Aural Reminiscences: Devin O' Shaughnessy of Fruit Bat Annihilator

Fruit Bat Annihilator's logo showed a bat hanging upside down holding a flail, with bloodshot eyes. This is not it. 

Aural reminiscences will invite famous and infamous names from the anarchic annals of punk rock history and many other musical genres to reminisce about their experiences of life in the music industry. Everything our subjects say is their own opinion, and doesn't represent the views of News, News, News, News. We will not edit, cut, sanitize or refrain from printing anything our subjects say, no matter how lewd, tempestuous, coquettish or unsavoury. This week we welcome Devin O' Shaughnessy, the controversial front man of Glaswegian cyberpunk band Fruit Bat Annihilator. 

NNNN (News, News, News, News): Devin, when our readers see your name in our paper, they'll immediately think of 'the incident'. Do you know which 'incident' i'm talking about?

DO (Devin O' Shaughnessy): Aye, I think so, yeah. 

NNNN: What does it feel like to have something like that constantly following you wherever you go? It must feel pretty hard constantly being defined by that one moment of madness. 

DO: Aye, but I take codeine, you know? A lot of the stuff I see in the papers and that is false anyway, you know? It's fake and that. It used to make me angry, you know? But not anymore. I'm used to the bullshit, i'm used to the lies. I just figured, you know? These people have a job, and i'm interesting to them, i'm like their cocaine, their amphetamines, their Nightol. They need me, you know? So if they want to write about me, I don't care, you know? 

Fruit Bat Annihilator were one of the most popular cyber-punk bands of the 1980s. This is not them.

NNNN: But it must feel infuriating to be constantly misrepresented in the press?

DO: It used to be, you know? This one journo at the Daily Star printed this story about me years ago that was utter dogshit. He said I lip-synced my performance at the Queen's Silver Jubilee and made a big thing about how I was unprofessional and a massive fraud. I broke into my brother's dental practice and stole his tools, you know? All cordless flossers, forceps and that pink liquid and shit like that. Then I went to the journo's house in West London and fucking went to town on his big mouth. I sewed his fucking mouth shut, but not before forcing him to eat the Times Literary Supplement whilst singing 'Take On Me' by A-ha. Not only did the guy eat his words, he ate better words. The fella's face was weeping and that. It was classic, you know? But, as I said before, I've mellowed and matured with age I think. I look back on all the shit that I did in the late 70s and I don't regret it, I relish it. I miss it. But I'm older, you know? If I could go on being disruptive and chaotic, I would, but it's a matter of survival. Most punk rockers aren't as self-destructive as people might think, you know? We know when to stop and we know when we're too old to set stuff alight, you know?

NNNN: But that destructive impulse is still there?

DO: You're too fucking right it is. You wouldn't believe how much I want to look you up on Facebook, find where you live and come to your house and scream at you and your family. I had to bang my head against the wall before I came on Zoom to meet you, that's why I was bleeding profusely. People think i'm too much of a live-wire and too over the top, but what they don't realize is, the person they meet is fucking soft. They have no idea what i'm like at maximum capacity. 

NNNN: So would you say people see around 30% of who you actually are?

DO: Aye, no. More like 24%, but i'd have to check those wee numbers there. I did a spreadsheet a while back and figured it out, but the vagaries of time and repression have made the number much lower. I now show a lot less to the world and that will surely be represented in statistical data. But, who has the time these days, you know? 

NNNN: What percentage of your inner life projection to the outside world would you like to reach? What would be a healthy figure for you?

DO: Aye, so 42% is my target. Anything over that would be dangerous though. There was a brief period in the early 80s where I was at 49%, it felt like I was clinging on to a bullet train, everyone who met me experienced me, experienced me, emotionally. They experienced me in ways most people never experience their own family. Within 10 minutes of knowing me, people would either be repulsed and want to murder me or they'd want to marry me and keep me locked in a dungeon out of  toxic love. There was no middle ground, people's reaction to me was extreme and fanatic. It was like everyone I met was acting out their own private apocalypse and trying to drag me along with them.

O' Shaughnessy is also a keen painter. This is not one of his paintings. 

NNNN: So this would have been the early 80s, around the time of your fourth studio album Do Psychopaths Dream of Electrocuted Sheep? Great album, by the way. How much of this time do you remember and how much is a dirty haze?

DO: My memories of the time are surprisingly clear. I kept a diary, which shocks people, for some reason. They think of us punk rockers as illiterate hooligans, but in reality, there's nothing we like more than the smell of a fresh paperback, or the uphill battle of sitting in front of an empty Word document, you know?

NNNN: Can we take a sneak peek at a random diary entry, say, 19th January 1981?

DO: That's not a random date at all, and you know that, you wee shite. That was the night I crowd-surfed into the wheelchair section of my audience in Leipzig. The right-wing press called it 'Cripplesurfgate' and the left-wingers wrote a series of opinion-pieces about ableism, disability rights and the history of crowd-surfing and the underlying discrimination against wheelchair users perpetuated by the activity. What really happened was I broke my neck and wore this anarchic, cyberpunk neck brace for 2 months. It was painted matte black and was adorned with little robot skulls and middle fingers. People signed it with their favourite swear words and their own blood. I was on the cover of Rolling Stone magazine wearing it, you know? But here's the diary entry for the 19th:

19th January 1981

Fell off the stage tonight attempting to crowd-surf, ended up falling into the lads in wheelchairs, was performing 'The High Man in the Castle' from my latest album. Performance was legendary, thought i'd top it off with a crowd-surf as It usually turns out OK, it did in Stockholm, London, New York and Guernsey. But my aim was poor and my neck's in agony. The local hospital were lifesavers, I gave all the nurses a copy of my first LP 'Please, Sir, I Want Some Alan Moore'. Will be about 4 months before I can crowd-surf again, i'll have to find a new hobby, flagellation maybe. I once knew a musician guy, a real avant-garde, outsider type. He used to self-flagellate on stage, directing the whip according to the audience's whims. It was real 'event theatre'. Venues that allow this kind of extreme acts are sadly disappearing. The Narcotic Beaver in Islington is still going strong though. Anyway, this particular guy died from anemia, lost too much blood in the end. Characters like him really form the backbone of our collective creative unconscious. We are all animals, all savages. Aaaaaaaaaaaaaaargh!

NNNN: So, looking back at this diary entry, do you think you predicted the decline in independent, anarchic venues like 'The Narcotic Beaver'?

DO: Aye, they shut down a year after I wrote that! It's heart-breaking, most of my 20s were spent in places like the Beaver, The Chaste Maid in Cheapside, MK Ultra +, Cromwell's Fanny, The Chernobyl Experience & Wet Fred's Barnstorming Hickory-Doodle Shakin' Booty Dance Ranch. I was born in Glasgow, but I was made in Cromwell's Fanny. If you weren't there, there's no way you could know. I remember being in this strange experimental bar in Holborn, the whole place was tilted at a 50 degree angle and all the bar staff were naked and completely hairless. I was playing crazy eights at this table which also happened to be a fish tank, the guy opposite me pulled out a machete and some shaving foam and proceeded to shave his wee handlebar moustache off in a seductive and salacious manner. This all sounds unbelievable to people who weren't there, but there's thousands of stories like this I could tell, you know? My point is, all these places have shut down. They've been replaced with fancy new chain restaurants and 'trendy' cocktail bars. People argue that they're an 'upgrade' on what stood before, but we don't see it that way. You won't ever hear someone begin a story like "I saw a guy ride a Tapir through a ring of fire in All Bar One", nothing interesting happens in All Bar One. I did see a guy ride a Tapir through a ring of fire, by the way. The wee Tapir was unharmed, but the lad who rode him was badly burned. 

A common sight of patrons donning animal masks would have greeted any weary traveler who happened to stumble upon 'The Narcotic Beaver' in the late 70s/Early 80s. This is not 'The Narcotic Beaver'.

NNNN: Do you think I personally would have survived this era?

DO: Fuck no, you're a wee sissy. You wouldn't last 10 minutes in The Chernobyl Experience. No, you're of the Wetherspoons generation. The 'sit down, drink, take a few selfies and call it an experience' generation. People like you consider Johnny Depp or Russell Brand to be hardcore partiers, but they're like Mary Whitehouse and Jacob Rees-Mogg compared to some of the people I know. I once knew a guy who could make people overdose just by looking at them, imagine Prince Harry doing that.

NNNN: And this lifestyle complemented your music career?

DO: Aye, It fuelled it. People always look at people like me and say "What could have been?" But It's not like that, you know? I don't want to be the person you think you see, there's no such thing as wasted potential in my opinion. 'Potential' is a construct, you know? The music we've made may be niche and only suitable for a limited audience, but why should we have to want to make it into the 'big time', I don't care about appealing to a wide range of people. I don't care about appealing to any people. People shouldn't always have to be catered to, you know. Art shouldn't be made to reinforce people's prior tastes, it should disrupt, it should heighten your senses, it should bother you. I like to bother people. We made it our mission in the 80s to not give a fuck, there's an art to not giving a fuck, you know? You can put that on a fucking fridge magnet.

NNNN: So speaking of the band, let's delve into the origins of how you all met. I believe Tommy Trott and Wayne 'Lucy' Ferr were the two founding members, then you and Nigel Orgy came later?

DO: Aye, me and Nige upset the apple cart a wee bit when we joined up in 79'. Tommy and Lucy were doing quite well touring various small farming villages throughout the Highlands, they weren't punk rockers then though. They were still outrageous, but in a folksy kind of way. They used to perform a beautiful rendition of 'The Parting Glass', before literally 'parting with their glass' by throwing their glass of bitter into the audience and provoking a riot. People got used to this and used to throw their glasses at Tommy mid-song. He's be sitting on a stool, guitar in his arms singing "Goodnight, and joy unto you a-" then he'd have to duck to avoid bottles being lobbed at him. He loved it though, it was his bread and butter, you know? Ye wouldn't see anything like that nowadays, imagine Ed Sheeran or Hozier lobbing a Carlsberg into the audience at Wembley. I don't know if Ye knew this, but Martin Carthy was briefly in the previous incarnation of Annihilator. He was too depraved for us though, too fucking violent, too roguish, there's a line, you know? 

NNNN: So how did the band transition from the previous incarnation, I believe you used to be called 'Twisted Harlot', to 'Fruit Bat Annihilator'? And how did you come up with the name, does it have meaning?

DO: Well, me and Nige joined. It kind of happened organically, you know? They were in dire straits and needed more members to continue touring and to pay the rent etc. Nige wasn't that talented musically, we used to nickname him Ringo Starr because you could get away with insults like that back then, but he learnt the drums and has done a serviceable job, you know? I was a passable singer, so we both joined and bonded quite quickly. We all decided a name change was appropriate though. I don't remember, if i'm honest with ye, how we came up with Fruit Bat Annihilator. We were getting fucking twatted in a pub, a real stone-cold, hardcore drinking session, we even wore chain mail and carried spears, it was that intense. My theory is the name came to us subliminally. There was like 5 fruit machines in this pub, and another arcade game called 'Alien Annihilator' or some wee shite like that. Then, as we were stumbling home, all hammered and mauled like shit pugilists, Lucy claimed to have been attacked by a cauldron of bats. So I guess all this just came together.

NNNN: The name got you into a spot of trouble though, didn't it? Once you reached the big time?

DO: Aye, a load of animal rights groups claimed we were encouraging the annihilation of fruit bats. It hurt us quite badly that publicity, not because of our image, but because we've all four of us devoted a significant amount of our spare time working with bat conservation societies. We love everything about the creatures, they're charming, mischievous, highly intelligent, crafty, bizarre, macabre, all the things that spark our curiosity as Humans. We've had a shared fondness for the little buggers since before we named our band after them. To respond to those critics who claimed we were encouraging violence, we held a kind of 'Fruit Bat Live Aid', The Sex Pistols performed, so did The Clash. Engelbert Humperdinck even contributed a dozen knackered 6-strings which arrived in a soaking wet shipping container. It really took off, I hear they're doing it again in 2021, fruit bats have taken a hit due to this COVID shite. Paloma Faith is performing I hear. The wee lass understands the fruit bat hype, good on her!

Engelbert Humperdinck maintains a keen interest in fruit bats, especially their mating habits. This is not Engelbert Humperdinck, this is Paul Anka. 

NNNN: It's clear from this interview that you're fairly defiant about the criticism you've received. What do you think your legacy is?

DO: I don't care.

NNNN: You must care a little?

DO: I care nowt'.

NNNN: Do you at least see a reunion down the line? When the pandemic is over?

DO: I see a reunion happening during the lockdown. That's the most punk rock thing I can think of, holding a punk rock concert in a claustrophobic underground location to an orgy of human scum spreading their droplet seeds around in wonderful, chaotic harmony. It's a real middle finger to the Tories, and to COVID. 

NNNN: And you won't bat an eyelid if the papers find out?

DO: Aye, i'm dying anyway, I had a liver transplant a few years back, had a hip replaced last year, and i've become addicted to Russian literature, it won't be long before I kick the bucket, I just want to make sure the bucket is kicked into a rabid, screaming audience of knucklehead bastards gathered in a poorly lit cellar. It'll be Fruit Bat Annihilator's last hurrah, you know? 

NNNN: I look forward to that, Devin. Finally, what's your opinion on the conflict currently afflicting the Tigray region of Ethiopia? 

DO: Aye, I was reading about that the other day in The Financial Times, terrible situation, you know? My hearts go out to the people caught in the conflict. I said as much on my Twitter the other day. People are surprised that I have a Twitter, they assume I'd loathe it, but I actually quite like it. It's a worthy distributor for chaos and ill-informed, half-baked musings of destruction, and you can do it all on the toilet at 2am. It's mental. If it were around in the 80s stuff would have been sanitized though. But we're the old guard, we need somewhere to spew our angst-ridden diatribes, and Twitter does quite nicely. I called the Starbucks CEO a cunt the other day. Isn't it amazing that ye can do that nowadays? You used to have to go to their house and throw a brick into their children's window with a wee piece of paper attached to it saying 'cunt', but now ye can just @ them online. They won't see it, but it's the feeling that counts, you know? Fucking wee Starbucks corporate shite. The modern world isn't so bad, I guess, but we all want 'our day' back. This day will be someone's 'our day' someday, so I guess i'll have to make do with their day, even our day was better and you're all cunts. We all want to feel young again, to feel light as air. We owned it all, we lived like kings, because we were fucking kings. 

NNNN: Devin O' Shaughnessy, thank you for talking to us. 

Next time on Aural Reminiscences we'll be welcoming jazz/demolition fusion artist Azure C. Blend. Jazz/demolition was a musical genre which arose in the early noughties by combining free, experimental jazz with demolition derbies, popular in the US. Audiences would gather in an arena and watch cars mercilessly attempt to annihilate each other and create unlimited destruction whilst hundreds of jazz musicians would line the arena trying to provide frantic and chaotic musical accompaniment. The sound of brass instruments and the experimental rhythmic harmonies juxtaposing with motor vehicles being molested in an orgy of steel was found to be an oddly pleasing, fresh new sound for an American audience. Blend will join us to reminisce about his aural experiences in the Deep South.