“Paradise haunts gardens…” Derek Jarman

I have no idea how long I have been thinking about going to see Derek Jarman’s garden- but it’s probably more than the twenty years since he died. I finally made it last Wednesday; drove from Rye, where we were staying for half term, on a persistently drizzly and grey day, through the marshes and strange flatness of Camber and Lydd. Across the pylon-plotted horizon with the odd caravan park nestling by their giant electric feet. And then without knowing until I saw it, there, a yellow framed, black stained timber building loomed into view through the mist and rain-spattered windscreen of my car.

There!

With the BBC film crew van tucked into the side of the narrow road between the stretch of shingle and few houses, there on the right hand side, the garden. Here are some grey rainy shots of Jarman’s garden as it is now, twenty years after he died. As far as I know the house is owned by someone new but obviously aware and respectful of the legacy, and the garden remains. Below is a short film made by BBC Gardeners’ World in the first few years after Jarman passed on, where his partner is interviewed and talks about the garden, and which includes quotes from Jarman’s book…. now I have to go back when the weather is better in the Spring. Dungeness is magickal and it is easy to understand why he settled there.

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Out-of-body-in-the-flesh: Seeing Coil Play Live 10 years ago

At the time I was still married, still living in Bristol, living a completely different life to the one I have now. Since 2002 I’d been on a path of re-discovery, of working out why I was feeling so out of sync with myself. There were lots of reasons…seeing Coil was another piece of the puzzle falling into place, if you’ll forgive the cliche.

I’m not sure when I first heard Coil- it was some time in the late eighties, and it was probably ‘S is for Sleep’ from The Elephant Table LP, which my boyfriend of the time had.

I remember him coming home with the Horse Rotovator LP and it changed everything, and profoundly influenced our own music-making and thinking. After that we bought all the Coil music we could. I still have my vinyl copies of Scatology, the Hellraiser themes and a signed copy of Windowpane, amongst other Coil goodies, all stashed in the loft, waiting for the time when I eventually have space for them again. I’m not a completist and apart from a few bits and bobs on cd I don’t have many of the recording they went on to make in the nineties and early noughties. Besides, my life changed and I was no longer making music, although I was still being creative in other ways from time to time.

Hearing Coil play live was something I never thought I would get the opportunity to do, to see them performing out-of-body-in-the-flesh.

The closest I got to meeting them was years before, when I wore my John Crancher shirt, emblazoned with gold devils, to a gig we were all at, maybe Meat Beat Manifesto, and they had joked that they wouldn’t release their next record until I gave it to them (I didn’t) …

They played the Ocean in Hackney, long since gone, on what I remember as a hot and dusty Sunday evening. Where my ex was desperate to leave by the end of the gig, I was desperate to stay to the very last, even after they’d finished, and ‘Feed the Birds’ from Mary Poppins was blaring out of the PA. I’m very thankful I got to see Jhonn and Sleazy play live- it was as beautiful, disconcerting and transporting as I had hoped it would be. RIP.

Magick moments.

(The Quietus wrote a great piece on Coil in 2011 to honour the first anniversary of Peter Christopherson’s (aka Sleazy) passing. Find it here)