Chris Roberts reviews Disintergration, 6th May 1989

Quite a sniffy review for Disintergration. I always thought this was the last really decent album The Cure made.

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Simon Reynolds reviews The Telescopes live at The Falcon, 6th May 1989

Simon Reynolds reviews The Telescopes live at The Falcon, 6th May 1989. Photo Stephen Sweet.

Well, well…a review you can read without having to click to enlarge. Enjoy.

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Simon Reynolds reviews Hunkpapa by Throwing Muses, 21st January 1989

This was one of the many records I lost at college by innocently agreeing to lend it to ‘a friend’ never to see it again. Truth be told I didn’t much like it and probably bought it as much for the Vaughan Oliver sleeve as the music. And I don’t know why but the title of this record is always Hunkapapa in my head, I guess it just flows from the tongue better.

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Simon Price reviews Cassanova by the Divine Comedy and David Stubbs reviews Expert Knob Twiddlers by Mike & Rich, 13th July 1996

Simon Price reviews Casanova by the Divine Comedy and David Stubbs reviews Expert Knob Twiddlers by Mike & Rich, 13th July 1996.

Also David Stubbs reviews Das Est Ein Groovy Beat Ya? by Jake Slazenger, Simon Reynolds reviews Tech Steppin’ Various Artists, John Robb reviews BlueTip by BlueTip. Ian Watson reviews Miracle by Bim Sherman, Martin James reviews Mexican Church by Blue and Julian Craven reviews Warm Nights by Robert Forster.

Be sure to read those in-depth Q&A’s in full. Vital stuff!

[loads gun, pulls trigger]

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Tribal Gathering at Luton Hoo, 13th July 1996

Is this the way they say nostalgia’s meant to feel, or just 30,000 people standing in a field?

After me being so sniffy about the new look Maker, there’s this anomaly where Reynolds very intelligently explores the “post-rave diaspora” of styles and sub-cultures born out of the original rave scene and tries to snatch some sort of meaning from it. An amusing, must read, last paragraph reports, “There’s a sense of aftermath. You know you’ve been through something; you just don’t know yet what it was. But it doesn’t mean nothing.”

Interesting to note that this double page feature isn’t mentioned at all on the cover.

Note to Russian viewers: There have been a lot of comments in Russian in the last week or two. I’m only going to publish comments to AMP in English. It doesn’t have to be perfect, ‘correct’ English, it just needs to be understandable enough for me (and everyone else) to know you’re not spamming the site.

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By the beard of Zeus! These 2 pages of live reviews are the fucking motherlode of IDM (sorry for terrible genre moniker) it’s seems incredible that all this happened within the same week. Where to fucking start?

Well probably best to hi-light the smallest, most shoddily written review of Autechre’s debut live performance first cause it’s easily missed. I know hindsight is a marvellous thing and all that but given given that Incanubula (A STONE COLD FUCKING CLASSIC – DOWNLOAD!) had already been released they’re not given nearly enough prominence on the page. If you were there please comment!

Reynolds gets the dream ticket of Vapourspace, Aphex Twin, Moby (before he wrote music to sell cars) and Orbital. Reynold’s nails the description of Vapourspace’s Gravitational Arch of 10 (another STONE COLD FUCKING CLASSIC – DOWNLOAD!) as “cyber-Bach variations that make your flesh ripple” and that’s before the E kicks in.

Push takes on The Orb at Brixton Academy and makes me smile with “As The Orb journey further into the fourth dimension, several members of the audience enter the fifth” and continues in the same playful manner at the Megadog, “because the bar shuts fours hours before the close of play – extra curricular activity is ordained. In the name of duty, in the name of investigative journalism; in the name of…oh, sod it, you only live once.” Too right matey!

There’s 3,000 people inside but a thousand have been turned away at the gates by the time Trans Global Underground take to the stage. A thousand! A fucking thousand that didn’t get in! Does any club get even a thousand people inside it these days?

“It’s six am and Megadog comes to a blinding, light-up halt. We smile in unison with the sweaty bodies that surround us, knowing that we’ve just experienced the very best club in the world. Ever”

Those were the days. Those were the fucking days.

Vapourspace – Gravitational Arch of 10 (this is the radio edit – get the long version)

Update: This post has proved fairly popular since hitting some forums. Thanks to those who have posted at,, – more live Underworld coming tomorrow! Big thanks to everyone who has Facebook/Twittered this site recently too.

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Simon Reynolds interviews Loop, 12th November 1988

Simon Reynolds interviews Loop - part two, 12th November 1988

So while I listen to Suede B-sides and O2 try to flog me Jackson tickets via txt here’s Simon Reynolds interviewing Loop, 12th November 1988. Photo Tom Sheehan (bet those pimples would be zapped in Photoshop these days eh Tom?)

Cos I know a lot more people visit these pages than actually click through to read the interviews I’d like to urge you to read this, even if you’ve never heard of Loop – remembering all the while, that this is an interview about a rock group. Reynolds presents us with a delicate entrĂ©e of Pynchon and flowery adjectives before the main course begins.

Reynolds (in reference to Robert’s aims for musical repetition and a ‘trance-like effect’): It sounds like you ought to be in sympathy with the Acid House scene

Robert: Oh no, that stuff’s just nonsense. Sure it’s repetitive but in a bland way. We like to think we build on our repetitiveness. With Acid House, they just sit on a synthesizer for half an hour and make squiddley-diddley noises. [and then it gets really embarrassing]

All of which makes me wonder about the quality of drugs Loop were actually taking to be left so cold by acid house, kinda reinforced by Robert later when he says “The drugs thing has been totally overblown though: you don’t have to be out of your face to get into repetitive music”. No Robert but it helps doesn’t it? It really, really helps.

Then Reich, Cale and Satie get name checked in a rather academic discourse about the schizoid experience before the conversation seques into a mediation on death in its myriad, vividly romantic forms, before ending with some conventional stuff about what the next record might be like and an apology from Reynolds for being “unable to simulate in words what Loop do”! For thickies like me this stuff’s still as dense today as it ever was.


So there was this one time…at a Slowdive gig…
where somehow I caught the eye of Rachel during one of the band’s more ethereal instrumental passages and for a second or two we studied each other, something intangible passing between us, and then she turned away with a coquettish smile, borne out of what exactly….embarrassment, flattery, irrepressible derision?

Reminds me of Larkin’s Wild Oats,
“I believe I met beautiful twice. She was trying Both times (so I thought) not to laugh.”

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Public Enemy live at the Brixton Academy and other live reviews, 12th December 1987

Simon Reynolds reviews Public Enemy at Brixton Academy, London. Photo Richard Bellia

I happen to work with an ex NME journo from this period, who wears a Public Enemy T-Shirt around the office.

“Brilliant live” he says, talking fondly of how there were police blockades just to get into the street where you could then queue up to get into the venue.

“Rap’s shit live. It’s just shouting over a distorted PA”, I counter authoritatively without ever having been to a rap gig.

I’ll have to ask him if this is the Brixton show he went to. I’ve got Reynolds on my side now.

Paul Mathur reviews Sex Gods at Locomotive, Paris
Angie Daniell reviews Alex Konadu at The Africa Centre, London
Tom Morton reviews The James Taylor Quartet at The Rooftop, Glasgow
Phil DC reviews Red Lorry Yellow Lorry at ULU, London
Push reviews Masque at Fulham Lost Theatre, London
David Fricke reviews Marianne Faithful and her Mars Bar at The Bottom Line, New York – and
Push reviews The Icicle Works at the Town & Country Club, London

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Simon Reynolds interviews Dinosaur Jr., 12th December 1987

Pre Jr. suffix, pre Freak Scene and a very youthful looking J!

“Dinosaur are the sound of galvanised lethargy, vibrant despondency”, enthuses Reynolds. Well worth reading the first intro column before the actual interview starts.

I’m contractually obliged to include Little Furry Things from You’re Living All Over Me. PLAY THIS LOUD!

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