Moonshake is a UK-based band formed in 1991 by David Callahan (vocals, guitars, samplers) following the dissolution of his former outfit The Wolfhounds - who were active for much of the second half of the 80s and, often associated with the C86 indie scene at the time, released several acclaimed albums of taut, fierce guitar pop and a dozen or so singles on a bewildering variety of labels. Taking the name from a Can single on the seminal Krautrockers' Future Days album, he recruited fellow members Margaret Fiedler (vocals, guitars, samplers), John Frenett (bass) and Mig Morland (drums, percussion) and were signed to Alan McGee's Creation Records for the debut First EP released in spring 1991.
At this point the band continued in their harsh guitar-FX direction that characterised a lot of the last The Wolfhounds recordings, drawing comparisons with Sonic Youth and especially My Bloody Valentine, whom the songs on this EP most resemble. The band soon jumped ship and signed to the emerging Too Pure label in London, home of PJ Harvey, Th' Faith Healers and Stereolab. Their first single for Too Pure, Secondhand Clothes showed a leaning towards the dub-bass-heavy post-punk sound of bands such as Public Image Limited and The Pop Group, and their debut album Eva Luna which followed in 1992 earned the group many positive reviews for its unique sample-driven and rhythmically-propulsive sound.
After an even more compelling mini-album Big Good Angel in 1993 the band split in half, with Fiedler and Frenett departing to form Laika with Eva Luna engineer Guy Fixsen, whilst remaining duo Callahan and Mig augmented the next incarnation with a host of guest musicians such as PJ Harvey, Lee Howton and Claire Lemmon of Sidi Bou Said, Katharine Gifford of Stereolab / Snowpony, Johnny Dawe from Collapsed Lung and Raymond Dickaty from Gallon Drunk, while completely eschewing guitars from their new sound. The resultant album The Sound Your Eyes Can Follow was released in 1994, a few months before Fiedler, Frenett and Fixsen followed with their debut as Laika.
Moonshake changed shape again for their final album in 1996 Dirty And Divine, which was released on the Seattle indie imprint C/Z Records (later licensed to a UK release through World Domination Recordings). Their ever-fluctuating line-up now included guest vocalists Tor and Mary Hansen (Stereolab) as well as Gifford and Dickaty, along with newcomers Matt Brewer, Michael Rother (not to be confused with the Neu! namesake) and Kevin Bass. Shortly after this album was released, Callahan relocated briefly to the US and effectively called time on the band in 1997. An EP of remixes originally commissioned to promote the Dirty and Divine album was belatedly issued in 1999, though this release was disowned by Callahan. In recent years he has re-emerged, having returned to the UK, and set up a multimedia/DJ/music project called The Surplus! and even reunited with several former members of the Wolfhounds for live performances in late 2004. Callahan has also enjoyed brief cameos with fellow contemporaries Stereolab (performing French Disko with them on Channel 4's The Word in 1993) and the Stereolab spin-off project Turn On.
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hay una aproximacion hacia el principio de otro fin.....esta simpleza de hacer facil lo dificil...no estoy a favor de los falsos artistas y menos de las salivas que los acarician.... viva la hormiga albina entre negras o rojas sin ser la cocinera de una evolucion conveniente a vuestra humanidad o sequia actual aun......la practica hace a la tecnica ,no al reves ....mientras los adorados se mutilan cegados por aplausos ortopedicos.....porque? por quien? porque porque? bla bla bla bla bla bla ....hubo mas futuro en algunos pasados veo.....y los peores bisnietos de Lucifer sobre los residuos de una maquina y ejercitos de djays enseñan solo un pasito de dance .....que te hace bailarlo?...que me hace distinguir? los legados ya fueron abiertos para los que ya estan bajo tierra o fueron cremados o...no cerraremos los párpados solos….
There is an approximation to the beginning of another end..... this nonsense to make so simple the hard ... I am not in favor of the false artists and less of that salivas stroke .... Long live to the albino ant between black or red without being the cook of a convenient evolution of humanity or even current drought ...... the practice make the technique does not vice versa .... while the beloved are maimed, blinded by orthopedic applauses...... why? by whom? Why because? bla bla bla bla bla bla .... there was more future in some past ,I see ..... and the worst grandchildren of lucifer on waste from a machine and armies of djays teach only a small step in that dance ..... what makes you dance it? ... what makes me distinguish? the bequests were already opened for those who are already under ground or were cremated o. .. will not close the eyelids alone....
amicus plato ,sed magis amica veritas animus meminisse horret a novo aquae potoribus aquila non capit muscas argumentum ad crumenam arriere pensee. ars longa ,vita brevis davus sum,non edipus desipimur specie recti de profundis dernier cri desinit in piscem desipere in loco de ted fabula narratur
this and this, from egg to the fruit, the abyss calls to abyss to the nail until the last, as is usual for the use of dolphin. Hug her og her, fra æg til frugt, afgrunden til afgrunden kaldt til søm indtil den sidste, som er sædvanlige for brugen af delfiner. knus это и это, из яйца до фруктов, пропасть в бездну призывает к гвоздя до последнего, как это принято для использования дельфинов. обнимать αυτό και αυτό, από το αυγό να τα φρούτα, τα γκρεμού για να γκρεμού κάλεσε στο καρφί μέχρι την τελευταία, όπως συνηθίζεται για τη χρήση των δελφινιών. αγκαλιά et ce, à partir d'œufs au fruit, à l'abîme abîme appelé à l'ongle jusqu'à la dernière, comme il est d'usage pour l'utilisation des dauphins. serrer dans ses bras
I saw Moonshake in Marseilles France around 1997. I would like to thank Mister David Lance Callahan for those incredible moments (what a shame, we were - very - few happy people) and for his whole recording life ('till now). It's certainly hard to hear in our music, but Boog and I spend long hours listening to this great sound. Bravo ! And... what now ? Al Beat of PTD
Oh, and where the hell is Callahan?! He needs to put out some new music. Total genuis.
He's also a hell of a nice guy. Once I saw them live (at the Grog shop in Cleveland, after their bass player had slipt from the D&D tour,) and requested a song for the next night (me and Matt and Joe follwed them for three shows,) that they didn't have the bass tracks sequenced for. When we saw them the next night (in Detroit at the Magestic,) he had these nasty blisters on his fingers from practicing the song that day, and they played it for me. The song was "Up For Anything," I think. Fucking awesome.
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