The Pound of the Hound

The summer of 2017 was the 20th anniversary of the release of Dayglo Fishermen's 'Space Dog' album. The anniversary passed without fuss, which is a shame as the album was a significant milestone in the band's history and development, and something well worth celebrating.

Now is certainly a good time to look back on how that album came about.

'Space Dog' CD album cover - design by David Fothergill

In late 1994, following the release of their album, 'Hocus-Pocus', other commitments forced Dayglo Fishermen to place all production on hold. The two band members, Peter Fothergill and Richard Burton, were heading south to London, and their Northumberland production facility, Artlite Studios, where the band's first 11 albums were recorded, had to be closed.

It was not until March 1996, 17 months later, that Dayglo Fishermen began working on their next project, this time in their new Buckinghamshire production facility, Opium Studios. More importantly, though, the band had recruited a new lead vocalist, Ginny Owens.

Ginny was not given much time to settle in. A few months after she joined the band they performed live at The Garage, a small private venue not far from the band's production facility. Unusually the audience was given a sneak preview of some of the songs already completed for the new album. It was no doubt a tantalising event.

A rare image of the band performing at their first 'Garage' concert. It is the first time Ginny performs with the band. The select audience was treated to several songs from the unreleased 'Space Dog' album.

With the release of the album approaching the band arranged a photo shoot. It was very formal, conservative, and even a bit sombre considering its purpose. It was not at all what would be expected. Perhaps that was the intention: to confuse and surprise, even to shock.

The unexpectedly formal band photo for the 'Space Dog' album cover

Following the photo shoot, former band member David Fothergill was asked to design the cover image and inserts. An image he had designed the year before, showing an unusual dog in a snow-covered country lane, was chosen for the front cover. It was that image that gave inspiration for the album's unusual title.

Dayglo Fishermen performed another live concert in the spring of 1997 at the Rock Garden in London's Covent Garden. Again many of the new songs were played, including the recently completed title track, 'Space Dog'.

Dayglo Fishermen performing at The Rock Garden in London during March 1997. The gig was largely a preview concert for the 'Space Dog' album (released several months later). Songs performed included 'Under the Water', 'Worlds in a Room', 'Turn You On' and 'Space Dog' (which was the opening track performed).

After a year and a half in development, and after being digitally mastered (a first for the band), the 'Space Dog' album was released during the summer of 1997, and for the first time a Dayglo Fishermen album was available in CD format, as well as cassette.

'Space Dog' album cover - cassette tape inlay - design by David Fothergill

It's time to examine the album itself...

Composed to accompany the iconic album cover image, the opening track 'Space Dog' is an epic song about an awe-inspiring, reality-splitting and space-travelling dog.  The dog arrives on Earth in England during the depths of winter. She travels to the far north of the country, apparently having a great time, and then heads back into space to continue her interstellar quest, the nature of which is never revealed.

The song begins with a slow countdown, and then a hard rhythm kicks in, accompanied by guitar and a rather grungy keyboard riff. The mid section drops down to drums and guitar for a while, before building up to a new synth arpeggio and guitar solo. This is followed by a verse filled with a sample of the NASA radio conversation with Neil Armstrong as he prepares to step down to the Moon's surface. Perhaps it's that transmission that Space Dog detected, and which persuaded her to head in our direction.

At almost eight minutes long the song is the longest track on the album, so starting with it could have been an unwise decision. Fortunately the track is one of the album's most memorable. It's a fine way to kick things off.

The much lighter-feeling 'Turn You On' comes next. It is catchy pop song, dominated by melodic bass and guitar, and punchy drums, with organ keyboard sounds lifting the chorus. The song is an ideal live track, and was performed many times, including at the first Limelight Theatre concert in 2008.

'Worlds in a Room' brings the tempo of the album right down. The verses are mellow, with a gentle chugging guitar, soft keyboard tones, and Richard's spoken and almost whispered vocals.  But the softness vanishes in the chorus. Sustained and distorted guitar, accompanied by a rather sinister synth line, fills the soundscape. Ginny's vocals take over the chorus with the now classic line 'I surrender to you, I give you all I can'. This song works particularly well played live, and has been performed several times, including at all of the band's Limelight Theatre concerts.

The tempo stays low for the next track, 'Fly in the Wind'. But, perhaps thankfully, the tension has all but gone. Despite a decent dose of melancholy, the track manages to relax the listener with its smooth guitar and mellow synth brass melodies that seemingly drift off to infinity. Ginny's vocals enhance that effect even more, and exhibit a fragility that she would come to develop and use to great effect on later albums.

There are actually two earlier versions of this song, both of which were featured on the 'Animate' album in 1993.

Coming next is 'Things Fall Apart (The Centre Cannot Hold)'. Edgy and mildly disturbing, it builds slowly from a repeating synth, adding drums and then bass and then guitar, and finally vocals. Feelings of menace and even dread are evoked as the hypnotic rhythm grips the listener to the end. It's quite a contrast to the previous song, and perfect preparation for the next.

Continuing on from the edgy and menacing feel of the previous song, 'Under the Water' starts with a tense siren sound before launching straight into a heavy rhythm. Soft and distant synth melodies add to the atmosphere, with occasional calmer sections of electric piano providing a respite from the tension. The song is one of the standout tracks on the album and has been performed live several times.

'Cool' is a melodic mid-tempo song that sits well at the album's halfway point. The song seems to be about someone experiencing a form of extended consciousness, or at least some wild visions. As the song progresses things get even stranger, with mention of 'The Guardians' (perhaps the same ones mentioned seven years earlier on the song 'Easy Projector') and a golden dome. Interesting. Very interesting.

A smooth synth bass line kicks off 'Half Moon Junction'. It's a light mid-tempo pop song with Richard singing the verse and Ginny taking on the chorus. The middle section drops down to a swelling synth pad before the rhythm and guitar return, culminating in an unexpected pan pipe solo. The track has a very clean and refreshing sound to it, and certainly deserves its place on the album.

Dominated largely by a continuous and heavily reverberated piano line, 'Diving For Pearls' brings the tempo and mood right down. It's Richard''s turn to demostrate fragility as his vocals convey an impressive sense of suffering. As the song progresses the soundscape is developed by deep and echoing sounds. A gentle synth brass sound - a common theme on the album - fills the middle section. Distorted guitar makes an appearance in the closing moments of the track, rightfully kept in the background as the piano plays its final notes.

Although appearing towards the end of  'Space Dog', 'Shadowlands' was the first song to be recorded for the album. Most notably though, it is the first ever Dayglo Fishermen song to feature Ginny's vocals. The track begins with mellow synths and guitars, and then a gentle vocal by Richard eases us into the first verse. The first chorus erupts with drums, bass and piano, with Ginny's voice taking control. It's a simple and melodic composition that sits well within the distinctly lighter second half of the album.

The next track is 'It's Only Pleasure', which is actually the third incarnation of the song. The first version of the song appeared in 1993 on the 'Animate' album. Its catchy delayed synth and guitar riffs proved so popular with the band that a new version was recorded for the 'Hocus-Pocus' album the following year. This latest version rides on the success of the first two with a simpler and less delayed arrangement. A worthy addition to the album.

Adding '2000' onto the name of things seemed to be a fashion in the nineties, and Dayglo Fishermen follow that trend here. 'Minneapolis 2000' is remake of 'Minneapolis' which featured on their 1994 album 'Big Spoon'. Everything about the track is pleasant, from the smooth keyboards to the silky deep bass and the gentle guitar. Unlike the original, which featured the casual ramblings of a native Minnesotan, this version paints a lyrical picture of the city of Minneapolis, including a reference to the Claes Oldenburg sculpture 'Spoon Bridge and Cherry' situated in the Minneapolis Sculpture Garden, an image of which was used on the 'Big Spoon' album cover. A reference is also made to 'The Tower' (known officially as the 'IDS Center'), which is actually the skyscraper on which 'DGF' is written on that same album cover.

The album finishes with 'Close Your Eyes'. It's a simple and mellisonant track, most notable for its frail and nervous vocals sung by guest artist Kate Archibold. The song was not originally recorded for this album, but for Richard and Peter's other work, 'Opium', in 1994. This is that exact same version. According to the production notes Kate was not used to singing in a studio environment so the nervousness in her voice is probably genuine, which makes the song all the more endearing.

It's interesting to note that there is actually an earlier version of the song. The original version of 'Close Your Eyes' was released in 1992 on the album 'After the Storm', another of Richard and Peter's other works. That version features Richard's voice, is much longer and consists of a more complex arrangement. It was certainly wise to create more space in the instrumentation for Kate's voice in the later version.

I've left 'Night Boat to China' until last. It was not included on the original release, the reasons for which will become obvious if you listen to it. It was later added as the album was made available to download. At over seven and a half minutes long 'Night Boat to China' is the second longest track on the album. It excels in monotony, but it can actually be quite hypnotic if listened to in the right mood. Amazingly the song was the first song played at one of the Garage concerts. Worth a listen, though perhaps just one time.

The 'Space Dog' album was the beginning of a new era for Dayglo Fishermen, an era of more structure and polish, and of more considered orchestration. It saw what appeared to be the end of the band's wild experimentation, and with it the apparent loss of innocent fun. But actually the band had simply evolved and steered itself in a new direction. The band were now operating on a completely different level.  The album demonstrated that Dayglo Fishermen had not lost any of their creativity or passion - far from it, and it laid the groundwork for what was to come: a series of intensely original and professional collections of work with a maturity rarely apparent on the early albums.

That space-faring canine is to be saluted. Long may she roam the galaxy.


Tuesday, 17 October 2017

Bizarre Song Titles

With well over 300 tracks available to download on their official website, Dayglo Fishermen have created an incredibly varied back catalogue of music. It's a tremendous collection of emotive, inspirational, serious, haunting, and more often than not, bizarre compositions that can impress and bewilder in equal measure. And that is probably the intention.

But it's not just the content of the songs that can leave the listener perplexed. Some of the song titles can have the same effect, and more often than not seem utterly disconnected from the lyrics or music. Here are some of the strangest, and the story behind them (if there is one).

Blue Container

The song 'Blue Container' is the opening track of the band’s debut album, 'Drenched'. Released in 1990, the track is the aural equivalent of Red Bull, and a highly potent way to kick off the band's first ever release.  It's also likely to be have been the first experience of Dayglo Fishermen's music for many.

The Italian/piano house-influenced track begins with someone arriving at the door asking about a party. Judging by the echo the party is in a large stone building, maybe a castle - a premonition perhaps of the band's first live event at the ancient Moot Hall in Hexham the following year.

A blue container, photographed by the band on the Northumberland coast in 1990, shortly after the release of the 'Drenched' album

The unusual name of the track has no deep meaning at all. It is simply a variation of 'Black Box', the name of a popular house music group at that time. Apparently the band thought the piano on the track was very similar to that on on the song 'Ride on Time', which indeed it is.

T.E.S.

Like all the band's early albums, the album 'Strange Plaice' contains many bizarre song titles. One of the oddest is 'T.E.S.'. The track features lengthy samples of tribal singing, recorded by chance as the band flitted through radio stations searching for inspiration. The samples are underpinned by a melodic reggae-style bass and guitar rhythm, and pan pipes.

Tribal singer

Dayglo Fishermen had no way to translate what was being sung, and to this day the language of the tribe remains unknown. Without inspiration from the lyrics the band had no choice but to name the song 'T.E.S.', which is apparently an abbreviation of 'Token Ethnic Song'.

'F' Creeky Siren Nook

The band's third album,'Fresh Gin', is by far the band's strangest, with almost every song and title oozing oddness. ''F' Creeky Siren Nook' has to be the strangest song title on the album.

It's almost impossible to figure out where such a name would come from until you realise that the backing music of the track is simply the band's earlier song 'Free Roky Erickson' played backwards. The title, in case you haven't guessed, is an anagram of that song's name.

But Where Were the Mice?

'And So It Is' is a short album, recorded over a very brief period in January 1992. Despite that, Dayglo Fishermen managed to create one of their most iconic songs during that session: 'But Where Were the Mice'.

Most of the lyrics were written with relative ease, but the band struggled for a while with the last line of the second verse which required a suitable rhyme for 'ice'; one that would be a fitting end to the story being told. Eventually, and in true Dayglo Fishermen style, the rather perplexing line 'Salvation was his, but where were the mice?' was chosen. After that the most appropriate title for the song must have become glaringly obvious.

Welcome to the Pteranodon

The 'What the Hell' album, released in 1992 was in many ways a transitional album. After the tense and often torturous recording experience of the previous 'dark' album, 'Magic Organ' (see the article 'The Art of Darkness'), only Peter and Richard managed to stay on as band members. The new album was lighter, fresher, and devoid of the harsh synths and guitars of its doom-ridden predecessor.

The album's final song is 'Welcome to the Pteranodon'. It has a relentless and hypnotic quality, due mainly to the heavily delayed drums, random radio tuning sounds and melodic guitar. Only the chorus contains lyrics which state 'I'm looking for the perfect life'.

A Pteranodon such as this should indeed be welcomed

Unfortunately there is no clue from either the music or the lyrics as to why the song was given its title, and certainly the countdown at the end, and the massive explosion that follows, further clouds the issue. There could well be some unfathomably deep meaning in the name somewhere just waiting to be revealed. Perhaps the Pteranodon, a huge flying prehistoric reptile, is intended as a metaphor for 'the perfect life'? That is something to be pondered.

Nag Lisa

Why 'Nag Lisa' has such a title is unknown, which is a shame as the track (featured on the 1993 album, 'Animate') is one of Dayglo Fishermen's greatest instrumentals. With a powerful non-sequenced synth line and guitar playing off each other through much of the track, and a spacial and rather dreamy mid section with its echoing piano and strings, it delivers an almost symphonic experience.

It's a truely epic composition.

'Nag Lisa' proved so popular it spawn two sister tracks on the 'Big Spoon' album the following year: 'Lisa' and 'Lisa Composed', with the original making a reappearance six years after that on the 'Dayglo Pizza' album.

Space Dog

In 1997, after a long break following their relocation to London, Dayglo Fishermen released the much anticipated 'Space Dog' album. With a new vocalist, Ginny, on board, the album took the band in a new but no less interesting and unusual direction.

The album's title track, 'Space Dog', is a bizarre tale about an interstellar dog, much revered throughout the galaxy, that travels to Earth and lands in England during a particularly cold winter. She is compelled to head north, enjoying 'a chilling place of mirth' on the way. But her visit is brief. She soon departs from what appears to be the far north of England and heads back into the void.

Space Dog

Unusually the image for the album cover and the album's title were decided long before most of the tracks were even written and recorded. The song 'Space Dog' was written to fit in with the image, which has become one of the band's most loved and recognisable album covers.

Irritating Cliché

Dayglo Fishermen's classic 1998 pop album, 'Painting Aliens' contains some of the band's most recognised songs, but the album's final track, 'Irritating Cliché', is often overlooked. This is a shame as it's another one of the band's great instrumentals.

Beginning with a deep and almost vocal synth it quickly builds to a crescendo of orchestral keyboards and guitar, before falling back to mellow and slightly melancholic second part played at half the tempo.

The original name for the track was actually 'Irritating Chloe'. Apparently it was written to intentionally annoy a local newspaper reporter who was not too complementary about Dayglo Fishermen's music. The band eventually decided against it and altered the name, perhaps because it would not be so annoying to her after all.

The music was used to great effect on the opening titles and closing credits of a short animation film, 'The Creature from Devil's Gorge'.

Nerdlinger One

The 'Comet Nerdlinger' album, released in 2001, featured a couple of unusually named songs, but 'Nerdlinger One' is certainly the oddest one.

The album name was decided during a visit to a pub not far from Dayglo Fishermen's Buckinghamshire production facility. The album was about half way through the recording process at the time. A group of grey, bearded and slightly unkempt men were seen entering the pub, and the band joked that they were there to celebrate the discovery of a new comet. The name 'Comet Nerdlinger One' was given to that fictitious comet.

Comet Nerdlinger One - the original image for the album cover that was eventually replaced by a lighter version

After a sample-filled intro of unusual sounds and the voices of child and of something not human, the track thumps to life with a high tempo bass and drum pattern and mellow synths and guitar. Those instruments soon build to a harsher sound, dominated by guitar, and then everything drops away as a spoken vocal tells the story of the comet's approaches Earth. But it's no ordinary comet. As our planet passes through the comet's tail microscopic alien life forms rain down, infecting all human life. We evaporate, and rise up to join with the comet.

Chilling stuff...

(J) Hoedown on Mars (Marsbard)

This final song title is definitely the most peculiar and surreal of them all, and we need to go all the way back to the 'Strange Plaice' album to find it.

'(J) Hoedown on Mars (Marsbard)' begins in a dreamy fashion, with the Korg M1 keyboard's signature 'Universe' sound, before a high-tempo drum and base rhythm kick in. A voice begins singing a song that is obviously unrelated in any way to the backing music. The song, sung by a local folk vocalist, is actually Plasir D'Amour by John Baez.

The track is an incomprehensible mash up of genres that must be baffling even to hardcore Dayglo Fishermen fans (and even to the band itself).

The song finishes with cheers, shouts and a round of applause from a very excited audience. Whether that's for the performance of the vocalist, or for the bravery of the band to close the album with such a song is up to the listener to decide.

It's a classic early Dayglo Fishermen experience.

There are many more bizarre song titles in Dayglo Fishermen's vast collection of music. Most of those are to be found on the early albums, but the later albums also have their odd moments. Visit the music page on the band's official website and see what you can find.


Saturday, 27 May 2017

The Live Albums

In April 2017 Dayglo Fishermen released their latest live album, 'Midnight Souls Come (a)Live'. It's the third time a recording of one of their Limelight Theatre concerts has been released (and also the band's first DVD release). Now would be an excellent time to discuss those three releases.

In the Limelight (2008)

It had been nine years since the band's previous concert at The Rock Garden in London, a period where Dayglo Fishermen had been focusing totally on their studio recordings. It was a time of fierce creativity during which the band released three albums of new material, 'Comet Nerdlinger', 'Queen of the Sunset City' and 'I Can See a Boat ... It No Longer Floats'.

With so much new material it was certainly time for a live performance, and when that performance finally happened in February 2008 at the Limelight Theatre, Aylesbury, UK, it was one that exceeded all expectations. For the first time the band felt compelled to release a live album.

In the Limelight CD cover image

And so it came to pass that Dayglo Fishermen's first ever live album, 'In the Limelight', was released in the summer of that same year.

The album captured the atmosphere and energy of the concert perfectly, and was well received. For many it was the first time they had ever heard the band perform live. The front CD cover image focuses on the audiences point of view, with the band seen in the distance rather than close up, directly appealing to those that were there on the night. The red colour scheme is a further reminder of the energy of that event.

In the Limelight - full CD cover artwork

The album's success was certainly the reason why the band did not hesitate to release another live album when the next opportunity arose.

260311 (2011)

In 2010, two years after their first Limelight Theatre concert, Dayglo Fishermen released a new studio album, 'Moons That Cast Their Light'. As usual it was a steady evolution of the band's quirky and often retro sound, with some of the tracks perfectly suited for live performance. It was therefore no surprise to anyone when the next concert date was announced. In March the following year Dayglo Fishermen performed at the Limelight Theatre once again.

This time the audience was even larger, and the band responded to that with a truly engaging performance, one that managed to exceed even the heightened expectations of those that had been present at the previous concert. It proved to be an enthralling evening.


260311 CD cover

The live album of the event, '260311', was released only three months later. Such a release so soon after a concert is quite unusual, but it was most welcome. Everything about the album was kept simple. The name is just the date of the performance, and the cover image is a straight shot of the band performing.

260311 - full CD cover artwork

It's a raw and very honest portrayal of the event, a perfect reflection of the atmosphere and nature of that night.

Midnight Souls Come (a)Live (2017)

In 2015, after five years of development, Dayglo Fishermen released their latest studio album. Titled 'Midnight Souls Still Remain', the album features a powerful set of pulsing synthesiser and guitar songs layered with some of the most haunting and evocative vocals every recorded by the band.

The band were now ready to perform live once again.

Midnight Souls Come (a)Live DVD cover

In September 2016, almost a year after the studio album's release, Dayglo Fishermen performed at the Limelight Theatre for the third time. The concert featured five tracks from the new album, and included some of the regular 'Painting Aliens' classics that had featured at all the Limelight concerts.

The live DVD album was released seven months later in April 2017. It's name, 'Midnight Souls Come (a)Live' is a deliberate link to the 2015 studio album that featured heavily during the performance.

Midnight Souls Come (a)Live - full DVD cover artwork

Unlike the previous live albums the front cover image does not feature the band in performance. It's an image of a face, serious and contemplating; a soul forming into a physical being from the surrounding elements.

It is a truly thought-provoking piece of art.

If you have been unable to experience Dayglo Fishermen live then any one of these albums from the Limelight Theatre trilogy is the next best thing to being there. Listen to them now on the music page of the band's official website.

Sunday, 1 January 2017

The First Dayglo Fishermen Performance

It's 25 years since Dayglo Fishermen first performed live.

On 21st December 1991, during a typically frigid evening in the far north of England, five of the band's members: Peter Fothergill , Richard Burton, David Fothergill, Eamonn Maddock and Sean Wills, came together at an ancient venue in Hexham, Northumberland, to perform their music for the first time.

The teaser promotion image for the gig from the cassette inlay of the band's 'Fresh Gin' album

Formed in the spring of the previous year, the band had already released three albums,and we're working on their fourth. Such a prolific spate of composition was the result of the ferociously creative energy that encompassed the band at that time. But the moment had arrived for Dayglo Fishermen to emerge from the studio and unleash their unique talents upon a live audience.

The promotional material for the band's first Moot Hall gig - left: teaser poster, right: main poster

The chosen venue was Hexham's Moot Hall. At more that 600 years old, the medieval tower was the gatehouse to the town's old gaol. It was a perfect contrast to the band’s very modern and unique electronic music.

The building's Lockhart Room on the second floor, where many centuries before the local bailiff had entertained guests, was the largest room available. With its thick stone walls and the heavy old wooden ceiling high above, the room provided the space, acoustics, and also the intimacy, that the band craved for its first performance.

The Moot Hall, Hexham - the imposing venue for Dayglo Fishermen's first ever live performance

The audience were mainly local inhabitants, along with a few curious media representatives. All were there to see one of the most original bands in a generation, a welcome departure from the usual school band rock that had saturated the local music scene.

The concert opened with something very unusual: 'Fly's Eyes', a remarkably odd instrumental track from the band's equally odd third album, 'Fresh Gin'. Somehow the music manages to create feelings of calmness, paranoia, tension, and even mild panic, and almost all at the same time. A quite astonishing way to begin a concert.

And then Dayglo Fishermen's first ever song, 'Fish', began. It's the first of seven tracks from the band's debut album, 'Drenched' that are played that evening, and at that moment in time their best known. Most bands would have left such a song for the encore. Starting with their most famous track was yet another example of the band's quirkiness, and perhaps a subconscious refusal to conform. With new synth and guitar lines, the live version differed quite significantly from the studio version, but retained the core drums and bass that fans would have wanted.

Dayglo Fishermen performing 'Fish'. Left to right: Eamonn, David and Peter

Next came 'Snatch', a sample-saturated dance track that raised energy levels even higher at the historic venue. Taken from the band's second album, 'Strange Plaice', the track pumped out its rhythm relentlessly, with live vocals appearing in the choruses for the first time that evening. The song ended in a very mellow manner, where the chatter of dolphins echoed in and out of a wash of soothing live synth tones, enhanced by the venue's natural ambience.

'Blue Container' kicked in almost immediately after. The track, Dayglo Fishermen's brilliantly executed piano house masterpiece, featured new guitars, piano and vocals, and kept the audience moving until its final notes. It was the last dance track for a while as the more synth-loaded music took a break.

The track, 'Get On', came next. The backing is simple drums and bass, giving the guitars prominence for the first time that evening. The samples of the verse on the studio version are replaced by live vocals, which gave the song new depth.

Peter, Sean and Richard fill the Lockhart Room with a dense texture of guitars and synths 

Another mainly drums and bass song followed. 'Free Roky Erickson' began with its cheesy off-beat organ riff, but without the band's now legendary psychedelic echoing voices (the band surely now wish they had left them in). With the organ enhancing the mid tempo rhythm, Peter and David sang the song as a duet - to date their only live vocal performance with the band. Looking back it was a special moment indeed.

'T.E.S.' followed. Standing for 'Token Ethnic Song', the easy reggae-style rhythm track and guitars perfectly complemented the tribal singing and animal noise samples that echoed around the venue. For some reason most of the band abandoned the stage leaving Richard to carry the song largely on his own, which he managed with ease.

Richard was the lead vocalist during the gig, and on many of the studio albums that followed

The dance tracks return. 'Words and Pictures', another track from the 'Drenched' album, raised the energy levels as it pounded out its heavy synth rhythm. The studio version is largely instrumental, with its choruses filled with a John Candy monologue from the film 'Planes, Trains and Automobiles'. The live version replaced the sample with a vocal performed by Richard - a wise decision.

'Alien Wave', another sample-filled dance track, came next. It's short, but kept the audience entertained, and probably confused, with the seemingly meaningless string of voice extracts. The track, one of the band's most popular early works, went on to have two new versions recorded for the 'Keep to the Path' and 'Animate' albums, both of which were released in 1993 (during the band's most prolific recording era).

Up next  was 'Drenched', an unusual choice for live performance, but it worked well. It's the title track of Dayglo Fishermen's first album, and largely instrumental. The studio version features a digital voice generated by a Commodore Amiga computer, quite a revolutionary idea at the time. The live version omitted it, which was a shame, but the new funky guitar riff lifted the track sufficiently to make it a worthy addition to the set.

Incredible concentration...

And then the strange and hypnotic 'Funky Toaster' was performed. It was yet another unusual choice for a live set, but also a clever one as it fitted in well with the band's image at the time. The audience were clearly amazed. The studio version once again included the Amiga computer voice, this time cleverly manipulated to give the impression it's in a drug-induced haze.

In a completely unexpected move, the band then performed the Queen song 'We Will Rock You' - a tribute to Freddy Mercury who had passed away less than a month before. As Peter performed the drums live on his keyboard, and with Richard on guitar, two guest artists sang the song to what must have been a very awe-struck crowd. It was compelling to watch.

Performing 'We Will Rock You' (during rehearsal)

'Keep to the Path', another pounding synth dance track, was the gig's penultimate track. Layered with hard guitar riffs the track resonated power throughout the venue. Yet again, the Amiga computer voice present on the studio version was omitted. It would have been good to have included at least the final line which is spoken in a mildly creepy Geordie accent.

And then the finale, 'Mondrian', began. Building quickly, the song became a wall of guitars and drums, punctuated with light pipe organs. The whole band lined up on stage, which visually reinforced the 'wall of sound' effect. It was a truly great ending to what had been an outstanding and memorable performance. Unfortunately the live version was not recorded and so will forever exist only in the memories of the band and the select audience.

The final song, 'Mondrian' - a wall of musicians unleash a wall of sound

That first live performance by Dayglo Fishermen was a groundbreaking event in the history of entertainment in Hexham. Its infectious energy and enthusiasm, its eccentricity and originality, and its divergence from normality, certainly affected the lives of all who attended. It was a unique evening, and something like it will never be seen again.

To commemorate the 25th anniversary of the concert a live album has been created with the memorable title 'Live at the Moot Hall 21 Dec 1991'. This is the first time the recording of the performance has been released. You can download it now from the official Dayglo Fishermen website.

Cover image for the commemorative 25th anniverary album of the first Dayglo Fishermen live performance 

The band returned to the Moot Hall two years (and an incredible six albums) later for one more performance at the venue.  By then the band had transformed into something different, and something a little more structured. Only Richard and Peter were in the band at that time, and they were joined on stage by the eminent Scottish artist and trumpet player J. Lorne Inglis. Sean Wills also joined the band on stage with his vintage synthesiser (Sean had left the band after the 'Magic Organ' album in 1992 and became a regular guest artist until he finally rejoined the band in 2011 to work on the 'Midnight Souls Still Remain' album).

Dayglo Fishermen have recently performed live once again in 2016, very nearly quarter of a century later. And the band still includes three members who performed at that very first gig.

If or when they'll play again is unknown, even to the band. Such forward planning is not really their thing. There'll be at least one new studio album before then.

After that, who knows?


Wednesday, 3 August 2016

Vintage Synth: Roland MKS-70

In an earlier article I discussed the Yamaha TX81Z, the classic synthesiser module that has featured on all of Dayglo Fishermen's albums.

That module is not alone.

The Roland MKS-70 is another classic synthesiser module that has also featured on all of the band's albums. Pictured below, the module, first released in 1986, was installed in Artlite Studios in 1989, shortly before the formation of Dayglo Fishermen. It's warm analogue sounds, still used in many studios today, added a depth and richness to the band's music - a perfect complement to the harsher FM synthesis tones of the TX81Z.

Roland MKS-70 - featured on every Dayglo Fishermen album

There are hundreds of Dayglo Fishermen tracks that feature this module's sounds, and there are some where the module almost takes over. One of those is 'Fish', the band's first ever song, recorded in 1990. The fast squidgy bass line that feaftures throughout is one of the MKS-70's signature patches. The relentless use of that sound is one of the reasons the song had such an impact when it was released on the album 'Drenched' later that year.


Another song on that debut album that features heavy use of the module is 'Easy Projector'. The entire intro sequence features four of the MKS-70's sounds, and the whole song is underpinned by one of the module's mellow pads, ensuring a wide and relaxing soundscape.

Surge forwards 25 years and that same module can still be heard. The final track on Dayglo Fishermen's latest album, 'Midnight Souls Still Remain', titled 'Cool People Meet', features a spacious flute-like sound that fills out the choruses. It shows the great versatility and timeless quality of the MKS-70, and illustrates just why such an aging sound module still has so much to offer, and why its popularity has yet to fade.


Despite the recent aquisition of a new state-of-the-art Roland synthesiser, the band's classic old Roland, the MKS-70, is certain to feature on Dayglo Fishermen's future albums and projects.

Long may it do so.