Joie Dead Blonde Girlfriend
Ikara Colt
Ikara Colt – Chat & Business As Usual

Ikara Colt:
Jon Ball – Bass, keyboards.
Claire Ingram – Gtr, vocals.
Paul Resende – Vocals, keyboards.
Dominic Young – Drums.

The first time we heard "Sink Venice" we knew instinctively that at least 3/4 of Ikara Colt were underwater – iceberg stylee. There’s more going on under the surface than meets the eye – any interface is going to be an exercise in damage limitation. Then they drop the bomb: "Chat & Business" (Fantastic Plastic Reocrds – see review Issue 4).

12 rough cut gems plus one hidden nugget; "Chat & Business" includes the 45’s "Rudd" & "Sink Venice".

Embracing The Fall, Joy Division & Huggy Bear, amongst others – Ikara Colt like to party with the lights out. They could teach those NYC fashion pups a thing or two about rocking the old skool Factory look as well. Ikara Colt look good in black – they give us some head & shoulders to cry on.

Currently under starters orders in the collecting ring (along with The Libertines & The Beatings) for the IPC Build Em Up Handicap Stakes @ Newmarket (wonderfully careful handlers here @ Newmarket – Peter Cook) – Ikara Colt are not going to suck anyone’s cock for a glint of the prize.

As anti careerist as they are anti elitist, Ikara Colt nestle neatly alongside mclusky as evidence that the UK is not full of footie following, penis enlarging, cleavage enhancing advertising execs suffering from supermodel envy.

Fuck dancing – let’s art!

Marquee Smith traked down Ikara Colt thus:

trakMARX - Ikara Colt uphold a grand UK lineage of art skool rockers - is it rock or is it art?

I.C. - It's just suburb kids making suburb rock and roll.

trakMARX - "In order to have great art you have to have great audience" - discuss.

I.C. - It's all about recognition; do you get it now, later or never - or did you ever care in the first place? It's great when an audience gets what you’re on about - and it's not; "oh, wow, we're great" - it's just good to know other people feel the same too. When I was younger music/lyrics meant so much to me. I came from nowhere, but at least I could feel I was going somewhere. At the end of the day that's what's so great about music - it makes you feel alive (God, did I just write that?). (Fraid so - Philosophy Ed.)

trakMARX - Steve Lurpack caught an early gig - how important was his help in yr. development?

I.C. - Mr. Lamacq (?) saw our fourth gig I think, by chance. Liked it. Asked for a demo. Played demo. Got deal. Released records. Answering your questions. Yeah he was a big help.

trakMARX - Have you listened to the Evening Session recently? Is it just us or has "the man" taken over?

I.C. - Who is "the man"? Corp type pluggers? If so, then yeah I think so, although it pains us as much as it pains him, I think.

trakMARX - It must have been one heck of a buzz doing a Peel session so early - was his show at all influential in yr. musical upbringings?

I.C. - Nah, shipping forecast Radio 4 ( I kid you not) No, he's alright. It's good that he's still a pain in the arse for Radio 1, but where's the new young pain in the arse? He can't do it for ever.

trakMARX - It's indicative of the state of the UK rock press that you were picked up on by Kerrang first - do you find it ironic that Kerrang now outsells NME by so much that many regional retail outlets only bother stocking the former?

I.C. - Kerrang's alright. I like their; "we like it because we like it" attitude. I prefer people to stick with an idea.

trakMARX - You seem to have been bundled in with the latest "IPC Create A Scene Burn It Down" project. No name or no idea?

I.C. - They didn't even bother to name it this time: sloppy.

trakMARX - What do you think of the UK rock press in general?

I.C. - It's all gossip now. I care what's on Muse's rider.

trakMARX - Have you chekked out Careless Talk Costs Lives? Rate it?

I.C. - Sometimes read it in Borders Book shop. Is it American? (UK – Brighton – Geog Ed.)

trakMARX - Along with the Libertines, you appear to have a Mod-ish steak running through you - is this a direct influence or just a affirmation of yr. Britishness?

I.C. - Britishness? Pie 'n' Mash? Knees up mother Brown? Nah, I’m not going to pretend my dad used to play for West Ham, to give us any street chic - we're from the suburbs we don't have any roots.

trakMARX - Dissatisfaction seems to be a lyrical key - as a generation, do you feel you've been let down?

I.C. - Every fucking day.

trakMARX - The artwork for "Chat & Business" was refreshingly Saville-esque. Are you admirers of his work?

I.C. – Yeah, we like him, the guys that did the sleeve are very into him.

(Sample conversation)

Me: Don't you think you should put the band name on the cover?

Graphics Guy: No.

Me: Well how the fuck will anyone know it's us?

G.G: Okay, what about having it on the spine?

Me: Okay - but can we maybe have a track list on the back?

We like their style.

trakMARX - Has the LP shifted?

I.C. - Not too bad actually, it got banned from the charts because of the sleeve (what the fuck? - Bans Ed.) so we'll never really know - but to be honest I'm not on the phone every day to the record company asking how many copies we've sold in Sunderland. I'll leave that to bands like Muse (fucking careerists) (the careerist that fronts The Vines really digs Muse, by the way - when he grows up he wants to be in Swayed! Futures Ed.).

trakMARX - Is Fantastic Plastic a long term home?

I.C. - Yeah, they've got faith in us (see below).

trakMARX - Is independence important to Ikara Colt?

I.C. - We just don't want some A&R twat who doesn’t know his arse from his elbow sitting in the studio telling us what to do, how to do it, and what to release. All the people we've got around us believe in us and at the end of the day what more would we want?

trakMARX - How did the Parkys/80's Matchbox tour go off? (NME's one good hack, Swells, wrote a fuckin excellent review for one of the shows. Was the hype trickling down effectively to street level & did the kids really wanna rock?).

I.C. – Of course they wanna rock - if I lived in Colchester all I'd wanna do is rock.

trakMARX - How did the Shetland Isles trip go off? (Psst - What do you make of Idlewild's morph into REM territory).

I.C. - The difference between REM & Idlewild is that Idlwild's singer isn't a self-righteous twat .

trakMARX - We understand you are lining up several festival appearances over the coming summer. Is yr. music not better suited to small dark sweaty clubs?

I.C. - We hate playing in sunlight, in fact I think I.C. has reverse seasonal disorder.

trakMARX - Why do people still labour under the illusion that R&R can work efficiently in the middle of a fucking field & isn't joining in with this hippy shit the antithesis of what Ikara Colt (appear to) stand for?

I.C. - What I can't understand is that everyone goes on about how nice everyone is to each other at Glastonbury, so why don't these people be nice to each other all the time? (must be drugs or something?)

trakMARX - What are Ikara Colt's parameters when it comes to selling out?

I.C. - Everyone has their price. The Manics had a neat trick; riding in limo's singing, "Hey, we're Marxists". (We know they said they were whores too – but whores get fucked - & we don’t wanna get fucked).

trakMARX - In conclusion, are Ikara Colt making a living or a statement?

I.C. - Ikara Colt are making a living statement.

Marquee Smith - - June 02

contact - the needle & the damage done