Now available for pre-order, this new EP was written and recorded early 2021 via various 4-track recorders, tapes exchanged in the post between myself and a few excellent songwriters.
Friend and esteemed songwriter Andrew Howie once told me about this project he did with a friend, where he recorded the first 2 tracks or ‘parts’ of a song on a 4-track recorder (like the guitar chords and the vocal, or the keys and the drums etc) and then popped the tape in the post to a friend to record the remaining 2 tracks/’parts’ on his 4-track recorder and complete the songs.
I’ve been meaning to steal that idea for a while, and although Andrew is currently without a 4-track and had to sit this one out, I was able to assemble a winning cast of interesting types, and send them all a half-song in this way to finish.
It was an opportunity to remind myself for the millionth time that others’ input makes your musical ideas so much better. All songs came from ideas I considered ‘throwaway’ or ‘just ok’, and they all ended up brilliant pieces of music.
The EP title comes from graffiti I spotted on an electricity box on Glasgow Green. I liked how the statement came with no qualifiers. Not “to those who wait”. No necessary involvement of Jesus or whoever. It was some good news that we’re all overdue. And was just like when receiving one of the finished songs in the post, or coming up with parts in the first place.
I mixed it on my Tascam 424mkIII before sending the files over to Mark Lough (Madame Engadine’s Party) to master using some nice analogue gear. The whole thing sounds hissy and warbly and pop/clicky as fuck. Cam aaaannnn.
Back in November, I started a 7 day project, taking a photo and writing a short poem every day.
I’d just acquired a new wee thermal printer and was by this point printing everything I could, reasonable or unreasonable – phone photos, camera ones, shopping lists, meal lists, small notes to leave around the flat, printed answers to verbal questions on the couch.
In a bid to escape the anaemic monotony of recycled pandemic-life I thought I’d have a crack at getting back into writing poetry, if you could ever call it that. The result is this zine.
Hand printed pages, thermal photo prints and short poems, one of each for each day of that week in November. A project that let me go off on a wee adventure in my head, into my surroundings, and through the land of limitless TV and neighbour-spotting that was/is my flat.
With recording sessions in March/April for my third album given the covid treatment, I’ve slowly been building some of the solo songs from home. Fast-tracked through the process for a sampler that’s been on the cards since the start of the year is a song called ‘Open Sesame’. A sort of fumble through the dark of a few thoughts around (i) an undying love for imperfection; (ii) life throwing up red-herrings; (iii) time progressing through different chapters. It features Stevie Cossar on bass, and my drum machine playing samples of Luc Grindle’s drumming.
Having acquired approx 70-80% of a fully fledged PA system, we’re holding a wee fundraiser gig at the awesome Mediterranea on Fri 5 April for cash to get monitors, cabling, mics n things.
Would be awesome to have the freedom to put on more touring bands and set up more gig exchanges knowing P.A. costs are minimal, and creating more sweet memorable times in Stirling. If this idea excites you, donate or attend.
My new zine is out 13th Dec, with a wee launch party at The Settle Inn, Stirling. Check it out below:
All sheets individually double-side printed by hand then cut and assembled, so it took fucking years off me. Plz sell out this run and watch me weep with appreciation/fear of having to do it all again.
‘Sometimes When The Wind Blows In My Hometown’.
Poems and photographs shot on 35mm toy cameras, 2017-2018.
Hand made on cartridge/project/tracing papers.
Excited to be asked to play on the bill of the awesome Ella’s Brother and their first outing as a full band. Playing a selection of material from their first EP ‘Mere Exposure’ as well as tunes from forthcoming new EP ‘Low Hanging Fruit Part 2’.
“There is a distinct otherworldliness to Alexander Tucker’s art. Psychedelic without ever resorting to tropes of the genre, it’s the subtle thread connecting every aspect of his output, from the vibrant and hypnotic avant-pop of Grumbling Fur, his duo with Daniel O’Sullivan, to extended drone collaborations with Charlemagne Palestine and Stephen O’Malley, to his beautiful yet strangely unnerving paintings and comics.”
Drop me a line if you want a discounted ticket.
Come along so you can check out Irma Vep’s new hings.
A mixture of 4-track cassette recordings with simple live-take digital recording, partly done in flat living rooms, halls and cupboards, partly in a friend’s attic. Continuing to experiment with song-structure and messing with/merging songs using collage and soundscape sections, the whole thing was then given a bit of light grooming in the mix and master process with Stevie Cossar (Scottish Power, Sumshapes, Howie Reeve, Gift Horse).
The ultimate aim throughout was to present the songs in a way that sounded as if you were there present in the room as they were being created, that they sounded real, unpolished and intimate (for want of a less creepy word).
See what y’think.
For fans of: 90s US indie/emo/noise rock, American Football, Joan Of Arc, Sonic Youth, Slint, David Pajo, Conor Oberst, Songs: Ohia, Elliot Smith.
Recorded by Kenny Bates / Kieran Hughes.
Mixed and mastered by Stevie Cossar.
Bass on 3, 8, 9 by Kieran Hughes.
Drums on 3, 8, 9 by Craig Ferrie.
Clarinet on 8 by Peter Russell.