PDB: Can you pitch the latest LINEAR OBSESSIONAL RECORDINGS release in 25 words or less?
“Tulse Hill” by Hannah Marshall is an introspective solo cello album, built around hypnotic repetition and strange extraneous noises.
PDB: What music, books, films or television shows have floated your boat recently?
I loved David Peace’s “Occupied City” – probably his most experimental yet, but so well researched and compulsive he really captures the true horror of the way crime effects ordinary people. I also really enjoyed Kate Atkinson’s “Started Early, Took My Dog”, which reminded me of my Barbara Vine kick of a few years ago.
I recently watched “The White Ribbon” which is still reverberating round my bonce.
Music – Petrels, Joni Mitchell, Vic Godard, Evan Parker, Chic, Bob Dylan…
Also,can I add http://www.mobydickbigread.com/ to my stuff that I like? It’s an amazingly inventive thrilling serial…with terrific artwork and more terrific readers. What the internet is for.
Unless you’re one of those weirdos who only listen to yourself, I don’t see why not. I listen widely, even though the music I produce or distribute is generally classed as “experimental”, so I’m rarely thinking “could I do better?”
PDB: Do you have any interest in writing music for films, theatre or television?
Yes, and I have done a bit – the last was the soundtrack for Clive Shaw’s “True North” a brilliant animated film about a polar bear. On the whole it seems a hard area to get into.
PDB: How useful or important are social media for you?
Quite important – although I kind of resent it too! I can’t see me ever using Twitter though and I recently deleted all my blogs.
PDB: What’s on the cards for the rest of 2012?
An EP with Alex Charles, recording with Foulkestone and the Horse Trio. Concentrating on noisy solo work too. A gig with loads of others at Cafe Oto for the wonderful Mike Cooper’s 70th Birthday. New releases on Lin Ob from Kev Hopper, Alex Charles, John Love, Jude Cowan Montague, Hanetration etc. Boxing day tour with Blackheath Morris. Possibly a compilation album of my old songs – to say goodbye to them…
RICHARD SANDERSON’S BIOG:
I’m originally from Middlesbrough in the North East of England, but I’ve lived in London since 1985. I started off playing guitar and singing in punk and post-punk bands in Teesside. The most successful of which, Drop (1978-1979) was championed by Julian Cope who praised the band’s “sheer confidence and succinctness”. Drop have been dragged out of retirement a couple of times in the 21st Century, and may be again. In 1980 I released a 12″ EP with the band Tick Tick that has remained resolutely underground ever since.
Since arriving in London, I gravitated towards the improvised music scene, initially playing toys, samplers and electronics alongside musicians such as Adam Bohman, Mark Browne, Mike Walter, Mark Wastell, Chris Burn, and others before joining the band Ticklish with Kev Hopper, Phil Durrant and video artist Rob Flint. Other groups I was in included Kelsey Michael’s widescreen pop octet “Minnow” and a trio with Steve Beresford and Anna Homler. From the late ’90s onwards I played many gigs throughout the UK experimental scene as well as at festivals in Germany, Austria, Holland, Denmark and France. I was also active as a promoter, organising clubs such as The Club Room (with Mike Walter and John Russell), Reaction Time, The Departure Lounge and Baggage Reclaim. For nearly 10 years I was a director of the London Musicians Collective.
In the last 7 years my interests have widened to include traditional English music and dance, taking up morris dancing (with Blackheath Morris Men) and the melodeon (a diatonic button accordion). These interests are also reflected in the group Foulkestone (with Jude Cowan Montague) which performs traditional songs with modern accompaniment. As well as playing solo gigs with amplified melodeon, I play in the Horse Trio with Sue Lynch (saxophone and flute) and Hutch Demouilpied (trumpet), and in duos with Paul May (drums) Clive Pearman (guitar and banjo) and Steve Moyes (‘cello). I’m also continuing to make music with Mark Spybey and my cousin Mark Sanderson – a collaboration that has lasted 38 years.
In 2012 I started the netlabel Linear Obsessional Recordings to release music by experimental musicians from around the globe under a Creative Commons licence.