#bog-set

[apdistractions]

Bogshed - artwork by Mike Bryson

[sapphos-ruwumate]

painted myself an artemis in a bog setting

[mr-ig]

On Bogshed

Yes, the name. Yes. Unavoidable, so let's get it over with. No band has ever conquered the world, or even small parts of it, with a name like 'Bogshed'. Aware of that obstacle themselves, there's an entertaining anecdote, re-told in the notes accompanying a splendid 'Bog-set' reissue of their back catalogue on CD, in which the foursome head to the pub to thrash out a better moniker. After many hours and many pints, they manage nothing better than 'Tarty Lad'. They couldn't help themselves, that's the thing.

And they were widely reviled for it, more's the pity. I do wonder, in passing, if they'd have been quite so thoroughly sneered at if they'd hailed from somewhere less unfashionable (then, if not now) than Hebden Bridge, but they were frequently held up as a scapegoat for all that was wrong with mid-eighties indie: a miserable lack of ambition dressed up as bold independence, a dearth of skill masquerading as an artistic choice. They weren't helped in that by John Peel, who despite being an ardent admirer of the band, hung the word "shambling" around their necks. History insists on telling us that they'd have been long forgotten were it not for an appearance on the NME's C86 cassette.

None of that seems terribly fair, really. Along with Peel, and regardless of the C86 legend, and in spite of there now only being one member still alive, some of us have continued to remember Bogshed with huge fondness as the years have passed. They were an oddity then, they're an oddity now.

What they weren't, however, was wilfully obscure: the mis-labelling of their sound seems particularly frustrating given that, actually, it was remarkably easy to grasp if you bothered to try. Repetitive to the point of making the Fall sound like a free-jazz experiment, the beauty of the perfect Bogshed song is in establishing a simple and entirely logical riff, often led by Mike Bryson's chunky bass and then filled in with Mark McQuaid's spindly guitar before Tris King's drums pin it all to the floor, and then not changing it very much at all for three minutes. If you don't like the first ten seconds, there's nothing for you here. If, on the other hand, those seconds get your foot a-tapping, you're in for a right old treat, my friend.

Pretty much every Bogshed song is a joyous interlocking of those functional drum-bass-guitar parts, a firm-but-fun rhythm section which merrily barrels along underneath Phil Hartley's vocals. Those vocals are bold, sometimes squawky; they're distinguished from the post-punk crowd by a vague air of vaudeville, a whiff of end-of-the-pier entertainment. Even at his shoutiest, you knew that Hartley could be a crooner if he felt so inclined. The lyrics were odd, full of curious characters and surreal references, nostalgic and a bit parochial and occasionally somewhat bawdy, always loaded with Hartley's personality. Even when you didn't know what on earth he was banging on about, there was much to enjoy.

Viewed from the right angle, ignoring the warts and the boils, their essential jauntiness, their geniality, was inescapable. There are very few songs in their catalogue which won't leave you feeling just a little merrier than when they began. Bogshed wrote pop songs for singing in the shower, played them as if people would shake a leg on the dancefloor. Not their fault - name aside - if nobody did either.

Of the box set contents, the disk of Peel sessions is of particular academic interest. As so often, the Maida Vale recordings appear to capture the band as they actually wanted to sound; the rest of their output captures how they could afford to sound. There must be hundreds of bands of whom that's true. The first session, from 1985, finds a band clearly indebted to the muscular sound of the Membranes, on whose label they released a clattering first EP, also included; each subsequent session refines it just a little, fencing off their own patch amid a scene crowded with potential rivals. The different elements become clearer, the intentions less febrile.

Elsewhere, the first album, "Step On It", continues to be a personal favourite, even if its production only seems to have got thinner over the years. Even the cheapest studio can't suck the life out of these wonderful songs entirely, though: the scurrying absurdity of "Fastest Legs", the preposterous glam strut of "Mechanical Nun", the seesaw saaandwiiich-baar lurch of "Adventure Of Dog". A particular soft spot has always been occupied by "Tommy Steele Record", with its gentle trundling bassline and nostalgic tales of chip papers and childhood bed times; no other band of that era would've come up with something so unapologetically warm, so lacking in devilment. It's just a charming song, and it appears to aspire no higher (or lower).

"Brutal", its 1987 follow-up, broadens the palette considerably, but too late to win the wider attention it deserved. There are moments of genuine darkness; there's a punkish anger at play too; Hartley has diversified his range of accents; the differences of opinion that'd make it their last record are pretty easy to spot. And yet there's still a lightness too: "Loaf" releases Hartley's inner crooner to curiously touching effect, "No To Lemon Mash" is knowingly and gleefully ridiculous even by their standards. When they stick with the tried and tested formula, they've rarely been better: "Excellent Girl" is a riotous hoedown of a song, while album opener "Raise The Girl", thrust forward by a relentless chin-jutting riff which just gets more and more insistent for four minutes, would surely have been an indie disco staple if it'd belonged to a cooler band. They never were that band, though. When push came to shove, I'm not sure that they really wanted to be. Not enough, anyway. All four of them came up with that name, none of the four came up with something more sensible to replace it. They were Bogshed, they lived in a cottage on a hillside, they made a jovial racket that you'd never mistake for anyone else. If you succumbed to their charms, you took them warts and boils and all. 

[deepwaterwritingprompts]

Text: The bog is alive, begging for spare teeth each time I cross the old wooden bridge. Everyone tells me to ignore it, but I feel bad, and feed it every baby one I lose.

[carnivalcarriondiscarded]

Would Bardaby (from the Fantasy Au) still do his affectionate biting as shown in the original WH or would it be different?

i'd say Yes Absolutely!

he's gotta be more Careful about it tho... look at those chompers...

[0fps]

BLADE ❖ death approaches until your sin is cleansed, my vengeance will pursue you

[danandfuckingjonlmao]

me at 11:59 pm uk time on december 31, clown makeup running down my face due to my tears, violently shaking: so,, so here’s how what dan and phil text each other 2023 can still win-

[mandsleanan]

Masterlist of Aquariums

The Lazy River

Bog Puddle

Juniper's House

Trickle (Because that's what the filter does)

Mill Pond

Not mentioned: The hospital/quarantine/plant-holding tank, and the pair of water gardens that are only active during the summer.

[mumblelard]

two days in a row or it's almost like the bog monster thinks the narrator needs to get on board with us enthusiastically embracing our frayed internal locus of control, and the difficult choices that entails, but has doubts about the narrator's ability to grasp the message. the drama is real

i wonder how all this is going to turn out? maybe there is couples therapy for personified components of consciousness? family therapy for anthropomorphized abstractions of personality?

[seaglassdinosaur]

Eternally grateful that Cressida Cowell didn’t involve a romantic subplot in the How To Train Your Dragon series.

[apdistractions]

Bogshed - Bog-Set (artwork by Mike Bryson)

[greenerteacups]

Re: your recent response about Draco wearing blue - fashion is not something I tend to pick up on (or understand very well generally), so I’m always curious to hear more about it! Do you have any other fashion thoughts you want to elaborate on? You’ve talked a bit about Draco and Hermione’s fashion, what about Harry or Ron?

Aw, yeah! I'll preface this by saying that the following is a combination of canon and headcanon; some of this is evidenced in the text of the fic, but some of it probably isn't, it's just something that's in my head when describing them.

Harry's pretty small in Lionheart, as a consequence of chronic malnutrition in childhood mixed with a genetic predisposition to it (James is canonically a short king, cf. "Hairy Little Christmas.") That means a lot of his muggle clothes don't fit well, being hand-me-downs from Dudley; in contrast, his school robes, which we know he got tailored at Malkin's, seem to fit normally (i.e., Harry fits better in the magical world, it's his home, it suits him). In general, Harry's fashion is "adequate, but not great," which makes sense; he never had the chance to choose his own clothes growing up, and then he went to boarding school with a uniform, so when would he develop a sense of style? Honestly, it's a relief for him to have one fewer decisions to make.

Like Ron, Harry's uniform isn't super meticulous, but he seems to make an effort. He does his tie and keeps his shirt clean, etc. (which makes sense; Harry cares about belonging here). When we see Harry out of uniform, he's usually wearing baggy t-shirts and jeans, which are the least nice clothes you could give to someone while still expecting them to last; they're also clothes that fit loose and hang long on his body (very late-80's + early 90's).

Ron, on the other hand, doesn't have any qualms about belonging in the magical world; he was born to it. This manifests as a laziness with his robes. He doesn't bother with his tie as much, if at all, and when he does it's not the right knot (Draco points it out in Book 3); since he's the brother of not one but two Head Boys, we have to assume that's deliberate, or that at some extent his lack of attention is a deliberate manifestation of something. Ron is youngest boy, he has self-esteem issues, and the way this manifests is by Ron never asking for anything and then getting sour when nothing goes his way. He doesn't try, so he can't feel bad when he fails. Besides which, when Ron does try to dress nice, it backfires; it's either an uncomfortable costume, like in "Operation Prewett," or it's a horrible hand-me-down, e.g. the Yule Ball outfit. Contrast him with the other Weasley boys, many of whom — especially the three oldest — have their own cultivated aesthetics, because they all know who they are. Ron is figuring that out, and it manifests in stylistically messy ways.

[diceyclipse]

Overgrown Cemetery - A cute little tombstone d4 with dried lichen inside it and a green to clear gradient. The dome of this shape is so good with inclusions, it gives a magnifying lens effect 👀

[deepwaterwritingprompts]

Deep Water Prompt #3130

The whispering Bog keeps secrets, murmured into the mud and trapped for years, or centuries. They bubble up at random, not always making sense, not always finding someone there to listen.

[carnivalcarriondiscarded]

I just pictured this for the light arts au

Wally: go here.

Frank: into the dark?

Wally: go into the dark.

LMFAO PERFECTION, THAT MEME WAS MADE FOR THIS AU-

[cicerobussytransplant]

truly spectacular the way dune pt.1 took the first scene of the book (the box and the gom jabbar test) and managed to make it floppier and lamer and not even communicate very well what the intent of the scene, the first literal scene of the book, was