C86

Product Information

Yeah Yeah Noh – Good but for me they were far better last year with a short sharp hit and run set – were better off on the smaller stage Bodines - Played. Their debut on Magnet suffered as it was not an Indie label, and seemed to get lost. Recently re-issued it is brilliant, as good and album as George Best. Home | Institute of Contemporary Arts". Ica.org.uk. 2015-04-22. Archived from the original on 2006-12-03 . Retrieved 2015-06-11. Compiled by NME staffers Roy Carr, Neil Taylor and Adrian Thrills, C86 didn’t invent that jangly pop sound (if The Smiths had formed just a few years later, they’d have certainly been lumped together with the C86 crowd), but it did give it an easily identifiable tag. That fanzine-fuelled first wave helped define the sound of indie for years to come, influencing such bands as Belle & Sebastian, Franz Ferdinand and The Strokes. The C86 name was a play on the labelling and length of blank compact cassette, commonly C60, C90 and C120, combined with 1986.

Musically the band have fleshed out with two keyboard players and a bunch of new members and also a woman singer who adds a melodic flavour to Derek’s dark moribund wit. They even end the set on a dark disco number that oddly sounds like Sisters Of Mercy ground through a shambling John Peel session mix from the mid eighties…and I mean that in all the best possible ways.Along with the Smiths, MBV and Radiohead, the Wolfhounds were one of the greatest UK bands from the 80's and 90's. It's criminal they are not more well known, probably the greatest band you have never heard. Radiohead stole A LOT from them. This album is their 'C86' album, their masterpiece is Bright and Guilty but I wouldn't call that C86. As eclectic as C86 is, by no means does it try to encompass the entire British indie scene circa 1986. As Taylor recounts in his liner notes, “The aim […] was to take an aural snapshot of the moment. Were these acts representative of the state of a certain kind of indie music at that time? Very much so. Was C86 intended to be the be-all and end-all of independent music at that time? Of course not”. In fact, some bands refused to be included, fearing it would lead to being pigeonholed—like the June Brides, one of the major players in the admittedly loose-knit scene that C86 gathered together. That’s been rectified by the reissue, with the June Brides’ horn-punched, Burt Bacharach-like gem “Just the Same” serving as the first song on the box set’s first bonus disc. And some bands that were surely nowhere near being seriously considered in the first place— such as Happy Mondays, whose undercooked “Freaky Dancin’” is a minor skirmish of the dancefloor havoc they’d go on to wreak— serve more as a historical curiosity than a corrected omission. Tonight’s gig is a snapshot of this as unashamedly older bands celebrated their lifetime creativity in a gig that broke many of the rules. In the smaller room the Wolfhounds sounded as poetically annoyed as ever over their garage band rumble and Band of Holy Joy delivered their bar stool observations. we couldn’t catch everything but it was nice to bump into David Westlake of The Servants who played a set and Simon Barber of The Chesterfields who was playing his old band’s songs with his new project Design. There were, though, no sirens trying to lure me to my death through song. The nearest I came was when sitting in on the first rehearsal since pre-pandemic times of the Birmingham five-piece Mighty Mighty, reconvened to play to an audience of just me. But five follicly challenged men on, or just over, the brink of turning 60 do not seductive sirens make. Still, they sounded just as sprightly and glorious as they had several decades earlier, even if they now needed to take fistfuls of painkillers afterwards to ward off the effects of a four-hour rehearsal. Cherry Red's 2014 expanded reissue was marked by an NME C86 show on 14 June 2014 at Venue 229, London W1; acts from the original compilation included The Wedding Present, David Westlake of The Servants, The Wolfhounds and A Witness. [28]

That’s what ‘Know Your Enemy’ is, to a certain degree. It’s us reacting to albums in a row, ‘Everything Must Go’ and ‘This Is My Truth’, being massive albums in Britain alone – one sold 1.3 million copies and the other 1.5 just in the UK. Then we just childishly and churlishly go and accuse ourselves of being too successful, bloated and pleased with ourselves by writing ‘Know Your Enemy’.” I'm inclined to pin it on the www-driven indiepop revival of c.2008-. I feel like it was around that time and subsequent years that I especially heard a lot of 'C86' as a category for indie discos, influences, etc, not particularly meaning the actual 'C86'. I feel like that was the time that the reinvention / relabelling process really took place. A clear-cut example is the idea (c.2008-) that The Pains of Being Pure at Heart drew on C86, though it would be harder really to point to a Pains record that sounds like what's on C86. It was very much a non-London thing. There were scenes outside London, with people who had been exchanging letters and fanzines. People didn’t feel the need to go to London to make things happen.”It’s necessary to fast-forward a full 13 years to locate the next truly great piece of music Primal Scream turned out, helpfully titled 2013. Despite personnel changes – Shields and Mani returned to My Bloody Valentine and the Stone Roses, respectively, while long-serving guitarist Robert “Throb” Young disappeared from the lineup in 2006, before dying in 2014 – Gillespie and guitarist Andrew Innes keep on keeping on. I’m Losing More Than I’ll Ever Have was reborn as Loaded, and Britain had its first great indie-dance record, a sonic totem for a generation seeking to reconcile its burgeoning fascination with house music, club culture, repetitive beats and ecstasy with its love of good old-fashioned greasy guitar music. The song’s uncomplicated raison d’être, and that of the acid house scene as a whole, is written into its sampled opening lines: “We’re gonna have a good time … we’re gonna have a party.” This would follow Wire’s 2006 solo debut ‘I Killed The Zeitgeist’. Asked how it compared, Wire replied: “It’s a lot better than that. There’s some ‘Bitches Brew’-era Miles Davis in there, some obscure trumpet-led, and some songs that just sound like The Shop Assistants. Sometimes conflated with soundalike sub-genre ‘jangle-pop’, C86 was the term given to a particular brand of introspective, lo-fi, Byrds-influenced indie power-pop. The name derived from a cassette tape given away with a May 1986 issue of the NME.