The Wheatsheaf, Oxford

30/6/07, Doors 20.00, £4 on the door.

www.gappytooth.com

Sefton Acoustic loveliness from this Strat-ford born Oxonian. Sefton’s music is delica-te, sincere, folky and melodic. A gorgeous start to the evening. www.seftonmusic.com

Brenda Vast swathes of coruscating expe-rimenta, whilst over the top of this we find some surprisingly earthy soulful vocals. It’s like a crash between Muse, Mogwai, Sonic Youth and Jamie Lidell. www.thesoundofbrends.co.uk

Ivy’s Itch Featuring the squealing guitar of Jimmy Evil (ex Suitable Case For Treat-ment) and the frankly astounding vocals of Eliza Gregory their brutally minimal take on sleazy goth metal is a powerfully visceral experience. www.myspace.com/ivysitch

10th June at the Port Mahon

Doors 7.30pm, £4

www.myspace.com/swissconcrete

The Rosie Taylor Project www.myspace.com/therosietaylorproject Soft, melodic alt country Spokane www.myspace.com/spokaneband Hard edged rumbling country

4 or 5 Magicians www.myspace.com/4or5magicians Pavement style alt rock

Gammy Leg ProductionsGammy Leg ProductionsGammy Leg ProductionsGammy Leg Productions

The Exeter Hall, Oxford

Rd, Cowley

08/6/07, Doors 20.00,

bar till 01.00, £4 on

door.

www.myspace.com/

gammylegproductions

Stornoway have got more ideas stuffed into one bursting song than most bands manage in a couple of years, and it's all expressed with the most gorgeous vocals. They say "The band consists of an Ornitho-logist, a Russian translator, a South African ebay merchant, and a human radio. They write the best songs about ornithology in Oxford at the current time. www.myspace.com/stornoway Earnest Cox mix up feisty art rock, intros-pective soul and perky funk to make an inc-redibly tuneful and intelligent whole. ”Bloody great indie rock, in other words" www.oxfordbands.com, Truck revi-ew. There's another review at www.myspace.com/earnestcox The New Moon’s subject matter ranges from cosmic dark matter to brackish streams to 18th Century mariners to the implausible entity that is Terence Walpole. They have intriguing acoustic guitar lines, rubbery fret-less bass, and occasional bongos or tab-la. They are f*cking ace. www.myspace.com/thenewmoonnews

www.gappytooth.comwww.gappytooth.comwww.gappytooth.comwww.gappytooth.com

””””Spare me your futuristic visions, cause I gotta get some action. NOW!” The Hellacopters

100% more or less

The Popaganda: #The Smallteasers #Silver Factory Superstars #Witches

Gappy Tooth Industries Magazine Issue 24 May 2007

ANNIVERsErY! 5

YEArs of

Gappy tooth

Editorial 5 years of Gappy Tooth. Stop for a minute!

Silence! Feel it, taste it, hear it, smell it! Experience the tooth. Experience the 5 years of uninterrupted musical debauchery. Can you do that? Are you experienced? Gappy Tooth was where I first experienced the grassroots up close. The guys and girls that do things because they like it and who are not necessarily motivated by the money, the sex and the fast cars. I could sense an enormous freedom. I call them tycoons, cause they rule their empires generously and with style and grace. The Gappy Tooth crew got me to write my

first reviews almost two years ago, got me into editing the Denture almost a year ago as well as got me to join them and others in founding the Swiss Concrete promotion partnership. The tooth has done a lot for me and I can attempt to return the favour. In this special anniversary issue you will read testimonials, interviews and highlights about this wonderful Industry, Gappy Tooth Industries that is. I got nothing more to say, so I will say; nothing more. Over to you!

Nik Email to the denture@gappytooth.com Contributors: Alistar Tervit Russ Barker The bands Richard Catherall Karl von Helvete Rob Randall Crispin Wickenden Eika Li CC Cartwright

AN ARBITRARY HISTORY OF GTI by Richard Catherall

Here are twenty moments, good and bad, plucked

with very little strategy from my aching brain. 4/02: Pete Moore (founder GTI committee member) gets off his arse and books our first gig. If it weren’t for him actually doing something we’d probably still be sitting in the pub planning live web links on Mars.

6/02: Kweisi lays out some jazzed Harlem

Renaissance performance poetry to a rou-sing response, proving that non-musical performances are a viable option. 7/02: Photographer Zita Joyce provides our first art exhibition. No projector in The Jeri-cho, we do it old school by hanging pictures on the walls. We’re still well up for artists to show stuff, if any readers are interested. 8/02: Richard and James (the other much missed founder member) find a crazy synthpop band at about 10.00 in the mor-ning at Truck. Very soon afterwards Trade-mark are headlining GTI, labcoats flapping.

10/02: The BBC provides the first published review of a GTI night. They don’t like it that much, and get bored before the last act play, so we have to finish the review for them. It’s a rave, perhaps unsurprising-ly. 1/03: A sound limiter at The Jericho caused occasional problems, but it was The Tempted’s serious chorus-delay action that sent it insane with malice. A band went home very upset, and we downloaded the limiter’s config so that we could do some secret, err, recalibration.

$ucce$$ The tall man in the business suit

said all the right tag words and lines.

He nodded attentively, angled his chin,

let out intelligent sighs.

It is no matter that neatly on paper

he fabricated and lied.

He’s got guts, he’s got balls, and a

healthy dose of arrogance and pride.

And he’ll be one of the chosen.

He will play the game with aplomb.

Soon he will be doing the choosing,

and will instantly go for the ones

that resemble him down to the cufflinks,

and flatter him up to the skies.

They’ll sup cocktails before they eat dinner,

then continue to bullshit and lie.

CC Cartwright

I like cocoa with a sandwich. I once tried cocoa in a sandwich on the day that she went missing and they all said, never mind, she told you she was going. But why did she take teaspoons when I’d said, take the cushions? So I lay back on my cushions and I slowly ate the sandwich. I thought, I can buy more teaspoons to replace the ones gone missing because if they keep going It’ll prey upon my mind. The thing I really mind though is, before they checked my cushions, I was at the point of going to the pub for a beer and sandwich. But they asked, why is she missing taking nothing but some teaspoons? Now I've become a sandwich and no one seems to mind what I keep behind my cushions or if certain things go missing. Tomorrow we’re all going on a trip to buy some teaspoons.

Crispin Wickenden

Ode

The ink of your stamp

Imprinted

And I rub and rub and rub

Tearing my skin

White, red, darkness

But it won't come off

And the memories ignite

Like fireflies

With each stroke

Though I'm hollow

And I rub and rub and rub

Tearing my hair

White, red, darkness

But they won't fly off

You are Pain, Love, Fear.

Go away.

by Eika Li

2/03: MC Lars is a last minute stand-in. He’s well famous now, innit. Before him Bristol ’s aging punks, Hacksaw, are one of the most lovable acts to ever grace the To-oth stage.

3/03: Krautrockers Klangstorm play giant metal sculptures onstage at our final Jeri-cho gig. It wasn’t supposed to be our last Jericho gig, but they double booked the last one, the fuckers. 6/03: King of Everything Luke Smith headli-nes our debut Zodiac show that also sees the birth of The Denture. Just a couple of weeks earlier Rami supplied us with our last ever cassette demo. Nowadays we don’t even get demos, just crappy Myspace links. Progress stinks.

2/04: The Naked Mystic does what the name

implies. Zodiac bar staff still in thera-py. Mauro, Khaled and The Fencott Disas-ter provide the rest of a fascinating lineup.

3/04: The Zodiac’s sewage system

regurgitates and soundcheck is cancel-led. A bunch of people get in for free after the ordure has been mopped, we sus-pect. This was the first gig for Junkie Brush, when they were fresh-faced, eager and slightly rubbish. 4/04: East European folk trio Tandara Man-dara make a lot of friends. Surreally, Mac plays a recording of the gig to Graham Cox-on. 9/04: Nottingham ’s Hellset Orchestra bring Hammond, Hammer Horror, Russian monk samples and a fit ‘cellist to the table. Many people are very happy that they do. 10/04: Our best turnout ever, mostly thanks

to Fell City Girl, who were bloody gre-at. We never even paid them, because the coffers were empty. In a way we owe them

our continued existence! 12/04: Our first December special event at The X, with help from Klub Kakofanney and Skittle Alley. The Fencotts argue with the landlady, live onstage. Everything else is just perfect. 6/05: Glastonbury Festival, some apocalyp-tic rain and a seemingly deeply unpopular headliner result in the worst turnout ever. But we do discover bossa maestro Simon Davies, so there’s a silver lining. 2/06: undertheigloo play. There are teena-ge girls queued up outside by 19.00, and they’re incredibly excited by the whole thing. The band is accosted for signatures seconds after their set, which is a GTI first. And, we suspect, last.

8/06: Far From The Dance don’t turn

up. Mitch Salisbury is the first man through the door, so he therefore becomes the ope-ning act! He’s not half bad, either. Just one month earlier The Light Brigade split up the night before our gig, in a public fist fight. Is there a curse developing?

9/06: Scroobius Pip quashes all curse specu-lations with a powerful and hilarious set. Thou shalt not pre-tend thou wert at this gig now that he’s cool, idiot. 4/07: And sud-denly we’re in a new ve-nue. Our first Wheatsheaf gig goes swim-mingly, if somewhat quietly on the door. Space Heroes, Colour and Non-Stop Tango bid farewell to our Friday night slot beautifully. Oh, and we blow up the sound desk…

The Popaganda -Interviews Featuring Russ Barker as GTI Witches GTI: You list your influences as Sparklehorse, Tyrannosaurus Rex, The 13th Floor Elevators, Thom Yorke, Death Cab For Cutie and Neutral Milk Hotel. What do you take from each of those? W: Everyone in Witches brings along ideas, so when we were compiling our list of influences it made sense to get everyone to name their favourite band. I was the one who pieced together the press pack, and couldn't decide, so put down two. Dave G - Sparklehorse and Tyrannosaurus Rex. Dan and I both love Sparklehorse. I think the influence manifests itself in two ways: we're very fond of downbeat, americana-esque songwriting, and I tend to write slightly obscure and ambiguous lyrics reflected in albums like It's a Wonderful Life (I am the dog that ate your birthday cake). I'm also very keen on Mark Linkous' production and arrangement techniques, particularly on Fear Yourself by Daniel Johnston. The track Forever Your Love is one of the most tragically beautiful things I've ever heard, and I certainly pulled a lot from that when we were working on the

Witches album - you can hear the bits I've ripped off at the end of At Night I Dream of Black Dogs. I've always loved Tyrannosaurus Rex because I grew up with it. I've always loved singers with very distinctive voices (big fan of Lamb and Cold War Kids), and I love the ridiculous, non-sensical lyrics (graceful fat sheba, she works with her meat cleaver) cleverly absorbed within these very quaint two minute pop songs. Dan - The 13th Floor Elevators. Dan's very fond of sixties off-kilter rock stuff like The

Russ Experiences the Tooth

June 27th, 2003. An important date in my

musical history as this was the day of my first Gappy Tooth, and I was there in my

role as a BBC Oxford reviewer. An important day in their history too, being the date of their first night at the Zodiac after a year at the Jericho Tavern. On the bill that night were Hank Starrs (ex of Animals That Swim) doing some poetry, Trademark and Luke Smith. I’m not overstating things here when I say how important it was; borne out by the fact I’ve missed only a handful of Gappy Tooth nights in the time since (and a fair few of those were unavoidable!). Mainly it inspired me to set up Swiss Concrete with a few friends last year. So where Klub Kakofanney are the spiritual godfathers of Gappy Tooth, the line then stretches down to Swiss Concrete. Foxes, nervous_testpilot, Scroobius Pip, Zuby, King Furnace and Where I’m Calling From have all gone on to play Swiss Concrete nights. Other examples of the Tooth influence include me liking nervous_testpilot enough to put out his EP and Trademark ending up playing my wedding party. But I think my favourite thing about Gappy Tooth is never knowing quite what to expect. It always works best as a night when there are three acts I’ve never heard of playing something that you’ve seen described, but can’t quite imagine. I’ve seen men dressed as women making mice out of teasels, men in fluorescent spandex running round the room, six turntables set up on the dancefloor, bands playing a one song set with their backs to the audience, numerous art exhibitions, poetry, hurdy-gurdy, a naked man, punk, folk, electro,

laptop madness, a monthly magazine, hip-hop, ska and god knows what else. At what other night would you get all that? And while there are still new genres to be explored, you can see Gappy Tooth stretching on into the distance. Russollague Barker

Cocleariophilia Today I'm counting teaspoons, it occupies my mind. Three of them are missing. I've looked behind the cushions, found a porn mag and a sandwich but no spoons - they just keep going.

I did consider going to the police to report the teaspoons. But first I made a sandwich, turned things over in my mind - they might want to check my cushions. Would they care if spoons go missing? I think the point they're missing is if cutlery keeps going soon there'll be just cushions which aren't as good as teaspoons when cocoa's on your mind.

KvH: Are we going to see another five years of Gappy Tooth Industries? As I mentioned, for us it’s not about the commercial success and we do not have a plan. I believe that Rob and I will keep going as long as we get something out of it. We might quit in three months or keep going for another five, we’ll take it one gig at a time. KvH: Any thoughts about the move to the Wheatsheaf? T2: I am not so hung up on the venues per se, however, I think it will be great. It’s an intimate, dark, alley kind of cliché venue. We will apply the same concept and see how it goes. KvH: What is the state of the music scene in Oxford? T2: It’s in a great state. There are a lot of venues in various sizes and shapes. Back

in 2002, after the Point closed, the scene was totally different from now and was basically only catering for the mainstream. Now the scene is vibrant, diverse and, if you ask me, we could not handle more venues today. KvH: Do you have any advice for

people that want to get involved in the scene? T2: Just get involved! In the end of the day you get to see a gig for nothing. However, as a concrete advice, I would say that be clear and open. Tell everyone from the start what you are doing, when you are doing it and what is required from everyone from money to sound check to set order.

Velvet Underground, The 13th Floor Elevators and Gong - he's gotten me much more into this sort of thing since we've been sharing an office during the day. A lot of music gets bandied about. You can hear a lot of this sort of stuff in many of the Witches tracks, particularly within some of the rockier moments like Multiple Personality Detective and Dead as a Ghost. Dave B - Thom Yorke. Dave the drummer is very much into his electronica at the moment, and I think this may be why he's so fond of the Thom Yorke solo stuff, which seems to move on naturally from the electronica-heavy later Radiohead albums. This has paid off fantastically for Witches, since it's developed within Dave this kind of metronomic drum style, which works wonderfully for some of the more upbeat tracks. Strangest Things has some of the most demented drumming I've heard, fiendishly difficult, yet wonderfully precise. Tim - Death Cab For Cutie. Tim always seems to me to be torn between two types of music - I think he's primarily a songwriter's guitarist, i.e. he has a wonderful understanding of how to write guitar parts that compliment something bashed out on an acoustic guitar or piano - songs like Taking Myself Home Again demonstrate this perfectly - and his fondness of Death Cab For Cutie is reflected in this way. However, a lot of the stuff he's written and brought to Witches (tracks like Strangest Things and Spinning)

are very reflective of the kind of music several of his friends are into making, reminding me of the instrument-led rock stuff of bands like Foals and Wait for Coniston. This makes for a varied and diverse sound, and a very unique guitarist.

Richard - Neutral Milk Hotel. Richard and I share a lot of influences, and this is one of them. Neutral Milk Hotel are simply wonderful. You can definitely hear the influences here on tracks like Sleep Like the Witch that You Are, particularly where we've thickened up the orchestration with strings and brass. Basically, anything more downbeat and song-like will have a heavy dose of bands Richard is into, i.e. Yo La Tengo, Neutral Milk Hotel, Low etc. Ben - Ben learnt trumpet in the Polish navy and knows how to fire a Kalashnikov. He's mostly into classical and jazz, and for some reason we haven't listed any of his influences in our press blurb. Must do something about that. I think it's probably because whenever we sit

down to talk about such things we get hugely drunk on something horrendous he's brought back from Poland, and consequently I remember little of our conversations. Not that that's necessarily a bad thing, mind. GTI: The trumpet plays a huge part in setting your music apart from others. Any plans to expand the brass range in the band? W: If we had space we would - at the moment we can just about squeeze in the practice room, and if Dan stands on one leg he doesn't fall off the stage at the Wheatsheaf. For the Witches album, we focused more on string players than brass players: Joanne from Ella Canavan and Ben from Jonquil contributed some wonderful violin on several of the tracks, and Jo from Space Heroes of the People added some much-needed double bass rumblings. GTI: Who does your artwork? It's very impressive! W: Emily Gray, formerly of Meanwhile, Back in Communist Russia, now of Ape Has Killed Ape. We gave Emily the first few tracks of the album and she presented the finished artwork a week later. We love it. It's a collage mounted on cardboard, and that's a real dead moth. Emily has a great

deal of talent, and maybe one day she'll take my advice and organise an exhibition of her artwork - it deserves wider recognition. GTI: Tell us one album we should definitely seek out that we probably haven't heard before. W: Fear Yourself by Daniel Johnston. GTI: Are there any real Witches in

the band? W: No, but we have a lot of American Myspace friends who are. They do searches on ‘Witches' and find us. Consequently, we definitely have a higher goth friend count than most bands. GTI: What's the best way to remove this pesto stain from my jumper? W: If you've already washed it and it hasn't come out you're done for. If it's new then Act Fast! Depends on the material and the colour. If it's cotton and/or polyester, put it in the wash at 40 degrees with some Vanish powder. If it's wool then ditto, but use the wool cycle. You could pre-treat the stain with one of those Vanish sticks that are a bit like roll-on deodorant. And next time be more careful, you silly sausage. The Smallteasers GTI: Who are The Smallteasers and what do they do? S: The Small Teasers are... Billie: main vocals Matt G: guitar and vocals Matt C: bass and vocals Tom: guitar Sanna: drums

£1 Discount

Meet the Family

Discount Code *69*

Exeter Hall/Port Mahon Valid June 2007

Swiss Concrete/Gammy Legs

KvH: Why do you not have an evil empire business plan? T1: Because, we are not trying to be a big evil empire. KvH: Do you have a 5 year plan? T1: No, no 5 year plan Karl, we are just going to keep going. KvH: Do you have a 10 year plan? T1: Don’t make me! At this point I decide that we should go around to the bar and cool off our minds and throats, before discussing the 20 year plan. You can read that part of the interview in our 10 year anniversary issue.

Tycoon 2, a.k.a. Richard “Rich” We are sitting in the second bar at the Exeter Hall. It’s Friday the 13

th but

Richard’s positive spirits seem undaunted. The bands are sound checking in the background for Richard’s third promotion venture in Oxford, Gammy Legs. However, the subject matter for this interview is Gappy Tooth Industries, which is a partnership between Rob and Richard. KvH: What exactly is a Gappy Tooth night? T2: We put on a diverse night of various bands that you normally would never see sharing a bill. Music, noise, art and poetry all bundled together and handed out in a random fashion. We also have a policy to never put on the same band twice nowadays. KvH: How come you decided to build up Gappy Tooth Industries?

T2: It was something a group of us decided really, and I can’t remember who had the idea first. At the time I was flat sharing and playing in a band, Abel-Jones, with four guys. However, none of the venues in town would book us, so we figured if we were booking the bands we would be able to book ourselves. KvH: Tell us about the first gig… T2: It took place in May 2002 at the Jericho. The rest of us did not really seem to want it enough to really get going, but Pete made it all happen. He booked the bands, including us, and that was the start (of an empire, not evil. Editor’s note). KvH: So what happened with the original four members? T2: James got married and moved away. Rob is obviously still very much an engine and Pete decided to focus his energy in other areas a few years back. I got married and recently moved to Headington. KvH: Did you ever think that you would be involved five years down the line? T2: No, like I said, we just wanted a place to play ourselves and that was what we did the first couple of nights. Then it just kept going, and we also realised that perhaps we could not play on every night ourselves so we started to book gigs that did not feature ourselves. KvH: What makes Gappy Tooth a success in your view? T2: It’s not about the millions of pounds or anything materialistic. For me success is when the bands, the audience or the staff comes up after the gig and says that it was great, different and they got something out of it.

knocked out. He had a gap in his teeth. Industries was then added to make it sound interesting. KvH: Alright, I’ve read about the industrial revolution at school. It was interesting! What’s the difference between playing and organising?

T1: I play most types of music and I play drums and piano. I would say the biggest difference is the buzz. You get a buzz from playing. By organising you get the satisfaction of watching bands take the stage and to be a part of making that happen. I guess you can look at it like parents and children; it’s more full on to be a child, KvH: I know that you were four parents from the start, but now it’s you and Richard, tell us a bit about Richard. Is he a good daddy? T1: He’s dedicated, very passionate and is enthusiastic about making it all happen.

The Gappy Tooth is just a hobby; I do it because I enjoy it. Richard is adding to that enjoyment. KvH: Hobby, you say. Some people claim that you are just in it for the money, the fast cars and women. Isn’t in fact Gappy Tooth all about the money?

T1: Ha ha! It was never about the money Karl. We’ve probably lost money for all I know. Sure, we could have paid the bands less. Sure, we are now trying hard not to loose money. But like I said, it was and is not about the money. KvH: So if it’s not the money, women and fast cars, what is the best thing with this wonderful industry? T1: Help bands to get gigs! Our then band, Able Jones, was not mainstream and we had a hard time to get gigs. I remember James mentioning in an early meeting that Pink Floyd used to put themselves on. That’s what we did and that was the reason for starting Gappy Tooth. We’ve put on a lot of bands through the years and it feels great!

KvH: Any feelings about the move to the Wheatsheaf, leaving the Zodiac behind you? T1: I like the Zodiac. It’s a great venue. Maybe we can afford to go back at some stage. Nick (Zodiac Big Cheese) loved music and the staff was lovely too. However, now we are focusing on transferring our success to the Wheatsheaf. KvH: Regarding that, how successful have you guys been? T1: As successful as only we can be. We do not have an evil empire business plan.

GTI: You’re known for throwing Malteasers into the audience. I’m not too keen personally; any chance you can chuck a chunky kit kat in my direction? S: Malteasers, hmm, I'm not sure whether the gimmick is getting tired now but having omitted the chocolate lobbing from our Exeter Hall gig we had people literally baying for blood, or malty chocolate at least. Keeping our loyal gig goers happy is important to us so the projectile chocolatey treats appear to be here for the time being. We've had to work on our lobbing technique, underarm is the key, far less dangerous, oh and it tends to be the girls throwing the fodder so don't expect any bounty at the back of the room. I can already see a law suit in the making, do you know the damage chunky kit kats can do? we'll see what we can do. GTI: Who compared you to the Beautiful South and has their hearing been fully corrected now? S: I can't remember exactly where the Beautiful South comparison came from. It seems to be lingering around though and I'm not sure why. The most direct comparison we get now is "you're not actually anything like the Beautiful South". The South were mentioned in a couple of reviews written after our first gig at the Port Mahon, when I guess our style was a little different, possibly more based around vocal harmonies between myself and Billie. I'm not sure who you'd compare us to now, or

even if we are comparable to other bands. There seems to be a lot of local bands out there trying to out-avant-garde each other. I've nothing against pushing the boundaries but that's not what we're about. We're aiming to try and write songs that entertain us, and hopefully those listening. GTI: Name your 5 favourite small things. S: My 7 week old son Ben has to top the list, a beautiful bundle of only occasionally ear-splitting joy. After that it's any of the following, miniature golf, Kylie Minogue, Gladstone Small, Tom's "executive" table tennis set - the most legal fun you can have a with a ping pong ball and 1 foot of green hardboard. GTI: How did you all meet?

S: I've known Tom our guitarist for years now, he taught me a load of Dylan songs at university starting my love affair with guitars. Based on that rock solid foundation of 3 chords I personally bounced around a few bands finally ending up

on the Oxford open mic scene. That's where Billie (who is Tom's cousin) and I started to perform together. Tiring of covers we decided to write our own material and ventured towards putting a band together. We met our drummer Sanna through Billie's work for local charity Douglas House. Even before playing a beat Sanna was a shoe in for the band, incredibly infectious, erm in a good way, we were even happier to find out the girl can

handle herself around a drum kit. I went back to my guitar playing roots next and asked Tom to join, he willingly obliged. Matt our bassist, who is sadly playing his last gig with us at the Wheatsheaf, joined us just over a year ago. He's been a real breath of fresh air, very polished - shiny, and more reliable than getting knitted socks off your gran at Christmas. GTI: Roger Bacon vs Gillian McKeith, who would win? S: In a Google fight Bacon completely kicks McKeith's arse. I guess he's had 800 years worth of publicity though. On paper though it's tough to call, both seem to have conjured up their doctorates, Roger is rumoured to have messed with the dark arts, Gillian messes with rather darker material. If we're talking a straight fight no holds barred then my money would have to be on Bacon, I've seriously never seen a woman more snapable. Silver Factory Superstars GTI: How do you feel the electro scene has evolved since you formed the band in 1994? SFS: It seems that with the ever growing network of Myspace, a new underground Synth revolution has started. All of my gigs this year have been acquired through this site. It is a total contrast to ten years ago when you would have to employ a booking agent to seek out and find the right venues to play. There is still a lot of animosity associated with synth bands from promoters and venues. A large percentage will not put you on unless you have a traditional line up, I thought after 25yrs of synth based music being around this would have changed but

alas no. They seem to think its too risky to put rock/indie bands on the same line up as us but on the other hand are quite happy to put the likes of Goldfrapp on with a local indie band supporting.

Musically though there are a lot of great new synth bands out there that ware mixing old values with new technology. Check them out, there are a lot on my Myspace. GTI: Do you prefer working solo, or is it more interesting when the other guys get involved? SFS: Working on my own are the first initial steps in anything I do, be it writing, recording or playing live (I am a bit of a control freak). I like to write on my own and then get others in to suggest things and point out ways that I could improve my songs. As far as live performances go I love having people to share the experience with, it makes the event more enjoyable. Take Gappy Tooth for instance, on stage will be a friend of mine called Mark Lilley who will be playing keyboards and off stage will be our video director Stephen Loynds (Pullfocus Media) who have both

been involved with me for over ten years now and without them the whole live experience wouldn’t be as enjoyable. GTI: Any tips of other acts to look out for? SFS: Yeah we have recently worked with some cool bands, here are a few: Captain Dangerous Schmoof Starbase 109 Autons GTI: What’s made you keep going all these years? SFS: It has to be a passion for music. For as long as I can remember, everything in my life has been associated with music. My mum claims that I could sing before I could talk but I find that hard to believe. Writing/recording songs has always been a great way for me to channel all my emotions and keep myself sane. It is also the process of nurturing an idea into a song and then recording/performing it to an audience. Or it may just be the need to be loved, who knows? GTI: Stegosaurus fights T Rex (the dinosaur, not the band). Who would win? SFS: I’d have to say the Stega. If I remember correctly, it has two brains so it would easily out smart the brutish Rex. How nerdy was that? GTI: Who’s afraid of Virginia Wade? SFS: We are, have you seen her eyebrows!!!!

Tycoon$ Since this is an anniversary issue we thought that we would bring you right up and close with the tycoon$ that run the show here, the Big Cheeses so to speak. For the first time in another Denture exclusive the publicity shy pair break the silence. You know where you read it, the Denture that is! Enjoy!! By Karl von Helvete

Tycoon 1, a.k.a. Rob We are downstairs at the Wheatsheaf, as the bands are sound checking upstairs for the April Gappy Tooth. Rob looks up, sips his pint and says “I’m right and he’s wrong”. I inform him that he needs to wait for the question, before answering, otherwise I would be redundant. Then I say “Alright, here we go with ze interview” and we start the interview. KvH: So Rob, what is Gappy Tooth? T1: That’s a good question Karl. Gappy Tooth is eclectic. Enjoyment. Happy tunes. KvH: That’s all good and well, but what does this eclectic night taste like? T1: It’s cocktail with a shot of vodka, a cup of tea topped up with beer. Its teal coloured and smells like beer and tastes nice! KvH: I want a double! But how did you come up with the name for this beautiful cocktail? T1: Well, it all started when we were playing in Able Jones. James, the bass player, had got one of his front teeth