‘Visions of Trees’ – video and behind the scenes…

After screening to a select audience at the Cube on Wednesday night, our video single for ‘Visions of Trees‘ is at last available for all to see. Louder Than War exclusively hosted the online premiere – thanks to Guy Manchester and the team there! You can now share it directly on your own blogs and Facebook walls and so on – and please do. See it here:



Behind the scenes…

samnjenny VOT

A story about the making of Visions of Trees by Annie Hysterical:

My good friend Gem Lye (known to many as the beautiful Burlesque dancer Miss Gemma Sheree) and I often meet for tea and talk about the world, art, music, films. I told Gem we wanted to make a video for ‘Visions of Trees’ and started to explain my idea. At the time I was thinking it should be an animation of a hand drawing the images of the lyrics. She liked the idea, as did Wes our good friend and manager, but then we got talking about films. Gem’s knowledge about films inspired me as she started asking if I had seen this or that.. I hadn’t seen any of them.. they were mostly horror films and I am a wimp when it comes to those. One of the things that always intrigued me about David Lynch’s ‘Lost Highway‘ was the bit about the CCTV footage being a memory the main guy couldn’t remember. The switching of the Patricia Arquette character from wife to someone else is also interesting. The idea of a female character switching between a victim and a perpetrator is nothing new, though. It was only the other day I watched a film that had the lead lady role played by Jean Simmons as a maid, stepping into the shoes of her employers dead wife – wearing her clothes, perfume, hairstyle, etc. Hitchcock’s ‘Vertigo’ comes to mind too. When I was writing the lyrics these were the thoughts floating around that ended up in the lyric as – ‘no image picture maker, no grapevine, let me remember, how it happened‘. There are all kinds of ways we remember things – Cameras, gossip, social media… the character in the song, like the main character in ‘Lost Highway’, is seeking to find his/her own memory unfettered by outside sources. Once Gem and I had talked this through, she suggested I watch ‘Last House on The Left‘ by Wes Craven. His first film as director and writer; full of style, horror and slapstick that I really loved as well – as really horrible bits that I couldn’t look at – the hands in the intestines being one example. Here it is plain that Sadie ‘the animal like woman’ and Phyllis embody the roles of ‘perpetrator’ and ‘victim’ – although she starts out as the ‘rebel’, between Phyllis and Mari the former is definitely the ‘victim’.. Sadie and Phylis informed our characters in Visions of Trees; one hungry and crazed, depicted in front of the orange curtain; and the other frightened, confused, and searching for a memory that the camera tells her she should have. When we were talking through the murder scenes in both films we got to researching real murders in America, mainly, and we were surprised at what we could find. All the real police Crime Scene photos were at the top of Google. We took the photos of the Hillside Strangler serial killer cousins because weirdly they looked something you might see in a Vogue fashion shoot. The positions of these corpses became an inspiration for our murder scenes. We shot the video in Breech Woods outside Bath. We were told a bit about the history by Sarah, a friend of Gem’s, who took me and my friend Millie [also known as Jemima Surrender] on a tour. She told us that it had been a Medieval Plague Burial ground and the wood was said to be haunted. It certainly felt old and reminded me of the woods in ‘Last House on the Left’. We filmed it on two cameras, a Sony TRV20 Digital Video and a Kodak Play Sport DIS. Tom and I filmed it with help from [my daughter] Talula over a period of eight shooting days. There were early evenings in the summer and a day in the winter with the Detectives played by Jenny Howe [who played guitar in Vile Vile Creatures] and Samantha Lowe [ who played drums in Drunk Granny] were involved. I was also interested in the idea that a music video could be filmed by the band rather than the band being filmed. While my brother loves the camera, I don’t really. So, in the video there are always two camera angles. I edited at home on Final Cut express with additional help with editorial tweaks and a final colour grade from our friend Jamie Worsfold who has made our music videos for ’24 Hour Glass’, ‘Maths’, ‘Cycle One’ and ‘Icebreak’. So… that’s some of the story behind our 4 minute film! Check it out and keep in touch… and remember – to keep from fainting, keep repeating… it’s only a music video… only a music video… only a music video…

SADIE visions of trees

phyllis dead


Cycle One – Palimpsest Mix

The producer of this brand new mix of Cycle One  has asked us to say nothing more about it, other than to call it the ‘Palimpsest’ mix. Mysterious, eh?

Hope you enjoy it, go on and share it on your blogs, facebooks, and all that if you do!

The Cycle One Palimpsest mix comes with our Visions of Trees single, available now for pre-order.

ArcTanGent 2013

Hysterical Injury are thrilled to be playing ArcTanGent festival at the end of this month. It looks to have one of the best line-ups of the Summer, including the pick of artists from our area (Big Joan aside – book ’em for 2014, ATG)…

For full details of all aspects of the festival, which starts in less than a week (eee!), see http://www.arctangent.co.uk

Annie and Tom have made this playlist of some of the acts not to miss if you’re at the festival* – or just to enjoy if you can’t be there with us.

You can buy tickets for ArcTanGent through Hysterical Injury’s dedicated link – and please do, every one sold there helps fund the next album!

*that said, we regret you will have to miss AXES. There’s an unfortunate clash

Visions of Trees – single/live/video launch 30th September-2nd October 2013


“Visions of Trees is a kind of fairytale. A telepathic love story that gets nasty.”
– Annie in interview with GoldFlakePaint

Hysterical Injury are pleased to announce that Visions of Trees, the final single from their debut album Dead Wolf Situation, will be launched at a benefit event for Bristol Rape Crisis on 1st October this year. The event is taking place at Mr. Wolf’s, Bristol and will be followed the next night by a Hysterical Injury DJ set and exclusive screening of the brand new Visions of Trees video at the Cube Cinema.

Visions of Trees was named after the band of the same name, who have produced a remix of the track which will be released alongside it. The brand new ‘Palimpsest mix’ of Cycle One also features.

The video stars burlesque artist Miss Gemma Sheree in a four-minute mystery drawing on films such as David Lynch’s Lost Highway and Wes Craven’s Last House on the Left. In an interview with GoldFlakePaint about the album, Annie explained how Visions of Trees addressed “the idea of re-living your life via what the CCTV has captured, highlighting the schism between the image projected on to you, and your own image of things that happened”

In the build up to the single release, Hysterical Injury are proud to support The Primitives on several dates of their ‘25th Anniversary of Lovely’ tour.

Upcoming live dates:
Sat 31/8 – ArcTanGent Festival
Sat 7/9 – Annie solo in Tartu, Estonia
Fri 20/9 – Exchange, Bristol with Black Pus

The Primitives tour support dates:
Sat 21/9 – Moles, Bath
Thurs 26/9 – Slade Rooms, Wolverhampton
Fri 27/9 – Chinnerys, Southend

‘Visions of Trees’ release week:
Mon 30/9 – single release with exclusive remix by the band Visions of Trees
Tues 01/10 – live launch at Mr Wolf’s, Bristol (Bristol Rape Crisis fundraiser)
Wed 02/10 – video screening at The Cube microplex, Bristol with Hysterical Injury DJs
Thurs 03/10 – online video premiere

Hysterical Injury also appear at:
Fri 11/10 – Power Lunches, London (Carousel night launch)
Fri 18/10 – The Redhouse, Sheffield with Big Joan
Sat 19/10 – Carefully Planned Festival, Manchester

Please direct press enquiries (including access to remixes and live shows) to hystericalinjury@gmail.com

Video for Pussy Riot

Hysterical Injury were invited by ShatterJapan to submit a video for the upcoming REVOLUTION: Pussy Riot Sentencing Commemoration Festival on 18th and 19th August.

This is our response:


Latest updates from Amnesty on Pussy Riot’s situation, and actions you can take: click here
Full details of the REVOLUTION event:
More priority actions from Amnesty: http://www.amnesty.org.uk/content.asp?CategoryID=1886

Annie’s ‘NME’ installation: a former NME features editor responds

Update: an earlier version of this post erroneously listed New Order as an all-male group, an error that was made in the text of this post by our manager and *not* a feature of Annie’s installation or Susan’s graphs. Apologies for this. Previously The Fall were listed in the ‘all-male’ list, when we should have made it explicit that this was because all of the NME covers in the period in question featured only Mark E Smith, and not other Fall members. Again, this doesn’t impact the central image. If you’re aware of any other errors in this post, please email us at hystericalinjury@gmail.com – thanks!

Update 2: this Facebook page has been made to keep information on the situation bang up to date.


Back in July last year, Hysterical Injury frontwoman Annie Gardiner took advantage of the acquisition of a large number of back issues of NME to make a point at Bristol Ladyfest.

Annie’s installation For Whatever Reason (Access) simply divided the magazines – which included almost all issues published between 1989 and 2008 –  into 4 piles, according to the gender of the cover stars. They appear in this order: female artists – male artists – both male and female artists – no artist depicted.

The dominance of male artists was predictable but the scale of the disparity was shocking, the ‘male’ pile towering over the others in a way that made them look like afterthoughts.

The image had quite a lot of support from our followers and others, but the artwork didn’t elicit any significant response directly from anyone at NME – until now.

A couple of weeks ago, Susan O’Shea of Factory Acts updated the image into a clean graph form, using raw data of NME covers up to 2011, and also providing an illustration of how things have [not remotely] improved over more than 2 decades up to the present day:

NME covers by Gender

This image was the one that provoked a response from James Brown (a features editor of NME in the first few years depicted in the graph above). Mr. Brown defends his own years at the magazine, contending that there simply weren’t any more female acts around who they could have put on the cover.

This is an important point about Annie’s installation which perhaps it is easy to misconstrue: of course, the installation is a window onto something bigger: the NME is just one part of the mainstream music media which its covers reflect. It could certainly be argued that the magazine is also a major player in influencing music culture – that the fact of an artist not being covered by the magazine might well in itself mean that we’re far less likely to remember them nearly quarter of a century later. A friend of ours took this a little further, making the point that this statement from Mr. Brown –

– “the period I was features edit[or] there were very few female acts emerging in [the] industry” – is a bit like saying, ‘when I was CEO, there were very few women getting promotions'”.

One also might think that a relative paucity of female acts might encourage an editor to feature those he or she did encounter that bit more often, if only for the sake of a bit of variety. Not so. Over the years Mr. Brown asked us to look back at, 1988-1991, Shaun Ryder took as many covers as Sinead O’Connor, Bjork, Kate Bush and Sonic Youth combined. The Wonder Stuff (nothing against them) featured on seven covers – Fuzzbox, Neneh Cherry and My Bloody Valentine got two each. Because male artists don’t just have four times as much chance of making a magazine cover – those who do are also many times more likely to get a second one, and many times more likely to get another one after that. None of the acts with female members had a fourth cover in this period, so we can’t count past that. In fact the top 8 all-male acts over these four years – Happy Mondays, The Wonder Stuff, Morrissey, The Pogues, REM, The Stone Roses, Inspiral Carpets and James – took as many covers and more between them as every female artist in the world combined.

After that there was still room for The Charlatans, EMF, Carter USM, The House of Love, Pop Will Eat Itself, Pet Shop Boys, The Wedding Present, Simple Minds, The Cure, Birdland, The Cult, Frank Black (without Kim Deal), Mark E Smith, Bernard Sumner, Primal Scream, The Farm, Ned’s Atomic Dustbin, Nick Cave, Terence Trent D’Arby, U2, Hothouse Flowers, Public Enemy, The Mission, KLF, Billy Bragg, Teenage Fanclub, Def Leppard, Elvis Costello, The Proclaimers, INXS, The The, Fine Young Cannibals, The Triffids, Stevie Wonder, Youssou N’Dour, Peter Gabriel, Lou Reed, Danny Wilson, Tone Loc, Beastie Boys, Echo and the Bunnymen, De La Soul, Revenge, Lloyd Cole, Depeche Mode, Motorhead, Carl Andrew O’Brien, Jazzie B, Lenny Kravitz, Slash, Billy Idol, They Might Be Giants, Northside, The Beloved, Flowered Up, Paddy McAloon, Electronic, World Party, Adamski, Pet Shop Boys, The Waterboys, Soup Dragons, David Bowie, Donovan, Jesus Jones, The Clash, Johnny Marr, Gary Clail, Neil Young, Erasure, Anthrax, Ice-T, Blur, Metallica, Chapterhouse, Nirvana, Renegade Soundwave, Red Hot Chilli Peppers, Sting, Bomb the Bass, Madness, Iron Maiden, Napalm Death, [the other] James Brown, Nasty Rox Inc, Derek B, The Housemartins, UB40, Roddy Frame, Pink Floyd, The Psychedelic Furs, That Petrol Emotion, Zeke Manyika, Todd Terry, Bros, Gary Glitter, and a few non-musicians like Tony Wilson, John Peel, Harry Enfield, Reeves & Mortimer, John Barnes, and Liverpool Football Club.

James Brown challenged us to name another female act that they might have featured. We feel that was the magazine’s job at the time, not ours now. And quite a few acts we can think of who might have featured in this time, like Madonna or Laurie Anderson, actually took one of the (equally rare) female covers just before or after the 1988-1991 window he asked us to consider. But, as it happens, James thought of one himself before long:

…not like any of the acts listed above then!

Most importantly of all – did Bjork and Sinead change the fact that there were ‘very few female acts emerging in [the] industry’, anyway? You wouldn’t know it from the cover of the NME. Nothing changed there.

Emergency Absolution

A couple of months back, during the seemingly Narnian winter (is it over yet?), we put one of our earliest tracks up on our Soundcloud. It was a snowy day. ‘This is for anyone who didn’t get snow and wanted it’, we said. It was just a little aside. A few people shared it and commented (thank you all). Then we forgot all about it.

‘Snow’ was recorded back when Lee Stone was on drums, and is still one of our favourites to play live.

Fast forward to the present and the Injury seems to have acquired some supporters at the energetically enthusiastic Emerging Icons site. They find ‘Snow’ sitting at the top of our Soundcloud page… ask us to send it over for their purposes… and the next thing you know, it’s pick of the week on Pete Donaldson’s Absolute Radio show.

Which is nice.

You can read an exclusive interview with Annie, a fabulous review of the band, and hear ‘Snow’ being introduced to the nation in Pete Donaldson’s beautiful North-East accent… (which makes it sound very much like ‘Snore’…) right here:

Insanely good… you really won’t have encountered a band quite like this before…”

Kollaps #3: Your Future in Pieces

This weekend we’re joining the bill at the latest instalment of Big Joan‘s club night, Kollaps. Bristol boasts many exceptional adventurers in noise; for evidence of which look no further than the recent bolstering of the line-up at ArcTanGent, where we also play – but even amongst them, Big Joan stand out as inspirational, and we’re honoured to have been added to the roster of acts they’ve invited.

On Saturday 16th March 2013 we’ll be joining –

Queer’d Science:

Antoni Maiovvi DJ (this is his remix of our own track ‘Vex‘, available now with the ‘Icebreak’ download single):

The Divided Circle:

and Big Joan DJs.

Kollaps 3 front

Kollaps 3 back


You can declare attendance and invite friends here.