13 Oct 2003
South Central Reign 
"Matt and Pat Carroll would rather crack open a brew than pick up a pencil, they moan that they can't draw and can't paint, and yet they've provided the visuals for a major musical uprising. Their technicolour graphics, block(ed) capitals and casual images are already splashed across half the scrawny bodies and bedroom walls in the country. Having designed the visually eclectic covers for Happy Mondays, James and Northside, Matt and Pat have kicked art into the '90s, dusted off the cobwebs and made it accessible, relevant and fashionable. Through cutting corners, dribbling paint and clashing colours, their design company Central Station have taken art down from the top shelf and shoved it right back where it belongs, back to reality and into sticky fingers...."

So begins an NME article on Central Station from back in 1990 which deals with their early days in Art College, onto designing the early Happy Mondays and which centres on their exhibition 'Hello Playmates' of gaudy portraits of characters from British cultural folklore which ran in Manchester and then London at the time.

Their recent outings have been for Matt and Pat's brother Pete (who wasn't in Central Station) who teamed up with Shaun Ryder, Shane Norton and Stephen Mallinder to spectacular effect in Amateur Night In The Big Top and for Gorky's Zygotic Mynci whose album Sleep/Holiday was released in August and whose single Mow The Lawn came out last week.

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Peter Saville colour wheel
Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

Factory Records

The Durutti Column