some fun from NARC. Magazine's May 2009 offerage:

Dressed In Wires - Mice Taster EP


Words: Luke Page

After a short hiatus, DiW has thankfully returned. For the uninitiated and in case it is not entirely clear after this review, this is electronic hardcore – a mash of beats and sounds ranging from genres of music not invented to dance and drone.

Listening to this EP, you can’t help but feel it as a filmic experience; sounds that are of this world, but not from this world keep the listener on an imaginative journey through the stories that unfold. Visualising a Flash Gorden vs Erasorhead plot that starts with a walkabout journey, transgresses towards a tribal animal chant and ends with sexual encounters with an alien in a Tokyo pop dance club, are all par for the course within the track And Observe This Curious Beast.

Generally ominous and unsettling, this EP is best listened to in a dark room on your own, dancing eyes closed and sweating out the comedic demons. But don’t let this ramble scare off those less masochistic of you, as the record is surprisingly accessible, with a fairly regular rhythm and songs that transcend merely the bizarre and touch beauty. If you’re even intrigued then you should buy it and have a listen.

Released: 11.05.09


Grooves get groovy:


With the number of laptop punks whose music toes the line between “violent” and “stupid” rapidly gaining pace, Yorkshire’s Dressed in Wires (a.k.a. Simondo Topless) has turned to Bill Hicks for inspiration on The Big Black Cock of Death. A mangled car crash of digital hardcore, gabba, splattermash, ear-bleed electronic hip-hop, and garbled white noise, this Distraction Records picture-disc is clearly the work of a feverish, miscreant imagination.

The centerpiece is arguably the epic, 13-minute “Hiroshima Was a Shithole Anyway,” which tars hip-hop beats with dancehall shout-outs, drum n’ bass peaks and Dizzee Rascal breaks. There’s also the truly unhappy-hardcore finale of “Blood Touching Glass” (a tribute to Sydney’s face-glassing noise artist Justice Yeldham, perhaps?), a squelching squall that ends the EP in suitably horrifying form. The relentless speaker-hammering crunch—largely achieved through Topless’ use of guitar pedals—is often overwhelming, but balanced by a resolute refusal to stick with an idea for too long.

Allan Harrison














Brainwashed.Com get hold of a sheepish-looking ET:

The hacksaw job on the E.T. theme turning it into a grinning digital grind soon leads into a full-blown case of descending pixelated rot. A climbing obstreperous clanker of a beat (something between breakcore and leftover Ikea parts shaken in a jar) hauls up to chest height a dread fuelled face punched electronic piece. Reminiscent of a '80s synth soundtrack, this melodic centrepiece of the 12 minute A side shows Dressed in Wires doesn’t really want to crap on his own dinner plate. Even the expected finale of a disassembled through degradation piece of possible euro-pop doesn’t harm.

The flipside, “Miscarriage, Where Were you”, appears to take another screwdriver to the Spielberg / Williams partnership. A much briefer piece, this stuttering scratchy shambles sees high end feedback carving a melody out of rubbish like Merzbow doing the Close Encounters theme. As ever, Dressed in Wires is thoroughly entertaining.

Written by Scott Mckeating
Sunday, 22 October 2006










NICE ONE SON from Lowcut magazine....


Well, it appears that the man who calls himself Simondo Topless has a thing with making music that will annoy most people and enthral the rest! This is released as a 12” Picture Disc and has 5 tracks with very strange and controversial names like Hiroshima was a Shithole Anyway and Proposed Theme Tune #4 “Let’s Hunt and Kill Billy Ray Cyrus”. The 12” opens with The Breeders, which is some Coil meets Nine Inch Nails type thing and quite cool. The whole production is very raw like the old industrial stuff of the early 80’s, not the clean stuff. Proposed Theme Tune #4 is something quite different with strange music and a guy saying” Something saved your Pecker, suck it” looped over and over. Strange…The last track on side A is That Rarest of Beasts; Hay Parabola, Crack Chikin/Nex Nine Times for Sunshine, a sort of twisted hip hop thing with young black kids saying nasty shit… Hiroshima was a shithole begins with a huge amount of noise that immediately makes you go to the volume knob as a low bass just about blows out your windows! It evolves into Mr.Topless having a little drum battle on his laptop and going completely mad until a sort of techno bass kicks in the sound intensity increases and then the listener dies… This track lasts for 13 minutes. The last track Blood Touching Glass makes you quite sure he is trying to destroy your hearing.. Phew…..

If you dig: Coil, Nine Inch Nails, Aphex Twin

4 Razors: Fantastic...like in really really good.


Review of Cock, from our pal Slobodan on Serbian Radio.


It sounds like Ministry should sound these days. It sounds like the granny didn't gave the kids the promised cookies. And was later set on fire. With all of her photo album memories. Kid 606 should dress in wires. Britney Spears should have at least one friend whose into this stuff. Cause Madonna doesn't. Big Black Cock Of Death, as an expression, says more of the world than CNN's two-hours coverage of the world's scariest ongoings. Dressed In Wires made my girlfriend worry about me.


March 2006 Review from



Dressed In Wires “The Big Black Cock Of Death” EP (Distraction Records)

Naturally this a record I’ll be playing when I man the wheels of steel at our local BNP disco this weekend, should go down a bomb as well, you know how the Nazis love all that gothic electronic, black metal disco stuff. Just as well that Dressed In Wires are masters of these black arts, not so much fusing their metal, disco, electronica and goth-glam as incinerating it with laser beams from their retro-shaded eyes before chopping the ash into mega-snort lines. This is a cracking slab of aural crack, and here’s why; “The Breeders” sounds like a starship battle in Thomas Dolby’s lab, but catchier and with a better light show, oh, and someone slaughtering robot elephants at the end. “Let’s Hunt & Kill Billy Ray Cyrus”, for the idea alone, but the tune is nicely barking as someone drawls the old Bill Hicks line, “sucking Satan’s pecker” while a toy piano gets splatterated by clone drums and doomy synth smashes. “Hiroshima Was A Shithole Anyway”, over sentimental perhaps, but the tune is a kicker, guitars hovering on feedback warp, one or two note bass assaults, heavy breathing and drums programmed by Satan himself. It’s really quite amazing and as Dressed In Wires are part of the “hotbed of electronica talent spawning in the north-east of England” I now know why Michael Owen jumped at the chance to move to Newcastle. You just move to here www.dressedinwires.co.uk and all will be well, or not.


Ah! Here's a March 2006 Review from


Dressed in Wires ‘The Big Black Cock of Death’ EP (Distraction). Ought to come with a parental and medical practitioners warning this 5 track release from Dressed in Wires aside the fact that’s it’s a head splitting glitch horror show of some measure it’s so violent sounding that we swear we actually spied our hi-fi wincing with tears of pain. Dressed in Wires is Simondo Topless (you sure) who has it seems been terrorising the electronica fraternity for a fair few years now having to date released 11 equally inspired and radio unfriendly albums (which sadly have past us by - questions will be asked mind you). ‘The Big Black Cock of Death’ EP (from herein referred to as BBCD - because it’s a mouthful - boom boom - nah seriously if I write that to many times I’ll either get a warning message from AOL’s Room 101 spies or else I’ll subconsciously start signing off my emails with it) features 5 cuts and lasts a whopping 35 minutes all lovingly pressed on 12” of picture disc vinyl and features who we assume to be Simondo on the front either that or an adult sized Brains from Thunderbirds with his grooviest Trevor and Simon ’Swing your Pants’ gear on. Ho hum - said enough - the music. We’ll start by saying it’s rabid stuff especially the opening onslaught ’The Breeders’ - the kind of thing that a) will win you admiring looks from neighbours b) scare the bejeezus out of small pets, plants and ceiling plaster and c) is probably the closest thing to recreating that sound of an aural autopsy that you have in your mind’s eye as your ever gonna hear for real on vinyl. Think prime time SPK ganging up with early Front 242 to beat the living shite out of Einsturzende Neubauten. A punk ’zoid battle ground of white hot industrial beats bleeding from the inside of wired IDM structures (that’s Insane Dance Music as opposed to the Intellectual variety). Think upon it as a friendly and funkier variant of Merzbow and the likes but all the same equally punishing and ruddy scary with it. ’Proposed theme tune #4 for ’Let’s hunt and kill Billy Ray Cyrus’ has if I’m not woefully mistaken Bill Hicks samples - a screwed up hill-billy-hip-hop-abstract-scizoid-psychopathic-jaw-jarring-brain-bashing-head-fuck - think we’ve covered everything there. ‘That rarest of beasts; Hey Parabola, Crack Chikin / Nex Nine Times for Sunshine’ is well as un-fucken-friendly as you can get - obliquely grimy and gritty hip hop - Run DMC and Grandmaster it ain’t. ‘Hiroshima was a shithole anyway’ title alone will ensure the PC brigade are out with their flags picketing on the steps of DiW’s sonic bunker but then title aside what you get is some good honest wholesome lip smacking party boogying sound scapes - okay I lie unless of course all the tools in the shed have suddenly come to life to be found having acid flashbacks and decided to re-enact ‘Psycho‘, this is wickedly off the wall laptop manipulations being squeezed through a blender at pace - and is that the Chipmunks I can hear shrieking in the mix - well good riddance ya furry cute lookin’ fuckers - of course we joke - rampant, un-danceable but then what did you expect - tunes? - Well yes now you’ve come to mention it. Last up ’Blood touching glass’ is what I can only describe as the sound I often hear when I visit my local dentist except magnified a tad - under no circumstance to be played in a room adorned by moveable objects, alone and during the hours of darkness, think EAR and BBC Radiophonic Workshop in the throes of a slow painful death at the hands of a steel finger tipped Pimmon scratching down along a humungous blackboard - guaranteed to make your ears bleed, your skin crawl and your teeth grate. Consider yourselves warned enter at your own peril. www.distractionrecords.com



NormanRecords.com , on receiving the Big Black Cock Of Death EP, April 2005. And you can buy it from them!


Don't you think 'The Big Black Cock of Death EP' is one of the best record titles ever? That's what Dressed In Wires have called their spanky new 12" picture disc on Distraction records. This is crazy stuff indeed. There's something for everyone on there, well maybe not everyone but it's hugely varied, covering industrial, breakcore, ragga, electronica etc. It's excellent as well. I think this will appeal to fans of late 80's Blast First noise ala Big Black and Butthole Surfers and also folks who dig Kid 606 and V Snares. It doesn't really sound like any of them but it's gonna appeal to you folks I think. Not for the faint hearted but the music and artwork (utterly superb!) together are tremendous so this gets my record of the week.




A review of Behold My Mighty Star, on the evil-sounding:


Dressed In Wires is Simondo Topless, a sampler/programmer. This disc displays its influences openly: paranoia, nihilism, found voices, samples, mutated and distorted synths, and an emphasis on percussive sounds and rhythm over melody. Fans of Aphex Twin and the solo work of Cabaret Voltaire's RH Kirk will feel right at home with this disc. Almost every track has a lot going on: polyrhythmic beds, multiple tempos, and stop/start timing. Topless maintains control throughout, presenting a coherent construction and varied sonic palette. He gets high marks for using mixed timing, tempo and dynamics to avoid monotony, the bane of industrial/IDM. Dressed in Wires features a sense of humor: using binary numbering for the titles, and its choice of samples to keep nihilism and paranoia from oppressively dominating the disc.

Lactating For You, leads off with a Time Bandits sample warning: "Don't touch it...it's evil," but if you're hearing it, it's too late. The track features multiple layers of percussive tones, ultimately approaching a gamelan-esque level. The layered polyrhythm of the percussive figures calls to mind Steve Reich, if he and his 18 musicians went to Indonesia and took a lot of acid. Too Clever By Half, track 010 (or 2, for those of you not conversant with binary notation), has sequenced glass tones (the material, not the composer). The percussion flits and darts through the mix. First Gay Black President, track 3 (I'll just stick to decimal numbering), stumbles a little. The samples of extremely foul-mouthed children being used for shock value is moderately funny on the first listen, but wears thin fast. The martial beats and obnoxious voices are offset by the delicate harp-like synth lead.

The Elvis tribute titled I Can See Myself Cumming in Your Hair Tonight uses juxtaposition to good effect: a robotic female computer voice reads passages from Anthony Burgess' A Clockwork Orange while the synths surf on sine waves. Burgesses' vision of a shattered future is matched by the synth tones: loud, insistent, forceful and discordant, like an alarm clock on steroids. The drums are frenetic. Topless throws a complete curveball ending by having the computer read the lyrics to the old favorite Baby Face. I Will Scrape and Hurt You shows off Topless's Cabaret Voltaire influence with shortwave radio appearing in the mix. Toy and real pianos take turns leading the way to a blippy, clicky ending. Aphids In Me has two drunks singing about Manchester, and devolves from there into an Aphex-like workout with stabs of sound and shattered, off kilter rhythms. Track seven is noise, bleeps and noise. The title pretty much sums it up: Industrial Noises Processed and Arranged to Create Throbbing Cadence.

Merzbow and Aphex Twin meet in Sheila is a Punk Tree Surgeon, which moves as a slower pace and features mutated, distorted tortured sounds, as if Topless had wrung the last bits of life out of his machines. The song ends with more kids, this time spouting gibberish and nursery rhymes instead of profane discussions about killing smelly rabbits. Nine is a melodic, minor keyed piece with just synths. The disc ends with Simone de Beauvoir, featuring sampled clocks.

An entertaining and enjoyable release.

(5 evil sponges out of 7)

- - - - - - - -

Oh, they also review the Estrunax Sampler.....

"Mum, dad, it's evil – don’t touch it", says a child’s voice at the start. And I can think of a lot of folk, such as people who like their music less spiky, less demanding, who may agree with that devilish description. But what the hell, that’s their loss, because this eleven track sampler album from the Estrunax label (whose motto is "Music for the good side of your brain") certainly has its moments.

Dressed In Wires, from Yorkshire, England, open the proceedings with what the label describes as laptop music "with a DIY garage punk approach, using a CD full of cracked software and a cheap soundcard." And, impressive they are, too. The Autechre-like opener, Lactating For You, features a pretty, music box-like melody underpinned by a stomping beat that drops in and out to good effect. Dressed In Wires also provide a couple of other tracks. The charmingly titled I Can See Myself Cumming In Your Hair Tonight contains loopy noises, sampled voices and what sounds like someone shaking a bit of tin sheeting, while Aphids In Me marries electronica’s very own version of a screeching neo-metal riff with a piano that comes in from nowhere so quickly that it sounds like it’s being thrown down the stairs. Bizarrely, it reminds me of Gang Of Four’s He’d Send in the Army!!



August 04 and it's off to the Land we know as Ameri-Ca for a review of Behold My Mighty Star, on :


nae need for BabelFish with this, just aboot.


Originally hailing from The People's Republic Of Yorkshire, Simondo Topless, the man behind Dresssed in Wires is firmly entrenching himself in the hotbed of electronica talent blossoming in the North East of England. Or so he says. I usually don't care much for drum machines but I have to admit I really like this cd. It reminds me of the mid 80's when every goofball got a Tascam 4 track except this doesn't suck, it's very good. This is Simondo's first release on Estrunex and seems to be a collection of the best of his previous releases? With Behold My Mighty Star, Dressed in Wires delivers a kind of neo-romantico distorted psychedelic electronica record with a DIY vst punk twist. Also has great song titles like "First Gay Black President", with samples of kids cussing sampled from the movie Gummo, which my brother has been trying to get me see for years.

Here we find ourselves at the forefront of those stumbling into a new approach to noisemaking: eschewing the crystal-crisp sound of the usual warp-wannabes and instead contriving an aesthetic from the dirty cheap sounds from dirty cheap equipment. Song titles like "I can see myself cumming in your hair tonight" and "I will scrape and hurt you", this isn't the kinda stuff I often listen to but I have to say this is pretty impressive. At first I couldn't quite decide if it was really annoying but I later went with pure genius. I prefer the songs without the drum machines. This is the only cd I've heard that plays on pause, is this something new? The song Sheila has really cool little kid vocals.

Within Dressed in Wires we find bursts of clix'n'glitchy drill-und-bass; hardcore drone using his souped-up, heavily modded, hacked and cracked laptop, all precariously wired together with a few guitar distortion pedals. The listener is greeted with a hail of electro noise, beautiful and intense, in a world of chaos and clarity, sucking you in and demanding your attention.




July 04 and it's a review of Behold My Mighty Star on



Dressed In Wires es el proyecto de Simondo Topless, de Yorkshire (UK), el cual produce su música desde un portatil "utilizando un CD lleno de software pirateado y una tarjeta de sonido barata".
El resultado es una mezcla digital furiosa en donde se mezclan los sonidos más duros con los beats más rápidos para crear algo que, como dice el artista, "podría matar al oyente de una ostia en la cara".

Inesperadamente, todo esto está combinado con algunos pasajes de gran belleza y armonía. Este es el caso de temas como "Lactating for You" -construido a partir de arpegios de carrillón y breakbeats-, "First Gay Black President" -en donde los ritmos Electro son rodeados de arpegios de arpa-, o la abstracta "I Will Scrape and Hurt You". Todos estos temas contrastan con el ruido digital y la energía hardcore de temas como "I Can See Myself Cumming in Your Hair Tonight" (Puedo verme corriendome en tu cara ésta noche).

Yo diría que esto me suena a música Cyberpunk, no me refiero a lo que la gente suele llamar cyberpunk, pero en su actitud es bastante cyberpunk. ¿O es que hay algo más cyberpunk que el mismo Simondo Topless tirando teclas de ordenador al público en sus actuaciones?. Aunque Keith Emerson solía hacer lo mismo hace ya 30 largos años...



No Speaky no Spanish? Good old AltaVista Babelfish to the rescue!

Dressed In Wires is the project of Simondo Topless, of Yorkshire (UK), which produces its music from a portatil "utilizando a full CD of pirateado software and a card of sound barata". The result is a furious digital mixture in where the hardest sounds with beats are mixed more expresses to create something that, as the artist says, "podría to kill to the one listener ostia in cara".

Unexpectedly, all this is combined with some passages of great beauty and harmony. This it is the case of subjects like "Lactating for You" - constructed from arpegios of carrillón and breakbeats -, "First Gay Black President" - in where the Electro rates are surrounded by arpegios of ARPA -, or abstract "I Will Scrape and Hurt You". All these subjects resist with the digital noise and the energy hardcore of subjects like "I Dog See Myself Cumming in Your Hair Tonight" (I can see corriendome in your face this one night me).

I would say that this sounds to music Cyberpunk to me, I do not talk about to which people usually call Cyberpunk, but in his attitude it is enough Cyberpunk. Or it is that more Cyberpunk is something than the same Simondo Topless throwing keys of computer to the public in its performances. Although Keith Emerson used to do the same does 30 long years already...



Logo Magazine reviews Behold My Mighty Star: May 2004

See the original ree-view HERE


London’s Estrunax label tags itself as a purveyor of ‘music for the good side of your brain’, a description that should be taken together with Dressed In Wires and the words ‘Mighty Star’ as a complete, self-contained description of what you’ll find here. Dressed In Wires is Simondo Topless, and this is the sound of a disembodied brain wrapping itself in copper and launching itself into the void of space. ‘I Will Scrape And Hurt You’ places him in orbit around Jupiter, buffeted by the volcanic action of its many moons, while on ‘Sheila Is A Punk Tree Surgeon’ it sounds like he’s thrown his synthesiser and a stray guitar out of a spaceship and before it can fall to Earth they’ve got tangled up and are bouncing violently off the hull. On ‘First Gay Black President’ however he’s floating on his back down the mysterious canals of Mars. It’s some trip; frequently violent, just as frequently bucolic, yet it’s always alive. Didn’t someone tell this young man that experimental electronica is supposed to be a cold, dead place? Obviously not.
(3 und a half mighty stars out of 5)


a review of Behold My Mighty Star on ChainDLK website , June 2004.

BEHOLD MY MIGHTY STAR is the first official album by Dressed In Wires, a solo project headed by Simon Earp. The ten tracks of the CD gather irony (try to think how songs titled "First gay black president" or "I can see myself cumming in your hair tonight" could sound), electronic sperimentalism and good intuitions. Particular vocal samples gives humanity to the tracks while razor blade sounds (like the ones on "Aphids in me") give rhythm, cutting in two the atmosphere just to make space to new rhythmical structures and to some sick atmosphere. Everything is packed with a DIY atmosphere and the insane imprint of the project makes you wonder what's coming next. When IDM bands seem to be too pretentious, Dressed In Wires arrives just to clean the blackboard of modern music with his impetuous way of doing. If you think that Simon's music is a joke, you're wrong as he seems to be dead serious about what he's doing. If you are into industrial, IDM and electronic sperimentalism allow me to suggest you this project, then let me know what do you think about it.

(Four Mighty Stars Out of Five)



a review of Behold My Mighty Star on French website autresdirections.net, June 2004.

I can't figure out if this is a good or bad review, but here's the version of the text having been put through the Alta Vista Babelfish translator.... a stunning piece of technology breaking down linguistic barriers across Europe near you.


Fifth album published on the French label Estrunax Records, Dressed In Wires posts as of the first piece of pretty sonorities tintinnabulantes, a light concerto for small bells in the medium of which rhythmic is invited dries completely in shift. Piece unfortunately not very inclined with the variations, but there remains the title of the track, Lactating For You, rather strange. Too Clever By Half connects on tablecloths of keyboard dramatizing for a piece which gains in power as the samples colonize it. Not really of blow of glare, a loop sinks but not really charismatic, Dressed In Wires affectionne the disillusioned landscapes sound, a little futuristic, rather rigid. Introduced by a dialogue of the impolite fellow Gummo d' Harmony Korine, First Gay Black President continuous in the way of the absurd titles and joins again with vibrating metal sonorities. Tended piece, once more calcified, the music is maltreated there by an overshrill sample which seems to lacerate it briskly. One feels a little more the concern which traverses the tracks like an adrenalin which is infused and pushed the structures to bandage their muscles wildly. The end of the piece is a kind of strident flight which contracts you the jaw the air of nothing. And gradually, Behold My Mighty Star appears dark, very dark, exploring oppressive cybernetic universes, depicting the night landscapes of a yelling futuristic city whose steel heart can constantly to pack frantically and howl. Liver Of Love, symphony synthetic for keyboards grandiloquents, awakes an obscure tragedy and surprises by making valser the robots in their clothes of rust, making them whirl with death. A small tear, ambiguous, for a definitely sordid screen.

Urban violence, man-machine duel, conspiring computers, a constant electric tension authorizes only very rare variations towards softness, relative bus unceasingly drowned to the medium of worrying echoes. The melodies, in fact, are often ruined and unmatched, morbid and revealing of an infernal bug in the beautiful silica machine. Dressed In Wires assene without pity its drones overshrill and its rates/rhythms desiccated for a true musical nightmare, tells corrompu and highly-strung person whose fairies are biomechanical junkies and the princes of fascistic mackerels accros to the ultraviolence. A beautiful quite modern history, all things considered.


So there y'gan. My fairies are nazi mackerel royalty.


A nice review of the Estrunax sampler from www.totallyradio.com. May 2004.


Various Artists "Sampler Et Reproches" CD Estrunax (www.estrunaxrecords.co.uk)

An excellent introduction to the Estrunax roster which consists of musicians from Yorkshire (Dressed In Wires), Israel (Bloke) and France (POiNT and label founders Les 7 Mondes). The varied electronica contained on the CD is a strong argument for small labels like this producing music every bit as worthwhile as the big guns. My only problem is new signing Dressed in Wires' prurient track titles; "Lactating for you" and "I can see myself cumming in your hair tonight". Jesus, this is putting me off my cornflakes!



A DIW review? in The Crack? Are they so desperate to fill their pages? Below is actually the extended "Director's Cut" of the text, as the printed version was cut down to make way for a Michela Johnson interview with Rialto. Reliably informed, me.



Dressed In Wires
The Girly Clearout (Bear With Me)

Yet more flippant electronica fury from Heaton resident Simondo Topless – aka Dressed In Wires – ‘The Girly Clearout’ is flirtier, dirtier, and more sexually obsessed / repressed than ever. Self-produced, self-pressed, with suitably surreal song-titles, this 15-tracker boasts beats for which the term ‘eclectic’ barely serves justice, percussion that even a prozac-popping multi-limbed android would struggle to keep accurate time with, and a million samples stolen from films you’ll barely recall.

-Ian Fletcher

‘The Girly Clearout’ is available now from RPM costing £5. Seek www.dressedinwires.co.uk for more.




More reviews in printed prosperity. So where can I get a Crack T-Shirt? Oh, they're so kind:



Distraction Weekender - August 3

The Cluny, Byker

Split into two days, this indoor festival brought together the best of rock/alternative on the Saturday and electronica on the Sunday.
The Sunday started and ended with Dressed In Wires, with his own brand of beautiful noise, which ended in a hail of feedback and technology beating.
The leftfield dance of Seismic followed with a stop off at the beautiful pop of Fun With Light and then the onslaught techno from Monofonix.
The dark atmospherics of Leyenda gave way to Astro and Prism, with their crowd pleasing dancey Autechre-esque beats and bleeps.
Tears of Abraham kept the high standard going with an eclectic set, which appealed to everyone and resulted in destroyed equipment and a massive round of applause.
Cathode provided a set of amazing laptop electronica and Caro-Snatch did a set of vocalised pop recalling the likes of Peaches and Miss Kitten.
So a fantastic showcase of the best of the North East scene, I can’t wait for the next one!

I. T.




Heavens! To Betsy! A review of the first Dog Und Parrot gig... This appeared in the August 2003 edition of The Crack (Or it was supposed to. Was probably cut to make way for a Mavis interview or some such.)


Being hailed as the ‘Heaton Kid 606’ is a hard label to live up to and anticipation was rife. Armed only with a laptop, the crowd held their breath and they were greeted with a hail of electro noise, beautiful and intense. This is punk rock fed through a laptop; it’s like computers expressing emotion through sound.
This is electronica you cannot ignore and read a book to, it challenges the brain and sucks you into a world of chaos and clarity.
If this is the debut, we definitely will hear more from this cyber noise merchant around Newcastle and beyond.

Catch D.I.W at the Distraction weekender at The Cluny on August 3;see the gig guide for more details.




Dressed in Wires article which appeared in the June 2003 issue of The Crack magazine. I like the bit about the soft underbelly.

By Ian Fletcher. Photie by Steve Strode


Electronica's Loose-Fit Fugitive...

You may have heard the whisper. The one about the Kid606 of Heaton. It's been more of a murmur actually, so perhaps not. Yet, he really does exist, in the shape of Simondo Topless, a resident just off Chillingham Road. And yes, there are similarities between this purveyor of "car-crash soundtracks" and America's electronic upstart. It's there in the digital overloads, the schizophrenic mood-swings and the wry pisstakes. Also in track-titles like 'There's A Party In My Mouth And Everyone's Invited' and 'First Gay Black President'.There are links in other ways too.

Namely that like Kid606, Newcastle's Dressed In Wires is capable of more, especially when he shows his soft underbelly beneath a brazen exterior. With DIW, for every chaotic punk-rock of the preset, there are sprinklings of melodic melancholy, and both are equally engrossing. Starting out as a guitarist "in the Thurston Moore vein", he eventually became "disillusioned at the bullshit of getting bands together" before finally deciding to "take on the perception that laptopping isn't 'real' musicianship". So now there's just him, and a "heavily hacked laptop, with a few distortion pedals".

Recently, DIW has been "churning out half-a-dozen tracks a week", "taking computer music and throwing it into the ring with a DIY punk approach", "treading a fine-line between palatable, and noise that wants to physically kick people". This is the strict cause and contradiction of DIW. With an LP entitled 'Well Why Don't We Just Give Up And Join The Queue For Cash Machines' impending, and his first live performance confirmed for Distraction's August Weekender; the future for our very own Kid606 is shining brightly indeed. Just the exact way he probably doesn't like it.


Cheers Ian... cheque's in the dog.