The latter half of 2021 has not quite worked out as I had planned on /amodelofcontrol.com. While I’ve kept the /Tuesday Ten series running, other coverage has had to take quite a bit of a backseat while other elements of life have had to be prioritised.

Which has included transcribing and publishing a number of interviews that I’ve recorded since the summer, and have sat on the backburner for what feels like an eternity. There are more to come, but first up comes an interview I recorded in September with Lesley Rankine. In recent years she has returned to recording as Ruby, and also returned to being part of legendary industrial collective Pigface, but 2021 has also seen Rankine looking back, with re-releases of an album from her landmark first band Silverfish, as well as the first Ruby album.

This fairly lengthy interview, recorded over Zoom, covers all of those and more besides. Thanks to Lesley for her time and good humour.

A note about the interviews on amodelofcontrol.com. This is now a long-running, occasional series, occasional because of the fact that I only interview artists when I have something to ask, and when artists have something to say. I don’t use question templates, so each is unique, too. Finally, I only edit for grammar and adding in links, so what you’re reading is the response of the artist directly (and was transcribed using Descript – a lesson being that it’s not great with Scottish accents!).

This interview, like some other recent interviews on this site, has also been posted onto the /amodelofcontrol.com Youtube Channel, and it is also embedded below.

/amodelofcontrol.com: This is Adam from /amodelofcontrol.com. And I’m talking with Lesley Rankine, ex of Silverfish and currently Ruby. And you’ve been in various other things. You never seem to quite stop.

/Lesley Rankine/Ruby: Well, no, I did. I stopped for about 12 years and, moved to the countryside and had a kid, got married, all that sort of stuff, had chickens and ducks and stuff.

And then that got really boring. And then I started making music again in 2013. It was, I put an album out in 2014.

/amodelofcontrol.com: Yes.

/Lesley Rankine/Ruby: And then I’ve just been trundling along since then. And then I got back in touch with Martin Atkins [of Pigface] a few years ago and ended up getting back into doing Pigface stuff.

So that’s been really good fun. It’s been great playing in a band again. And you know, the tour that we did in 2019, the folk on the tour bus were just brilliant. It was quite possible that we would all say that it was possibly the best tour any of us have ever done. And we’ve got a combined age of about 850,000.

It was like 17 of us on the bus, old farts complaining about our joints and stuff like that. Not the ones you smoke, the ones that make all the noises when you get up a chair now, that sort of thing.

/amodelofcontrol.com: Let’s start with Pigface then because I’m painfully aware that Silverfish comes before your involvement in Pigface originally and it seemed to end on not a great note. And I know you’ve talked about that in the press in the past, but how did it feel returning to this after all this time? Did it feel like kind of actually kind of a natural thing to return to?

/Lesley Rankine/Ruby: Aye, definitely, and it wasn’t that bad. I can’t remember what I said in the press about it at the time about Pigface. I think it was mostly that I was just doing Ruby stuff all the time, it wasn’t so bad. It ended badly with Silverfish. That was really shit, but Pigface wasn’t too bad, but I mean, Martin and I had differences, but we’ve all kind of gotten past it. It was so great, I remember vividly walking into the rehearsal room before the big reunion gig in 2016. Mary Byker was there, Mary Byker and I go back a long way and we hadn’t seen each other for at least 20 years, you know, and just seeing Mary and stuff, and then Chris Connolly was on the last tour and seeing him again for the first time in 25 years or something, you know, it was just brilliant.

/amodelofcontrol.com: My wife and I very nearly redid our honeymoon to make it to that reunion show in Chicago, because our honeymoon started in New York two days afterwards. And we were kind of afterwards kicking ourselves that we didn’t go, should we have just flown to Chicago and do that, and then New York and do it from there and we probably should have done. And it wasn’t the only gig we missed because we missed the kidneythieves in LA by a night as well. And it was just all too tightly timed. But it’s one of those things my eternal regret was not doing that. But it sounded amazing.

/Lesley Rankine/Ruby: It was really good fun, and I think that was the most tired of ever been in my life and I had swine flu. I caught some virus there that gave me pinkeye and both eyes. It was really bad that I went to my friends in Seattle for a couple of days. Then I flew down to start my own tour in L.A. a couple of days after I think it was.

By the time I arrived in L.A., I was starting to get scratchy eyes and then I had to hire a car, to go and stay with my mates at the opposite end of L.A. from the airport. And by that time, my eyes were starting to swell up and feel like sandpaper. And I had to drive through L.A. in this and they gave me a pickup truck or something, which is quite good because sitting up high.

Then I had to do a gig and there’s photos of me doing that gig with these massive puffy eyes like the elephant man.

/amodelofcontrol.com: L.A. is fun to drive through, too, right?

/Lesley Rankine/Ruby: Aye, and it was a Friday afternoon as well. So that was good. The most I got out of that Pigface gig was a dose of pinkeye. So yeah, you always catch something when you hang out with that lot, there’s enough of them, I guess. So, you know, it’s just a big petri dish.

/amodelofcontrol.com: There’s something weird about Pigface in that they don’t really sound like anyone else because there’s that enormous collective.

There’s so many hands involved in it and there’s been a couple of newer bands that have tried to do something similar of like, this industrial collective and it’s just like, you’re not Pigface, you’re not kind of bringing that manic energy that it has. You go back to what Martin did in The Damage Manual as well with the power that was involved in with that band. Pigface, I think gave a voice to a number of people for better or worse in some cases, but there’s some great stuff out of it.

And my wife turned out to be a fan and I was really surprised because it was not what I would have thought she’d listened to.

/Lesley Rankine/Ruby: But when I listen to Pigface stuff. I don’t really see industrial, maybe kinda earlier stuff is born out of it, everybody was involved in some kind of industrial band at some point.

But to me it doesn’t sound like it, it’s much more fluid. Like you say, there’s loads of different influences and loads of different textures and ideas from loads of different folk. There’s something like 500 members.

/amodelofcontrol.com: The Wiki page with the list of people who’ve been involved is ridiculous. ‘Cos it goes on for page after page and you’re like, oh, come on.

/Lesley Rankine/Ruby: Quite mental, innit? I mean, why would you not want to be involved in that kind of madness? You know?

/amodelofcontrol.com: And on the flip side, of course you’ve mentioned Ruby. When Ruby first appeared, I remember it as the bolt from the blue, because it sounded frankly like nothing else at the time.

Sure, some people tried to lump you in as Trip-Hop, but I don’t think you’re anything to do with that. There was a darker side to what you were doing. In fact, I will do the plugging now ‘cos I have my copy of the new version of Salt Peter, is that showing properly?

/Lesley Rankine/Ruby: Yep, that’s showing. Was it the paraffin or the red one you got?

/amodelofcontrol.com: The paraffin color. It really is. [shows vinyl colour] If that comes out very well. It sounds amazing as well. I think it does justice to an album that was a little bit ahead of its time. And I think at the time, is it correct that it was the first album fully constructed on a laptop?

/Lesley Rankine/Ruby: No, it wasn’t on a laptop. You couldn’t really do stuff on laptops then, it was touted at the time as being the first entirely digital album, but I think it was somebody like Ry Cooder did that in ’79 or something, but this was the second or something like that. At that time everybody else was still using tape.

And we just thought, oh fuck that. But it was just, it wasn’t a laptop. It was actual the old desktops with big, massive screens and like the whole of Salt Peter was on a 1GB Hard Drive. Even then, we were thinking “1GB? That’s massive!”.

/amodelofcontrol.com: How has it been to return to that over the past year, because obviously you’ve been releasing/drip-feeding a number of re-workings of the songs, and obviously you’re mastering and rereleasing it. How does it feel to listen to it again after 25 years?

/Lesley Rankine/Ruby: It’s great. I mean, I still love it. I still love the album and I have really enjoyed that.

I mean, that was the greatest thing about last year was having a focus on that, really making that album and especially making it with my brother. And I don’t know if you knew our mum had just died at the beginning of lockdown. So it was a bit of a shit show. So to focus on that, and both of us being together at our mum’s house to try and clear the house and get it ready for sale and stuff.

During the lockdown and stuff, it was all just a bit of a nightmare, but having a focus on that was a relief and it was quite inspiring. Totally rebuilding the tracks for the ground up, it’s… I dunno. It’s so much more pleasant then whenever you’re writing something completely new.

It’s like a puzzle. You have to find your way through it and figure out how you’re going to make the different parts of it work. Whereas when you have songs that you know so well, [holds up cat] this is Wiki by the way. When you have songs that you know so well, it’s just so much easier, so much more fun.

There’s still an element of credit of trying to find your way, make it completely new and, and give it a completely new type of character. Especially there’s songs like Heidi – the original version was this tiny little, very dark, very sparse song. The new one is some prog rock mentalness, you know, so it was really refreshing and it did a huge amount for my self-confidence as well, cause I’ve always had a total kind of imposter syndrome, about doing the production myself and stuff. Like Waiting For Light I did most of that on my own. And even though I did it and I really liked the sound of it, and I really liked the songs, coming to write new stuff again, I was really nervous.

I’m thinking “it’s just going to be shit. Really, really shit.” But working on Salt Peter was just brilliant, did a huge amount for my self-confidence and my sense of freedom in production, you know? ‘Cos I was just farting about, you know, it was a relief.

/amodelofcontrol.com: It was interesting as well, because I remember I saw you in London a few years ago when you played in Dalston.

/Lesley Rankine/Ruby: Ah, the Servant’s Jazz Quarter show? You did the review for that, right? Thanks very much.

/amodelofcontrol.com: Yeah, I loved that show. It was great hearing you giving new perspective to some of the oldest songs, because it’s obvious you’ve always liked toying with the songs and maybe re-evolving them. And I think some of these new versions are even different again from those.

The way you’ve dialed back some of the songs that were more aggressive originally and vice versa, I think that’s quite a nice little touch. What about – because I know you had difficult times with it – the second album, Short-Staffed at the Gene Pool. Does that one hold much for you?

/Lesley Rankine/Ruby: Aye definitely, there are songs there that are still really lovely. Lilypad. I think I started re-working that for live, and I should really do a new version of Beefheart, cause it’s quite a big stonker, you know? So, I mean, there are some really good songs on that and that didn’t get nearly as much attention I think, but that time, I suppose, by the time Short-staffed… came out Creation had kind of imploded and Sony was just fucked and it never really got the attention. . No, I would quite like to rework them – I wonder what folk think of the versions that I do live because there are always different and I redo them or revisit them almost every time I go out to do a gig.

You know what I mean? I start tweaking stuff and add stuff and I break stuff down and I have like three different versions of every song in there. So I often wonder if folk in the audience are really enjoying hearing something new, because some people, that I look at them like glazed, [whispers] “I prefer the original”. ‘Cause it’s just mental and basically the more mental something is the more I’ll like it, but I wonder if the audience are like: “when’s she going to play the original version, don’t want to hear stuff we’ve not heard before…”

/amodelofcontrol.com: That’s an interesting thing, actually, because I got the impression reading – I mean, reading the comments online is always a terrible thing to do – but I get the impression sometimes that your fans are actually quite happy with what you do and quite happy to come along for the ride and if she wants to redo them fine, why are we going to argue? Because often they come out “Oh, this!”, because there’s something wonderful about hearing a song live in a different format and your brain is going, I know this, hang on a minute.

And then it kind of ticks in and your brain suddenly goes, oh, wait a minute. I know what this is now. I mean, the kind of the fun of rediscovery because it makes you look at a song in a new light. And I guess that brings us on to the elephant in the room and the album that was released this week, which is Fat Axl by Silverfish.

I mean, it was a pretty anarchic time when that album and Organ Fan came out. And obviously the scene at the time… I actually picked up a copy of Lost Alternatives on vinyl this weekend (the Steve Lamacq album) that has got Big Bad Baby Pig Squeal on it and it sounds amazing, nice and loud of just like, yeah this is still cool. Looking back now, was it a kind of a press led thing of all these bands coming out of Camden and whatever. Was there actually something in it?

/Lesley Rankine/Ruby: I don’t know. Aye, I would say, I mean, for us, we were just involved in it.

I certainly had no idea what was going on in any other part of the country or any other town. I’m sure every other town in the country has some kind of music scene going on and certainly at the time, you know, there was no internet and there was no digital and for everybody, it was all analog and one place in your face, you know, if you were into that sort of music. So that must have been lots of different wee scenes everywhere, but certainly surrounding The Falcon in Camden, I mean, there was a different band there every night of the week and they were all brilliant. I mean, you never got a shite band. There’s loadsa other places as well.

But the Falcon, that was just our haunt. And there was so many different bands.

/amodelofcontrol.com: It makes me slightly sad. When I look at what is Camden now in that there isn’t a lot there anymore. I mean, I’m actually going to the Electric Ballroom tomorrow night for my first post-COVID gig to go and see Arab Strap.

So that’ll be fun watching a man confess his sins, mumbling into his microphone with a bottle of red wine for the evening. Excellent. Well, is there much, is there much else of Camden left? Probably not. London changes. That’s fine. But I think, you know, we’ve lost something that was quite special in the nineties in Camden.

What did you think of listening back to Silverfish again? Was it something you’d done much in the meantime?

/Lesley Rankine/Ruby: Well, I always have periodic returns to Silverfish and especially within, probably not the last year, but the last couple of years I came to introduce my son to it, you know, for a while he was “Is that you mum?!?”.

So there’s been that, I really do enjoy listening to it. It’s brilliant. I mean, it was brilliant. It was such a special time. And I don’t know if every 25 year old says this, or every 25 year old of every generation says, “oh, it was such a special thing”. Maybe it was. But at that time in your life as for everybody, I don’t know. But for us, definitely. Yeah, it was, it was brilliant.

/amodelofcontrol.com: I’ve got my copy on order and it hasn’t arrived yet. So I haven’t been able to listen to how the remaster sounds, but it is notable that the old releases do sound pretty thin nowadays. So they were definitely needing a remaster.

/Lesley Rankine/Ruby: Definitely, and also I think nowadays, when vinyl used to be the standard, it was usually on just thinner, cheaper vinyl. And whatever kind of old bucket of plastic was in the corner of the room, slap that on, and it wasn’t treated with any kind of reverence, really. I think nowadays vinyl is treated with some kind of reverence, apart from my son and just leaving ’em scattered around the floor.

/amodelofcontrol.com: I think there’s also that Silverfish were ahead of their time and a lot of the themes that you were singing about…we went to see Bikini Kill a couple of years ago when they returned. And it was amazing to see a 75% female audience going absolutely nuts. I was actually listening to Fat Axl before we came on and realizing that during the first song I was thinking, God, Skunk Anansie didn’t half sound like this on their first album. And your influence stretches down across all the bands.

And, you know, you are mentioned in other things. And I think that’s really important. I think there was a lot of that time. It’s a lot of, oh, look, it’s another band of men that are really deemed important. Well, I think Silverfish added something of a different perspective to many of the bands at the time, perhaps?

/Lesley Rankine/Ruby: Probably. I mean, the fact that when we started, especially out in the first gig at The Falcon, can nobody believed that I was female. Because of the sound of my voice. They were like, “oh no, you’re not a bird, you’ve got to be a bloke”. “No, That’s definitely a bloke, you know, birds didnae do stuff like that.”

And that carried on for quite a while. Yeah, I know. And like Babes In Toyland would get an asked who plays their instruments for them and stuff just after they came off stage. So we might not seem like we’ve come a long way, but we actually have.

/amodelofcontrol.com: I think that’s fair. I mean, I actually did a thing on my website a few years ago, where out in conjunction with a friend of mine, me and her asked the question of various women we knew: “what are your experiences of going to gigs and clubs?” And the results were horrific, of the comments we got back and we posted. And, you know, people in bands going, “you’re the girlfriend”, “No, I’m the singer”. the same bullshit like this still continue sadly.

We have no intention of revisiting it, but I’m sure we’ll get the same stories again, if we were to ask again at some point, but I mean, certainly some of it has changed. But not enough, I think it’s fair to say.

/Lesley Rankine/Ruby: Aye, that goes for everything.

/amodelofcontrol.com: Maybe it’s time for a new run of the t-shirt right?

/Lesley Rankine/Ruby: What, the “HIPS TITS LIPS POWER” one? Yes, I think so. I think we’ve actually been talking about that coming out, and it’s about bloody time with it ‘cos everybody else is putting it out. I did notice that when I went looking for it that there’s bloody millions of them all over.

Fair enough.

/amodelofcontrol.com: Well, I mean, it’s a great slogan and you know, my wife was like,”I’d like one of those”. I was like, right. I must remember to ask Lesley about this.

/Lesley Rankine/Ruby: I think we should. I think we should put another one, an original one, you know, a remake of the original, but trying to get Silverfish…I mean, we’re in contact now with Beggars [ the label] because of the release, the re-issues and stuff like that. But trying to get us to agree on anything is, is like the old herding cats thing, and Stu just does not answer his emails ever.

So he was always bloody contrary anyway, so.

/amodelofcontrol.com: It’s certainly of the time – it still sounds pretty fresh and pretty damned angry as well as it probably should. But it’s kind of amazing to think that you went from that to Ruby. I think that was one of the real shocks.

And I remember when Salt Peter came out, I was like, wow. And it was, it was such a shock, but it was a good shock because I was, uh, God, how old was I when Salt Peter came out? Uh, 17, 18, I think. So I went to uni in ’96. It was from my kind of my teenage years that were listening to everything from, you know, Brainiac (that I’m wearing now) to Girls Against Boys, to Skinny Puppy, to everything in between.

You know, at that age, you go for everything. You try it and see what sticks.

/Lesley Rankine/Ruby: Consuming music.

/amodelofcontrol.com: And I think I still am, but there was so much that was almost flying everywhere in that mid nineties period. And I think you mentioned about Creation collapsing and Sony not really having an interest.

They weren’t the only one. I was thinking back recently that there were a ton of labels that dumped a load of bands around the time of the millennium when everyone realized that alternative bands weren’t really a thing anymore, and it was time for the next thing. And suddenly all these bands suddenly got left without a home and loads of them disappeared all at once. It makes me wonder what we lost around about that time, because.

/Lesley Rankine/Ruby: I know, I was very aware in dealing, and certainly with major labels in the [United] States that they just seemed to have a cull every couple of years, certainly of the folk who worked for them.

And then they would have a cull of whatever bands that they’d plowed shitloads of money into. Some of them hadn’t done what they wanted them to do. A bit too difficult or some bloody thing, you know, but I think that was just, I think that’s just par for the course, for the major label labels, quite sadly short term. I mean, now artist development just doesn’t exist.

/amodelofcontrol.com: How are you finding – ‘cos obviously you’ve been pretty independent ever since. And in terms of a lot of it, like your own stuff, you’ve been self-releasing. Did you decide, did you make a conscious decision that that was the way you were going to go?

/Lesley Rankine/Ruby: I think there’s a part of me that would quite like to be on a wee label again, the same as Creation ‘cos Creation was brilliant and it would be nice to be part of that kind of family framework because sometimes it’s just kind of mind-crushingly tedious sat in your kitchen here, 24 hours a day. Looking at one screen and not having anybody to talk to and not, you know, not being part of any bigger system. I would never want to be on a major label again, I would never want to be part of that kind of industry thing again. Because that was just not me. You know, I had huge problems with it, that’s just not me.

And I’ve always been very kind of fiercely independent in every aspect of my life anyway. So I mean, I do love sitting at home and having full control of whatever I’m doing and stuff, but it just gets fucking tedious sometimes.

/amodelofcontrol.com: Let’s go to either end of all of this. So what were the bands that got you into making music in the first place, that got you onto the track of going “I’m going to be in a band”?

/Lesley Rankine/Ruby: Oh God. I mean, that must have started really early ’cause we were always really into music and especially my big brother was quite a big influence on me. I mean, I would just follow whatever he was listening to, whether it was like punk stuff or John McLaughlin and the Mahavishnu Orchestra, you know, and jazz stuff. The most of which I can’t remember now, but he was very much an influence on me, obviously until we left home and went to different parts of the country and stuff.

I used to listen to shit loads of different types of music all the time, I suppose. And I always wanted to combine them. I mean, I used to love The Bangles when I was starting in Silverfish. That was one of my mainstays, was that Bangles album all the time, you know, so there was The Bangles, Big Black, Butthole Surfers and whatever else.

So I think if I there’s just lots of stuff – and Swans – and eh, I suppose there was like Big Black and Swans and folk that like that I was mainly going to see live and stuff, and then I’d go home and listen to The Bangles.

/amodelofcontrol.com: Did you ever see Swans when they returned in the last decade or so?

/Lesley Rankine/Ruby: I haven’t.

/amodelofcontrol.com: My God. I think I saw them five times over the last decade before they ended it again. I went to that first show in London in 2010. It was one of the most intense experiences of my life because they came on and did the opening track that took half an hour and a load of people that raced down the front of Koko…not wearing earplugs.

/Lesley Rankine/Ruby: Oh shit.

/amodelofcontrol.com: Yeah. Thor came out and played his little bells for about 10 minutes and then suddenly the rest of the band starts coming out. And then 20 minutes in all hell breaks loose, and suddenly there’s this rush of people running back from the front, with us – with earplugs in – going “Fucking hell, this is loud”. Watching these guys going “how? I don’t know how they’re doing this”.

And it was just like two hours after they finished, We’re all like “Jesus, I’ve been wearing ear plugs all night. I’m not going to hear for three days”. Obviously it was as sweaty and hot as he likes it, but finally worshiping at the temple of Michael Gira, that was quite an experience.

What about nowadays? Is there anything particular that you listen to? Are you keeping your kind of almost omnivorous ways in terms of music?

/Lesley Rankine/Ruby: Oh, all over the place. I mean, my son keeps playing Kendrick Lamar in the car. He’s great. You know, I suppose I don’t really listen to noisy, heavy stuff anymore.

There’s I suppose there’s bits and pieces, but it’s much more kind of melodic stuff, I suppose, and kind of experimental stuff. Suppose I’ve got to kinda remember, what I’m looking at my phone here, thinking what kind of stuff, but it’s all over the place.

/amodelofcontrol.com: What about new material? I think you mentioned that there might be another Ruby album coming at some point, is that right?

/Lesley Rankine/Ruby: Yes, it is. Basically since I released Waiting for Light, I’ve been collecting a bunch of new songs and I was hoping to have it out in 2017 and then I can’t remember what happened, something else catastrophic happened. I think I’ll rework most of them. I’ve got that the Salt Peter remix is ready to go, but it’s just finding the time to get it out and finding somewhere to produce vinyl.

The way I’ve recorded it, all the songs are longer. So I know it now needs to be a double album and then we need to have a nice gatefold sleeve and all that kind of stuff and make it a really nice kind of package. So there’s all that to be sorted out. And then the new album, which will hopefully come out next year, it’s called Built for Storms and it’s just all in bits, all over the place, really, mostly in my head. I must have about 10 or 12 songs that are all in various stages of decomposition and stuff. ‘Cos I go back to them and then I start farting about and I usually end up with three or four iterations in the same session and stuff and there’s shit all over the place, bits missing.

So I’m quite a messy worker, but I need to go in and kind of edit those and see what I’ve got again. Cause I’ve kind of forgotten. I’ve been working on the Salt Peter stuff, you know, the past year and a half. Yes, there will be, one day, new stuff.

/amodelofcontrol.com: Well, that’s good to hear. Would you plan on touring again or is that something you’d rather not do anymore?

/Lesley Rankine/Ruby: Fuck yeah, I’ll go. I’m quite happy to get out there at some point. I mean, obviously as long as it’s safe enough for everybody to be together in one place and stuff, I really should have embraced the idea of online gigs and, you know, playing and doing shows online, but I’ve never quite got that.

/amodelofcontrol.com: Some people have done it really well. And some people have done it where the sound quality was awful and the video is awful and you’ve clearly not got the connection to do it. And you’re like, you charged money for this? This is really annoying. And then other bands did stuff for free that was incredible quality.

It was very much a mix and match, but obviously we were just looking for whatever, you know, missing out on all the gigs we did last time. Many of us were just, we’ll turn up and listen to whatever’s going on, frankly.

/Lesley Rankine/Ruby: I suppose the thing is I end up yabbering so much at my gigs nowadays, I just talking shite with an audience and usually I’ve played tiny places.

We’re just a few folk, when I’m on playing on my own. And it’s just like having your mates round and playing some tunes and that’s the kind of thing I like, you know, so I think if I was going to do any kind of live stuff, first of all, it would probably be really low key acoustic or just a wee backing track in the back end, but mostly just hanging out and having a natter and stuff like that works for me entirely fine.

/amodelofcontrol.com: It’s sounds like there’s a good future and you know, the kind of the current is doing pretty well too. So it has been a pleasure to talk to you tonight and thank you.

/Lesley Rankine/Ruby: You too! I don’t get out much these days!

/amodelofcontrol.com: I’m beginning to feel I don’t either, but yeah, again, thank you so much for this because it’s been an utter pleasure and do you want to plug your places online while we’re here.

/Lesley Rankine/Ruby: I think if you just look up @rubywubydoodah you’ll find me or @Lesleyrankine.

/amodelofcontrol.com: Well, thank you very much.

Most of Ruby’s back-catalogue is available on Bandcamp, with SP25 out on Friday.