Category Archives: GUEST EDITOR

From The Desk Of Martin Carr: Marijuana

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

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Carr: I didn’t really smoke dope when I was younger. I preferred my kicks fast and trippy, but as I’ve gotten older, there is nothing I like more than rolling a slow one after putting my kids to bed. I don’t need much, a couple of tokes to put me over the line. The stresses and aches of the day fall away, and making music becomes even more magical. I’m not a weed nerd, don’t know my sativa from my elbow, but what I do know is that it helps me sleep and stops me worrying about my hair.

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From The Desk Of Martin Carr: Books And Records

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: Book and records, records and books. If I had all the money I’d spent on records and books over the last 40 years, I would spend it all on books and records.

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From The Desk Of Martin Carr: Old Photographs

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: I’ve always been fascinated by old photographs, whether they’re of people or places. I am happy to look at anything but prefer it if it’s somewhere or something I know. Pictures of Wallasey and New Brighton, Liverpool, London and Cardiff. I have a box of photographs of my grandfather working in New York in the 1930s, my Dad as a tubby teddy boy in the early ’60s and my mum when she lived in California around the same time. I think they ground me. I’m distracted and dislocated, but looking at old photos give me a sense of continuity, that I am part of something, however cosmically insignificant.

More photos after the jump.

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From The Desk Of Martin Carr: Pubs

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: If I had to choose one room in which to spend the rest of my life it would be in a pub. The Lexington in London, perhaps, or The War Room in Ye Cracke in Liverpool, The Chain Locker in Falmouth or The Lansdowne in Cardiff. They aren’t the same as the pubs I frequented as a youth, packed and noisy with clouds of smoke hanging from the ceiling, but they are comfortable and safe and I feel at home in these places, whether I’m having a quiet pint on my own or two or three with friends. There is a pub where I grew up called The Cheshire Cheese, and me and my mate Sice would stand outside as kids waiting for the door to open so we could take in that lovely warm pub smell, beer and cigarettes, aftershave and perfume, and hear the raucous shouts and laughter. Many of the pubs that I have loved have been torn down, but they’re still here in my heart and soul.

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From The Desk Of Martin Carr: Chickpea

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: I love my little Welsh cat. When she was young, she would play fetch like a dog, chasing and returning crumpled balls of paper. Then we had had children and neglected her a bit. She was in the way, another annoyance, until one evening we were watching a nature documentary on the telly about big cats, and I noticed her for the first time in two or three years.

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From The Desk Of Martin Carr: Maschine

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

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Carr: Native Instruments’ Maschine (I have version two) is the first piece of hardware I had bought in years, and it’s completely changed the way I approach music. Freed from the limitations of my technique, I enjoy creating new things more than ever. I find the pad liberating, and it feeds creative periods. I think every home should have one or more (cheaper version obviously). Everybody has music within themselves, music that is unique to them, but most of it goes unheard because most people don’t play a musical instrument. Somebody who can’t move their fingers in the right way or hold their breath for long enough or keep a steady beat should still be able to express themselves through music; it shouldn’t be about technical proficiency. Listening to somebody play the instrument that they’ve dedicated their lives to is a wonderful thing, but everybody should have the chance to make music. The world would be a much better place. Don’t play it to me, though. I don’t want to hear it.

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From The Desk Of Martin Carr: Asda Jalapeño Houmous

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: Hot stuff, comin’ through!

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From The Desk Of Martin Carr: 29 Jumper

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

Carr: Long ago, when the 21st century was still in its infancy, I bought two jumpers. I can’t remember where or how much they cost, but they were lush. One was grey and the other blue; the blue one fell apart after a couple of years, but the grey one became a part of me. Everywhere I went, I carried a bag with it in case I got cold or anxious. I mentioned it in songs, wore it onstage and when it too started to fall apart, I cryogenically froze it in my basement and there it lies, waiting for technology to advance to the point where cotton can be repaired, a hole in a jumper can be fixed. Until that day, I wait alone.

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From The Desk Of Martin Carr: Gina Miller

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

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Carr: British politicians in 2018 are a collection of cowards, nincompoops and charlatans. Our government front bench alone is stacked with dishonest, self-serving, party-before-country (and self-before-party) rogues. The readiness of a government to throw parliamentary democracy under the bus in order to sate the prejudiced whims of newspaper editors and pound shop Himmlers after a referendum that was won on the promise of more democracy, more parliamentary power was, well, unsurprising to say the least. Gina Miller challenged the authority of the British government to invoke Article 50 of the Treaty of the European Union using prerogative powers, arguing that only Parliament can take away rights that Parliament has granted. Not one of our politicians copied suit, the establishment howled and stamped their feet, our judiciary was threatened by a national newspaper. Miller was abused and received death threats, but she won. The Supreme Court ordered that Parliament had to legislate before the government could invoke Article 50. Democracy had won the day, and we have one woman to thank. Of course, once it went to Parliament they all voted for it anyway because they are dicks.

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From The Desk Of Martin Carr: Francis Bacon’s “Three Studies Of The Male Back”

Martin Carr first made a name for himself in the early ’90s as the guitarist/songwriter of the Boo Radleys, whose Everything’s Alright Forever (1992), Giant Steps (1993) and Wake Up! (1995) remain essential listening from the Britpop era. The Boos disbanded in 1999, and Carr began releasing records under the bravecaptain moniker for the better part of a decade before issuing Ye Gods (And Little Fishes) under his own name in 2009. Carr is back with third solo LP New Shapes Of Life (Tapete), a compact, sophisticated and personal pop album inspired in part by the death of David Bowie. Carr will be guest editing magnetmagazine.com all week.

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Carr: Painted in oils by Francis Bacon in 1970, this was a (triptych) painting I spent a lot of time with last year when my isolation and self-examination peaked. A landscape that is both free to wander and impossible to escape. The figures inhabit a distorted reality, half in/half out of the cage like structure that surrounds them. It feels to me that all the action is happening inside the head of the figure; the two side panels show him shaving, but in the middle panel the mirror is dark so he reads a newspaper. I see the mirror as inspiration. Sometimes there is nothing there and all you can do is wait.

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