and a new label…

after much thought, i’m going to start another venture to waste plastic and cobalt

the first release on house of violence is a 4cd collection from house mother

hmC-6XHl1XcAAxACD.jpg_largefour hour-ish tracks of shifting wall noise.

trou/ch split tape finally out

with more apologies than will ever make it right, my split with trou is finally ready for yr ears.
c90, with an itchy, scorched earth decimation from trou, and some kind of drone to wall to more wall from me. my usual crap.
and stickers too.
edition of 40



mainland europeans should pester mr trou

i’m selling mine at £5 each, plus postage
trades welcome and encouraged

next job: finally release the *other* long delayed releases…

time passes…

new guff:


aetheric records did me the honour of releasing hymns, a while back.

hardcore fans amongst you will be horrified to learn that it contains zero crackles and rumbling walls, and instead is a heavy dose of sh-101 worship.

get it here.



back in hnw land, the fine, and industrious reason arts records released herd psychology iv, here

also, the neurowalls label released direct action, here

both the above tapes are slightly different from previous stuff, i suppose


future offerings to an indifferent world:

more guff

and stuff

when it gets




a constant slew of developments

yep, i’m a social media mover/shaker.


so anyway, in no order of merit, here are some things you might take the slightest interest in:


fight your own war


i have a chapter in this new book, explaining to all and sundry why hnw is so great. for those 99% of you who aren’t remotely interested, i throw taylor swift, minecraft and peter zapffe into the mix; to annoy everyone. i also believe, and fervently hope, that this is the first time someone has combined these elements. a-huh. i also do a wee piece worshipping at the altar of dave phillips. he has already pointed out a painful mistake in it, but i still love him. the book is published by the mighty Headpress, and its available here, in hardback form – the paperback is due out in october. the hardback includes a download album of tracks by some of the contributors.





tempting failure 2016

i was again honoured to perform at this great festival, and doubly honoured to perform with my good friend mr yol.


we did a piece called Boxed In, which was incredibly hot and incredibly fun. at this point i should publicly apologise for endangering innocent onlookers with shards of cardboard and lumps of rusty metal…

2_tempting-failure_chenry-and-yol_boxed-in_006anyhoo, it was grand and we need to do more of this. i couldn’t make much of the festival, due to it being spread across a week in london, and work demanded me each morn. but its great to see the festival has grown again, and i look forward to next year! (all photos taken by Julia Bauer, and supported by Tempting Failure CIC and Arts Council England)


for the festival, i had the pleasure of mentoring mr james shearman, in his creation of a piece for TF2016. this was (hopefully!) an interesting and illuminating experience for both us, and we intend to carry this relationship forwards into future collaborations.





live guff

apart from TF2016, i also played a great all dayer in cardiff



(photo courtesy of heather jones)


recorded consumerables

writing for the book put me out of action for a bit, so i have a backlog of recordings to find homes for, as well as a backlog of things to do. all good.

two bandcamp things here, on julian skrobek’s process label:


i have a track (or two… ha) on this monstrous compilation – thank you james shearman!


very pleased to be on this comp from strange rules:

(cassettes available from strange rules)


i did this cryptic thing for mr killick’s maniacal laugh label:


and fresh off the press, live LACH collaborations with lorenzo abbatoir, from our tour together:


(tape or digimon)


future blah

various things that should have been released years ago, and various things in gestation

all guaranteed to disappoint.



oi oi



still breathing.



its been a quiet few months, because i’m meant to have been busy on something, but, of course, i haven’t been busy with that thing.

and thus, i am still doing said thing.

very slowly.



at some point, the eternally delayed (raises hand, accepts blame) split with karl zero map came out. a c120, because.

two hours worth of drone. sometimes caressing, sometimes abrasive.

finally completes the mating rituals quadrilogy.

about three years late.

all good.


there’s a few things around the corner, waiting, too.


i also had a jaunt around parts of the uk with two very good comrades of mine, mr seth cooke and mr daniel bennett.

i think we loved up a fair storm.


an exciting thing is just birthing, and i will scribble upon it later.


also, the cockney rejects are really great.

the brit-pop reckoning. finally

many of my generation were left scarred by the horrors of brit-pop.

we don’t laugh about it, we don’t talk about it; but the spectre haunts us (and europe)

now, finally, in the smallest way, i will exact the tiniest of revenges upon this hydra

and by revenge, i mean that i will make a lot of noise in the same field as Noel Gallagher and his high flying birds or whatever

this act will clearly have some massive symbolic power and resonance


i will be performing as part of Tempting Failure’s silent noise dive, alongside/opposing the mighty yol.

something i look forward to

this will all take place at the Latitudes festival, in suffolk, on the 17/18/19th of july

its going to be the best kind of horrible

and the worst kind of good.




post jaunt kerfuffles

well, the jaunting was done, and done is the jaunting

lorenzo abbatoir was a joy to tour with, not least because every night he was staggering to watch; but also because he’s a good man

i taught him useful english sayings like ‘wrong end of the stick’, and he taught me that italians ‘touch metal’

our respective nations have ne’er been so bonded.

we managed to record together, and hopefully that will be out at some point. somewhere. somehow.


i’d like to thank all the promoters, sound-persons and attendees: thank you!

i’d also like to retract that gesture from some of the sound-persons, bless them.

i’m kind of bored of quiet noise gigs.

i don’t need loud loud, but rooms require a certain volume.

that is all.


there are a few photos and videos floating around, which i’ll gather here….




jaunting… soon.

clive henry with Lorenzo Abbatoir uk tour :: 2015
2 June – London, Ryans bar
3 June – Bristol, Cafè kino
4 June – Brighton, The Green Door Store
5 June – Lincoln, Decimal place
6 June – Manchester, Ducie Bridge
7 June – Nottingham, Cell 14 Record Shop
8 June – Leeds, Fox & Newt
9 June – York, Fleeting Arms



be there.

unless you have something better to do.



tempting failure…

Tempting Failure ALT logo



its not often i ramble here on anything, but i think the tempting failure weekend needs to be poured into letters. i was honoured to be chosen to perform, in a duo with the magnificent yol, at the main performance event – the climax to a week of performances and workshops. i arrived on the thursday, to take part in a workshop with the mighty joke lanz (sudden infant); a fun, open experience and a brilliant introduction to my weekend. he started by giving us an overview of his work, most of which was known to me; but i’m always up for seeing pics of a young, cute dave phillips! ha. from there we played around with some toys, mainly small little sound devices before breaking for lunch. twas at this point, that i had the first of several healthy meals that would blight my decaying infrastructure. upon our return, we split into duos to create off the cuff performance pieces. this resulted in three heavily contrasting, enjoyable duos. ours (sonia and myself) involved a ladder and with hindsight was a near-perfect metaphor for “SOCIETY?” etc.




the workshop was very relaxed and open and i think everyone enjoyed themselves. it was a bit of a jolt when joke announced “how about we split into pairs and create something?”, given that we barely knew each other; but that pressure and necessary haste kicked the brain into work.


joke is a very warm jewel.


Joke Lanz


the main event took place over the friday and saturday, at the island (in bristol): an old, labyrinthian police station. it turned out that yol and i were first up in the main space. before the weekend, i’d briefly met him twice and maybe spoken to him for twenty minutes in total; thus our performance was based around the risk of collaboration with the least planning and preparation. we merely established a starting point – and ended up finalising this in the minutes leading up to the performance. so, we played out that start and then…

i think that when you improvise with someone “blind”, you often end up blowing through ideas very quickly – and that was my initial feeling after the (very short!) performance. but listening back to a rough recording, there’s a bizarre sense of narrative, even distinct sections. all good.

the one advantage of playing first, is being able to enjoy the rest of the event without a huge fucking lead balloon tied to yr head. thus follows words in a vaguely chronological account.

i enjoyed the spectacle of ana cavic’s “A floral tribute”, which was visually arresting (though i will admit now, that it mainly brought back memories of when a friend of mine ate a daffodil and was violently sick). jonathan rogerson’s “Desert Island Deaths” was an odd piece (thats a compliment, not a criticism), equal parts perplexing and bleak, funny and warm. he cut an impossibly beautiful figure. NW (who i’d met in the workshop) appeared next, with one of the weekend’s highlights; again traversing a line between humour and visceral brutality. my brain is compelled to point out a visual similarity with pyramid-head from the silent hill games, but “box” was an amazing performance. a portable vomir. hellen burrough & phil bedwell’s “union” was a beautiful piece: a tender, shimmering tension of intimacy. this was followed by joke lanz’s “LOVE BITE/S LOVE”, which was an action based around repetition and rhythm, a locked-in circle only broken through outside intervention.

the island is a meandering complex of rooms and alongside the main space performances, there were numerous others hidden around the building. i missed many of these, mainly because my “humans, please, away” circuit activated a lot and i couldn’t bring myself to voluntarily pass a door. however, i did see some of FK ALEXANDER’s (again, a workshop attendee) “Clean time 276”, a duration piece again framed around repetition. the most striking thing, for me, was her black metal-esque make-up: she looked genuinely malevolent, possessed. before this, i’d always considered corpsepaint/etc a bit…silly; but it amplified the intensity of her gaze immensely. throughout practically the entire evening, chelsea coon’s durational performance “Phases” had taken place; a truly wonderful piece, ear-piercingly loud through being so quiet. placed next to the main space, she would be in the corner of my eye constantly, like a slow-motion sadako. a beautiful work.




i awoke the next morn at my gracious hosts’ (jess and dan) and later on, dan and i faced the question: “can a modular synth and an hnw pedal chain produce wonder?” the answer is: possibly, check back when we’ve done a lot of editing.

after another body-confusing, healthy meal, i arrived at the island in time to catch most of alethea tamarit raban’s “s/kin”; this had the effect of turning a body inside-out, like a disembowelled soft toy. alice kemp’s “untitled with ribbon” was next and one of the things i had been looking forward to. i wasn’t disappointed. a wondrous, tense ritual; occult in the truest sense of the word. for some reason, it gained masonic connotations in my mind; but yea, another highlight for me. (as was fiiiinally making her acquaintance.) rachel parry’s “Fuck me gently into the good night II” was a cleansing, cathartic experience, for both performer and audience. “fuck through the eyes, fuck through the throat, fuck through the hand, i will not be a good citizen.” a really powerful piece. i only caught the tail-end of dan cooper’s party levitation, but that was perhaps the best time to enter the space: a wall of noise, strobing lights and the air thick with sawdust. this is what happens when you smash a load of guitars up. thomas john bacon & lee chaos were next, with an atmosphere of anticipation. i had been talking earlier to someone, about how i often feel intense sound through my whole body and how if i’m tired or really hungry, it’ll finish me off. this is what occurred maybe three-quarters of the way through “The Lived Body: REDUX”. i had to escape and eat crap. the bass was pummelling me, but at the same time, i have to also acknowledge that i’m annoyingly squeamish. its something that upsets me, but its definitely worsened by hunger/tiredness (watching Antichrist, having been at work since 6am and not eaten properly, ranks as the worst of these experiences. ha). so, i had to withdraw from the blood, cries, salt and throbbing drone of the main space. its a shame i’ll carry. the closing piece was a durational action from kali rose, which involved the audience in a really resonating way; like many of the performances, it was something which bounced around in my brain for days afterwards.

tempting failure was a lot to take in.




the whole weekend was incredible. on the practical side, the entire event appeared to run effortlessly – my thanks and respect to organisers and volunteers – and offered a successful platform for a broad range of work. on a more personal level, tempting failure was exactly what i needed. i’m easily stuck in a rut and the festival dispelled that. i walked away feeling recharged and pushed forwards, forced to re-evaluate. this has been tested already with new work hours and some drudgery, but i have invested my festival wristband with all of tempting failure’s memories and power and stuck it where i can always see it. it’ll frown on me when i slack. but ja, the experience convinced me to pursue more performance-y directions and interests, so we’ll see where that ends up. i went knowing no-one and left with new friends and contacts.

i wish i was still there.

again, the lesson is: find good people, create something together; when the creation’s goodness ends, REPEAT




my heartfelt thanks, in particular, to thomas, helena and hannah (and also the sound chap who might have been called andy) and my apologies for either talking to you not enough or not at all.

next time.





footnote i): it was interesting to see how many performances involved other people, not only the audience but also “assistants”. the latter was pretty revelatory to my independence-obsessed brain.


footnote ii): tattoos. i couldn’t help but note that many tattoos at tempting failure seemed apt or “right” – in the sense that most other “everyday” tattoos seem like mere decoration. for many of the performers, it raised connotations in my mind of old freakshow or circus photos. i mean that as a good thing.


(please note: i didn’t take any photographs at tempting failure – and if i had have, they would have been of the amazing building – so the above photos are culled from “the internet”. they are: sonia/ich (taken by joke lanz), joke lanz, chelsea coon, alice kemp and a motley band of wonderful folk. plus a duck from mr lanz. if any of the photographers wish to get in touch, i will credit them. thanks awfully)

audio-visual spew

two things for thee:


the first, a track on a glorious compilation, honouring mr midwich.

available hier, its got twenty-seven tracks from old, old men and bright young things. over three hours of divine noise and drone.

you’d be a fool not to.


the second, my face, a cardboard box and lots of bollocks spoken.


i’d forgotten about this. also features svartit, knifedoutofexistence and possibly some content nullity lurking in the background.