Binnsclagg is Verity Spiders and Karl M V Waugh
They are an extreme Marxist imagist noise/poetry conglomerate.
Bring Back Hanging (Binnsclagg arranged by THF Drenching) – Chocolate Monk 2017
Dank And Rare: Ralph Dorey – self released 2015
BINNSCLAGG (Live) (featuring Keston Sutherland & Sean Bonney) – KIKS/GFR 2015
23 – self released 2014
The War Against Science – self released 2012
+ numerous shortly available CDrs and a few uploads here and there.
Verity Spott and Karl M V Waugh are both poets who are equally active in a variety of musical projects. As Binnsclagg, they mix spoken word and electro-acoustic sound sources, often creating deliberately, provocatively unpleasant audio events. Past performances have seen them using industrial cutting equipment, filling cramped venues with showers of incandescent sparks and grating metallic shrieks. “There’s an uncompromising, or not necessarily nice, aspect to it, which comes out as harsh noise at times,” admits Waugh. “There’s a lot of amplified bits of metal and contact mics. But it’s also relevant with the poetry. The crossover poetries that we are both into, separately and together, are harsh.” As well as their own work, Binnsclagg regularly read from poems by Keston Sutherland and London-based poets Frances Kruk and Sean Bonney – a trinity that Spott describes as “quite troubling, quite dangerous and aggressive.” Despite the confrontational aspects and sheer volume of Binnsclagg, the duo see themselves as distinct from the sturm und drang of power electronics or noise. “There’s so much nihilism in the noise scene,” says Waugh. “Everyone who goes to a noise gig enjoys a thick wave of feedback and a bit of a drone and all of that. I enjoy that. But it’s not actually very challenging or experimental. You go to a noise gig billed as a noise gig and you hear some noise. But if you go to a gig where someone’s reading and there’s improvisation and tapes and loops – all this juxtaposition of stuff – it’s like ‘what is going on here?’ It’s actually challenging you. If you call yourself an experimental scene, it has to be challenging. What I like about Binnsclagg is I feel it’s still very actively experimental. We’re still discussing. We’re not like a band that knows what we’re going to do – or has even a vague agenda. We’re still communicating and presenting ideas to each other constantly, when we play.” “There’s an aspect of theatrics too,” adds Spott. “It’s an interesting thing when you start to synthesise not just poetry and music but external vocalisations too. Sometimes we use religious texts or adverts and start sermonising. Sometimes we just piss around. We just joke with each other.”
All of this can be heard on their new self-titled tape, released by the British noise label KIKS/Girlfriend, which documents two live collaborations with poets Keston Sutherland and Sean Bonney, recorded in Brighton’s anarchist social centre and DIY venue for countless noise and punk gigs, The Cowley Club. The A side pitches Sutherland’s pinched sermon of rising exasperation against robot chirrups, wet plosives and slow rotor thrum. While this set negotiates peaks and swells, the flipside is a much more impenetrable barrage, with Bonney roaring like an angry Canute shouting down the tide. “Sean kind of read his poetry in spite of us,” laughs Spott. “He just did it how he normally would but a bit louder. It’s so grimy. The recording quality is horrible – but sometimes you’ve just got to synthesise stuff. He made us go mad. That’s exciting. He took us into his mental place he was in when he was writing that work and destroyed us with it – because that poetry is destructive.”
– Wire Magazine