It’s October 2004 and I am sitting on the floor of a music venue in Hackney with tears rolling down my face. The reasons for this are multiple: The two-day music festival which I have foolishly allowed myself to be coaxed into organising (despite having never organised a live music event before) is poorly attended and I will be losing more money than I can afford to as a result. I have just had to placate an irate member of the public and venue manager because one of the bands got drunk and decided it would be funny to unscrew the lightbulbs from the dressing room mirror and throw them out of the window at passers by. Another band are refusing to share their drumkit, as had been arranged in advance, because of an argument with the band due to follow them onstage. All of these factors are causing me a great deal of stress, but the catalyst for uncorking my tear ducts and letting the saltwater flow is the beautiful, melancholic music pouring from the stage. The band is Bikini Atoll, the song ‘Desolation Highway’. Sometimes you need a good cry to sort yourself out, and without this moment of release I’m not sure how I would have got through the full weekend.
In the weeks and months that follow, ‘Desolation Highway’ and Moratoria, the album upon which it appears become something of a tonic for the stresses and strains of life, to be listened to tucked up in bed with a warm drink, allowing the vast expanse of its wondrous mix of alt country and post rock to push through the walls of my tiny bedroom and let the night sky and cool air in.
Fast forward almost two decades and I receive an email from Joe Gideon, former frontman of Bikini Atoll, informing me of an impending 20th anniversary vinyl reissue via the rightly respected imprint Bella Union, who put out the original release, and asking if I’d be interested in writing the cover notes. How could I refuse?
The reissue is out on 13th December, and you can get your hands on a copy through the Bella Union online shop.
I caught up with Joe Gideon to look back at the original release and the new context into which it’s being released.
How did the reissue come about?
Simon Raymonde from the label Bella Union, who originally released the album, got in touch to make me aware of the impending 20th year since it was released. His plan was to reissue it on vinyl. It’s never been released on vinyl before, since vinyl wasn’t really a happening thing 20 years ago.
How did it feel revisiting the album and looking back at pictures, reviews and footage from that time?
I genuinely hadn’t listened to the record for maybe 15 years or more, so it was almost like listening to it for the first time. I was prepared to hate it, but listening to it now I think it’s quite beautiful.
To me, I was just blown away by how committed we were as a band. I think for all of us this was a band that really clicked, where, when we’d get together we’d just naturally start playing and improvising. It was such a great band to be in.
My song-writing style and singing voice has changed so much over the years, I could barely recognise myself! Also, There’s some music moments on that record, like the instrumental section of ‘Clear Water Gravity’, where I can’t quite believe how we did that. Great production work on this record, too by Rob Kirwan. He was right!
Listening to this record also makes me wish I could’ve enjoyed it more at the time, since I’m so hyper-critical. But I’m like that about everything I do. I can’t help it. Seems I needed about 20 years distance before I could enjoy it. Not practical!
Looking back at the album’s original release in 2004, where do you think it fitted into the music scene of the time and what about it has meant it’s been able to stand the test of time well enough to warrant a reissue?
Around that time we were getting deeper and deeper into Post Rock and Alt. Country and also music from labels like Drag City, Touch & Go, City Slang. We wanted the band to fit in with these scenes. Also we loved the All Tomorrow’s Parties festivals that were running throughout the noughties. This festival became almost a genre in itself.
I’ve been puzzling over your question: Why does it warrant a reissue?
I think anything could warrant a reissue if you love it. So the simple answer: The boss at the label loved the album enough to think of doing this.
Were there any bands back then that were on a similar wavelength to you or that you felt a sort of kinship with?
I’m not sure. But it was very cool being a part of some of the first signings to the Bella Union label. Around us were bands like Dirty 3, Explosions In The Sky, John Grant’s band The Czars, and Lift To Experience. All tremendous.
Thinking of the musical landscape into which the album is being reissued, what has changed since its original release?
Well, all music is now freely available for a small fee. That’s the biggy, isn’t it? A bit like talking about the weather without mentioning Climate Change. It’s a shame listeners in general can’t pour over artwork and liner notes that came with vinyl and CD releases …. Though algorithms are throwing amazing new music my way constantly. And hopefully Moratoria will find a home in one of those algorithms.
Who are the current bands that you admire? Are there any in whom you can hear or feel a similar spirit to what you were trying to achieve with Moratoria?
Some of the current bands / artists I love right now are Goat, Cate Le Bon, Guadalupe Plata, AK / DK, and also I’ve been listening a lot to the last album by the band Low. And also, a Japanese band called Kikagaku Moyo. Who recently split up! Their back catalogue on vinyl is beautiful.
I don’t think musically we share that much with these artists, but they do make great albums. That’s an overriding emotion I get from Moratoria. I think it’s best experienced listening to it from start to finish, as an album.
What have you and the other members of the band got going on at the moment/coming up soon?
Well, right now I’m on tour throughout Europe, pedalling a new solo album I made called Altered Self. Viva is working on music for her new band called Lunge with her husband Mark Cleveland from the band Archie Bronson Outfit. Che is currently planning a motorbike exploration in Indonesia, and Bastian is now a practicing Osteopath.
We asked Joe Gideon to select a playlist of his favourite tracks from 2004 and 2024
2004…
Paint The Moon – The Czars
We toured a bit with John Grant at this time while he was still in this band. Most of the dates he played solo and this was such a beautiful, standout song.
First breath after a coma – Explosions In The Sky
Strictly speaking this release was the year before, but we toured with them in 2004. A pretty mind-blowing experience.
Here He Comes – Archie Bronson Outfit
Wicked band, great tune. Did a tour with them, and the rest is history.
Women of the World – Jim O’Rourke
Walked down the aisle to this tune.
Shoe Song – Shellac
2004 All Tomorrow’s Parties – One of the great gigs for me! Praise be to Steve Albini. We’d end up recording our follow up with him.
2024…
Big Swimmer – King Hannah
Currently touring with this great band. Gorgeous song.
The Cuckoo – Dorothy Carter
I absolutely adore Dorothy Carter. Couldn’t believe it when the label Drag City reissued her first album earlier this year.
Goatbrain – Goat
I continue to marvel at this band.
Everything is Now – Jess Ribeiro
My labelmate on Labelman records. Beautiful voice, gorgeous song from her album, Summer of Love.
Echoes: Remember – Blind Yeo
Great new band from Cornwall, where I live. Part of the Cornish Bank scene, which is the mainline for all great music coming through and from Cornwall.
Moratoria is out on 13th December via Bella Union – order here
Joe Gideon: Website / Facebook / Instagram
Interview by Paul Maps
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