tag:blogger.com,1999:blog-17337598891055308002024-02-07T04:28:17.742+00:00Gilded GutterKPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.comBlogger323125tag:blogger.com,1999:blog-1733759889105530800.post-74943728559042012522016-07-07T14:57:00.000+01:002016-07-18T13:51:21.732+01:00INTERVIEW : I Know I'm An Alien<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0djMYzfpzTPb3xcQ_pDi-6Z8ytB4yhb6lB7qRwoAZH8ERqPtIKkQB36r_j4814qfXM-8mGffX20x3TjUfYUFKSl41G6DPiquPsYBe3ZGUUqN3aCtzaJydiuviHrMYxFWDowkfCYe9TPY/s1600/samuraieeee.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0djMYzfpzTPb3xcQ_pDi-6Z8ytB4yhb6lB7qRwoAZH8ERqPtIKkQB36r_j4814qfXM-8mGffX20x3TjUfYUFKSl41G6DPiquPsYBe3ZGUUqN3aCtzaJydiuviHrMYxFWDowkfCYe9TPY/s320/samuraieeee.jpg" width="240" /></a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;">We're very lucky indeed to have an interview with I Know I'm An Alien, an enigmatic entity with thoughts to share on earthlings, Basquiat and upcoming new material....</span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">"let me say that Walter Weirdheadd is <u>not</u> a part of the
live band as it said on bandcamp. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">He is the one who writes and records all of the I Know I'm An Alien
songs and albums.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">He's recruited a band to play his stuff, he hasn't even met all of them
I don't think.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;">I showed him the questions and he answered them to me through watsapp.
He hates watsapp."<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">I read this on your blog, "I always felt from
a very young age that I was different." – can I kick this off by asking
what made you different from others?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, Walter has always felt out of place and could never relate to other
kids his age, this is true. I would say this is due to him being highly
sensitive which by society's male energy standards is kind of frowned upon. So
what is actually a gift if viewed from a spiritual perspective can become a
weakness. He could never see violence, fighting and competing as natural things
and not having the same interests and perspectives as his peers made him sad
and depressed. Later on he would start to act as a social chameleon to fit in,
causing him even more trouble, it almost cost him his life.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Your bandcamp says your London based - what are
your observations of London as an alien? Why did you pick this city to
live in?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter is a real cool cat in terms of musical tastes too. He moved here
because Jimi Hendrix lived here in the late 60s. Jimi was the first Alien who
he identified with.<o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As far as his observations of London, it's a love and hate thing. The
album I'm an Alien I'm not from here and Sometimes (most of the time) I wanna
go home but I know I have to try and understand you is 100% inspired by his
struggles to survive here in an extremely consumer based fast paced society. He
has a 9-5 to job to support his music habit. He gets very irritated when people
ask him "what do you do?" or call making music a "hobby".<o:p></o:p></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUO88JtJVWc0RJaVldizlsAweUL6zeG09qdkdlXBnIbtKufWuQW_-5LPDcj7EEPKsxfwRrMH9FKN-GE26C8FcWqAU81THn-HomhElVX7QVNA2taHgpIPXmTEXw9UNkPpFLSSfymHVpaxc/s1600/dimension.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUO88JtJVWc0RJaVldizlsAweUL6zeG09qdkdlXBnIbtKufWuQW_-5LPDcj7EEPKsxfwRrMH9FKN-GE26C8FcWqAU81THn-HomhElVX7QVNA2taHgpIPXmTEXw9UNkPpFLSSfymHVpaxc/s320/dimension.jpg" width="303" /></span></a><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;"></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><b style="background-color: transparent;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #500050; font-family: "arial" , "helvetica" , sans-serif;">What does London look to you through the eyes of an Alien?</span></b></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Over-stimulating. Half of it is creative positive stimulation, half of it advertising. People with their faces to their phones. Selfishness, greed. Bad weather. But also, lots of talent, energy and creativity flowing around. It's like being in Babylon, which he could've lived in in a past life. He says that's the other reason why he's settled here.</span></span></div>
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<span style="background: white; color: #500050;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>What does your universe look like?</b><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">His home is in the Pleaides where beings vibrate too fast to be seen in
physical bodies. They live in Crystal Cities in the Ether. They are the
original founders of Lemuria. It is a place of art and beauty where, when
someone ends a relationship in a couple, the other one understands and doesn't
hold a grudge and threatens you over the phone.<o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Pleiadians are here to help humanity evolve through peace and light,
using art as weapon. Guitars and basses are machine guns.<o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">We are multi-dimensional beings, this physical manifestation here on
Earth is just a tiny fraction of our large Souls which are alive through
consciousness in different dimensions, or even in physical form in other
planets in faraway galaxies.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">I saw that Jean Michel Basquiat is a big influence
can you talk me through why he's such an important artist to you? Do you
remember the first time you saw a piece of his work and how it made you feel?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, Basquiat was also an Alien. First time Walter saw his work was
instant connection and a feeling of identification, Walter felt it was ok to be
himself here. Basquiat was also very sensitive to this world; he checked out of
here at 27, it was too much for him. Walter was lucky (or maybe not), because
he wanted to check out too but for some reason he was picked to stick
around. <o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter believes highly sensitive people make the best art because they
go through suffering and pain. They are more
evolved and can therefore tap in to the creative wisdom with more ease then
normal folks. Eventually, through evolution, he thinks everyone will be able to
do that too, as we are all on different levels of consciousness on our Soul's
paths, some people's veils of thoughts and belief systems are thicker than
others, they are asleep to spirituality and other forms of life, just
concentrating on survival an reproduction. Dating apps and ebay.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Based on what I've read so far am I right in saying
you started the project last year solo and developed into the four piece you're
in now?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="background: white; color: #500050;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, as I said before, Walter is a loner, he makes all the music by
himself and then he teaches it to a band member who passes it on to the rest of
the musicians.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Can you tell us a little bit about your band and
how you work together? Is song-writing a collaborative thing?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">See above.<o:p></o:p></span></span><br />
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62kjmfnuSU8Ffdlyw1UddeKJE6XVG8BAUciu6oYucwtjomVbw66wPZxDFLf2NEi875JJ6IG_j6U6rAGWLC4hoF8YMyizv4mfyPZIrFMNaA6xxWdFJEw8d3E01K5JEj3OlN6d-dJSOEiE/s1600/chenrezig-m.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62kjmfnuSU8Ffdlyw1UddeKJE6XVG8BAUciu6oYucwtjomVbw66wPZxDFLf2NEi875JJ6IG_j6U6rAGWLC4hoF8YMyizv4mfyPZIrFMNaA6xxWdFJEw8d3E01K5JEj3OlN6d-dJSOEiE/s400/chenrezig-m.jpg" /></a></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">How did you pick the instruments you perform
with? Did you have any experience playing anything prior to this project,
or did you jump right in and take on something new to develop?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The instruments are chosen on their availability as Walter's tastes and
ideas change by the minute sometimes. He is familiar with and has a vast
musical vocabulary on the ones he uses. He believes he's a receptacle that
channels the Universal Thought of beings from different realms of existence.
The ideas that come to him though, are slightly different than those of more
conventional musicians as he feels that he has to express something different
on Earth, something that has never been created. That is why making money from
music is difficult for him because he cannot repeat himself and is always in
search of a new sound. That has always been his approach from the get go.<o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter started on the piano at the age of 10. He plays guitar and bass
since the age of 15. He can play most genres of "straight" music, is
fond of harmonies and has great knowledge of the laws of music on Earth. His
drive to create something new forces him to destroy conventions and choose
atonality over melody on most occasions.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Had you written any music or played in any other
bands before I Know I’m An Alien?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter has lived in other parts of the world. He has a pretty
considerable discography and in South America they know him as Walter Willy. He
was also famous in a band who does not reveal their personal identities down
there, playing and touring and was even on mainstream media. He speaks three
languages too.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">How has playing live been so far? What's it
like taking the songs out into the world for the first time?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter does not attend the live shows. He does think that not everyone
who's seen the band live gets where he's coming from though. He admits that he
does get a kick out of confusing them.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">"I'm an Alien I'm not from here and Sometimes
(most of the time) I wanna go home but I know I have to try and understand
you" – I was curious to know what you’ve understood about us so far?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Humans are complex yet simple. Over the years Walter has come to terms
with himself and accepting who he really is. As a rule of incarnating on Earth,
we are born with amnesia due to the density of the vibration here and we
completely forget who we really are. It is part of the trip. So he's been remembering
over the years. And music helps him remember. So when he remembers, he feels he
can help, like a Boddhisatva serves humanity from a Buddhist point a view. He
feels some humans (mostly westerners) are dishonest with their feelings and
thus project a false image of them as a means of survival in this reality,
causing confusion, anger, violence and hatred. Walter works extra hard on his
meditation routine to be as cool and chill as he can to just help out and to
not harm and also to put himself in people's shoes, be a mate, if he can. <o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">At the time of the writing of the first album he was more disturbed by
this, also on the second album in which he knocks obsession with technology. I
think he's mellowed out now because he's dealt with this stuff through the
music.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtYYDnMPaku_6uIKDunHEkdZw9-DgEn7rOriJnBvVcXrW9fVVmC3veg5UxfE2v3GfIy3NUtuZ08Q1ZWqHwdwhtdASvVcwikA2iY9d8LWjSOL5MXVC1nX0J-jXQuvjqVJ9SQ1emoheVDJM/s1600/12920532_793493304088857_8264666506690541191_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtYYDnMPaku_6uIKDunHEkdZw9-DgEn7rOriJnBvVcXrW9fVVmC3veg5UxfE2v3GfIy3NUtuZ08Q1ZWqHwdwhtdASvVcwikA2iY9d8LWjSOL5MXVC1nX0J-jXQuvjqVJ9SQ1emoheVDJM/s320/12920532_793493304088857_8264666506690541191_n.jpg" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Is there anything you would change about humans?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter's words are: "I guess it is not up to me as Creation has
created them this way and the things that really drive me crazy about them are
related to the struggle to evolve that I believe all species must grow through.
We all inside have Infinite potential to do amazing things but are being held
back by puppet string pullers in the 4th dimension that keep humans enslaved in
their lower chakras. Humans can be lovely creatures."<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">I’m finding ‘I Am Hobo Shaman’ from the recent
album a really addictive track, can you tell me a bit about the song?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter says thank you. The idea of the Hobo Shaman comes from
Walter's belief that people who have hard and difficult lives consciously chose
them to be this way before coming to Earth as a way to evolve their Souls
quicker. He has a habit of smiling at homeless people in the streets of London
as he knows they are the true spiritual warriors here, and the most evolved
people are not the dudes in the suits making a buncha cash from apps they
invented and who think technology is a sign of greatness. Technology only makes
us lazy. That's what the song is about. <o:p></o:p></span></span></div>
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<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Oh, and also about how some people think that what you do for a living,
how much money you have in the bank and where you were born define who you
really are.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Have you read any work by Alice Bailey from the
Theosophical Society? She believed in Seven Rays of Energy, essential
dynamisms behind fundamental creative forces of the universe that forge our
world’s evolution. Each ray relates to something - stars in the heavens,
planets and human psychology … what do you make of this idea?</span></b><span style="background: white; color: #500050;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter is familiar with Theosophy, Madame Blavatsky, C.W. Leadbetter,
Jiddu Krishnamurti and The Great White Brotherhood. He is aware of Alice Bailey
within this context but has not read much of her writings, he admits. He knows
of the Seven Rays as a sevenfold division that runs through all things from the
book he has called The Masters and The Path written by C.W. Leadbetter. <o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, this is very interesting in regards to energy. It was a view
touched upon and shared by Jimi Hendrix on his song Bold as Love from the album
of the same name where he describes each of the colours and their relation to
his emotions which in their turn are crucial to creativity and represent a
multitude of things. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Walter is marvelled at this question and says that yes, with this
knowledge, colours can be directly applied to summon different ideas into
manifestation within the Earthly realm. Walter is fascinated by the connectedness
of everything and synaesthesia. Creation is very wise and playful and there is
an underlying energy present in all there is. Even the illusion of life is not
that serious anyway.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Rays where also applied to the Hierarchy of the world according to
Leadbetter, each Ray standing for a stage of evolution in the personal Soul's
path until it merges with the Creator in the First Ray.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="background: white; color: #500050;">Finally, is there anything you want to say about
your band that you’ve not had a chance to let people know yet, a message for
the curious, upcoming events or releases? WE WANT TO KNOW MORE! </span></b><span style="background: white; color: #500050;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 9.5pt;"><span style="color: #222222;">Well, </span><b><span style="color: magenta;"><a href="https://iknowimanalien.bandcamp.com/album/brain-terror">Walter has been very busy lately</a></span></b></span><span style="color: #222222; font-size: 9.5pt;">; he has three new albums ready
for release as far as I'm told. One of them is a meditation album using Theta
Waves for healing and creativity. He used 432Hz tuning and Binaural Beats
technology to make it. It works well as an ambient album too. There is an album
of instrumental atonal guitar songs too centred around the Rohonc Codex. The
third one is an album which he has just about completed that will contain a few
cover songs. It will have some 17 or 18 songs in total. He covers Roky
Erickson, The Beatles and David Bowie. There's a song about Brian Jones on
there too. <o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="background: white; margin-bottom: 0.0001pt; text-align: justify;">
<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Thank you.</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></span><br />
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="color: #222222; font-size: 9.5pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGzLhtBZvjvTmNdhtvw4bSIy07GpMCeZQMsju5faYyNBzvsN2wn7YOl25ZPxGNYfds3NiW_TwVLFUeVgYUfeRrX114WtCH2K_s6a_whX5fCiux9eW68Uk09Gy9G-0LcO3x_bqWN0QTcU8/s1600/reality.jpg" imageanchor="1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGzLhtBZvjvTmNdhtvw4bSIy07GpMCeZQMsju5faYyNBzvsN2wn7YOl25ZPxGNYfds3NiW_TwVLFUeVgYUfeRrX114WtCH2K_s6a_whX5fCiux9eW68Uk09Gy9G-0LcO3x_bqWN0QTcU8/s320/reality.jpg" width="320" /></span></a></span></span></div>
</div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-17974329182882460252016-05-20T10:32:00.000+01:002016-05-20T10:37:15.926+01:00I Know I'm An Alien : Still Alien Still Dreaming (I Am Hobo Shaman)<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiczbj9w1OLK2PYvJ3glwFIlgAxfIQ_c-Rj8eUi66jmkbNbtZRQ6EXtw1UJtAOIV2Rb7PGh9VpLkV5WxgIhvw_7NVhqCrUA1g_OTjiANjFNystGSK40W9Wg_AMXAYRfmXJtXGfupRQehJM/s1600/a0349439479_2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiczbj9w1OLK2PYvJ3glwFIlgAxfIQ_c-Rj8eUi66jmkbNbtZRQ6EXtw1UJtAOIV2Rb7PGh9VpLkV5WxgIhvw_7NVhqCrUA1g_OTjiANjFNystGSK40W9Wg_AMXAYRfmXJtXGfupRQehJM/s320/a0349439479_2.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the last post I mentioned a few things had got me posting
again, <a href="http://iknowimanalien.blogspot.co.uk/"><span style="color: magenta;">I Know I’m An Alien</span></a> is that other thing. <span style="mso-spacerun: yes;"> </span>It was easy to like them straight away; as I
worked my way through their recordings on <a href="https://iknowimanalien.bandcamp.com/"><span style="color: magenta;">Bandcamp</span></a> the material just became
more and more fascinating.<span style="mso-spacerun: yes;"> </span>From what I
can gather since 2015 Walter Weirdheadd, Freddy Finefinggers, Buster Bashkitt
and Susie Spacebrainn have two self-released records.<span style="mso-spacerun: yes;"> </span>‘Still Alien Still Dreaming (I Am Hobo
Shaman)’ is a continuation of the Londoner’s outsider lo-fi recordings, not so
long ago ‘lo-fi’ felt like the most overused/misused description of bands, <span style="mso-spacerun: yes;"> </span>and it’s albums like this that makes one want
to reconsider the genre in modern terms entirely.<span style="mso-spacerun: yes;"> </span>I Know I’m An Alien impresses on the listener
a take on the world through the view of someone on the fringes, their songs
invite one into their space looking at popular culture, boring culture,
historical culture, drinking culture, work culture, digital culture through collaged sound bites
set alongside the band’s synth/bass/drum/guitar experimentalism.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Human’s imagining being aliens imagining to be humans has a
proven track record of being a powerful thing …. Bowie and Sun Ra both
established that when one is in charge of one’s own universe there’s room to concisely
define parameters in order to communicate ideas.<span style="mso-spacerun: yes;"> </span>I can’t tell if these 13 songs feel
dysfunctional as a result of rebelling against or actually reflecting our
everyday life in this city.<span style="mso-spacerun: yes;"> </span>Could well be
a bit of both.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I was drawn to this record because it so
clearly gets this concept across; it conveys the sensation of having oneself mirrored
back –part hilarity and part surprise.<span style="mso-spacerun: yes;"> </span>With
songs like ‘Hey Hi Tech Lover’, ‘Becoming Human’ and ‘Hare Hare Against Genetic
Engineering’ I Know I’m An Alien captures both those things, the absurd side to
being human and the shocking.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The distorted sound of these recordings reminds me of V/VM
videos and even The Coneheads in places; it’s the manipulation of famous pieces
of music and heavily effected vocals that suggest these parallels to me. <span style="mso-spacerun: yes;"> </span>I don’t know if the songwriters even listen to
that stuff but it came to mind.<span style="mso-spacerun: yes;"> </span>Some
tracks lock into a groove the way Excepter might do, especially on ‘I Am A
Shaman Hobo’.<span style="mso-spacerun: yes;"> </span><a href="https://www.facebook.com/iknowimanalien/"><span style="color: magenta;">I know I’m An Alien</span></a> strive
to make a room in this world to take you into theirs with songs that resonate
with all sorts of alchemy.<span style="mso-spacerun: yes;"> </span>It’s exciting
to catch a band like this at the start of their work, download their releases
and keep them on your radar.</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">* Just announced, I Know I'm An Alien will be supporting Colin Self soon, tickets for the sho<span style="font-family: "arial" , "helvetica" , sans-serif;">w are <a href="http://www.wegottickets.com/event/361432"><span style="color: magenta;">here</span></a></span> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-71071179842859115572016-05-12T12:04:00.000+01:002016-05-12T12:04:02.844+01:00Other Music<!--[if gte mso 9]><xml>
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Had a little break from writing...recharging batteries,
recharging everything I think.<span style="mso-spacerun: yes;"> </span>I was
unsure how I’d know when to start back up again and then a few things came
about this week that lit a fire under me.<span style="mso-spacerun: yes;">
</span>Firstly, the sad news of Other Music closing, I’m proud to say I got to
work there during my time in New York.<span style="mso-spacerun: yes;">
</span>It’s never nice to hear about an independent record shop closing down
but this one particularly stung.<span style="mso-spacerun: yes;"> </span>On a
personal level working at Other pushed me to learn and appreciate more music just
by trying to meet the high standard of the shop.<span style="mso-spacerun: yes;"> </span>It’s the first place I’d contributed to a
blog doing music reviews, I was in awe of all the other writers and those
people were definitely an inspiration.<span style="mso-spacerun: yes;">
</span>When I started living in NY I was bouncing around different temp jobs
and Chris Vanderloo gave me a break – he’s one of the people who gave me steady
work and more vitally somewhere I felt like I belonged in a city that I didn’t
really know anyone yet (nods to Helen Rush, Dave Martin and Gavin Taylor
too).<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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On a wider scale the thing that’s amazing about the shop is
a sense of community it created - from in stores, to regular friendly faces
passing through and ace colleagues.<span style="mso-spacerun: yes;"> </span>The
remarkable thing I found from working there is how every Thursday once the
weekly mailout had been sent, customers would come in with a list of stuff they
wanted to buy based on reviews, stuff they hadn’t heard but either liked the
way someone had described it – or a member of staff they knew and could count on
their taste had raved about the record.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>That’s what always made Other Music inimitable
and will make it irreplaceable; all the people that brought the shop to life
and all the connections made there, the customers, the staff and the bands. <span style="mso-spacerun: yes;"> </span>To think it won’t be there is something that’s
kind of strange to get my head around – I’m sure it is for everyone.<span style="mso-spacerun: yes;"> </span>Other is at the heart of something really
special, and whilst it’s knocked the wind out of a few sails by announcing its
closure, what a fantastic legacy to leave behind.<span style="mso-spacerun: yes;"> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-30887623294730202592016-02-08T13:32:00.001+00:002016-02-09T14:25:57.140+00:00This Heat : Reissues<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vrXI3iltOj-JpQqNPQe5eT1iCHmPUAL8xO9KeU5lGUGuCyZle-6j4Ek13vJPpVm25uxBCu1Gobd9p7E7x5qfVveonPqK962DPPaqDSAEFzZWILehUwgHa6Cqfoedes4BlXHAFZGEiDM/s1600/this+heat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vrXI3iltOj-JpQqNPQe5eT1iCHmPUAL8xO9KeU5lGUGuCyZle-6j4Ek13vJPpVm25uxBCu1Gobd9p7E7x5qfVveonPqK962DPPaqDSAEFzZWILehUwgHa6Cqfoedes4BlXHAFZGEiDM/s320/this+heat.jpg" width="320" /></a> </div>
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Marking the band’s 40<sup>th</sup> anniversary Light In The
Attic has reissued 1979’s <b><a href="https://www.youtube.com/watch?v=Zclze9rRGoM"><span style="color: yellow;">‘This Heat’</span></a></b>, 1980’s <a href="https://www.youtube.com/watch?v=9mEVzJrC0po"><span style="color: blue;"><b>‘Health and Efficiency’</b> </span></a>and
1981’s <b><a href="https://www.youtube.com/watch?v=_53J5VS_guk"><span style="color: magenta;">‘Deceit’</span></a></b>.<span style="mso-spacerun: yes;"> </span>The LP’s are in
gatefold package including a booklet detailing not only the lyrics but sources
of the songs and how they came together – a really nice touch.<span style="mso-spacerun: yes;"> </span>This Heat’s timespan as a band was very
short, but the impression the left was lasting.<span style="mso-spacerun: yes;"> </span>What started as an experiment out of the
heads of some kids in Camberwell with homemade recordings comprised of looped tapes,
clarinets, violas, bass, keyboards and lots of manipulation became some of the
most vital improvisation led recordings of its kind.<span style="mso-spacerun: yes;"> </span>John Peel’s radio show was the yard stick to
reach for when gauging the calibre of new underground bands, and when This Heat
joined the esteemed list of artists who performed on ‘Peel Sessions’ their fate
was sealed.<span style="mso-spacerun: yes;"> </span></div>
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A vast amount of ground got broken when This Heat started
writing and playing music, going live almost immediately they wasted no time
trying out and refining their ideas.<span style="mso-spacerun: yes;">
</span>Despite the forward reaching approach This Heat were never popular, I’m
not entirely sure ‘popularity’ is what they were even after, but you’d think
this innovative kind of sound would turn more people on than it did at the time.
<span style="mso-spacerun: yes;"> </span>I don’t think they even set out to be
revolutionary, the mindset focused on creating their own language –
which would be teased out in eight hour rehearsals, documented in meat lockers and
various other South London spaces.<span style="mso-spacerun: yes;"> </span>This
Heat abandoned technique for something they considered more important; using
intuition to guide what was played and how to play it, crossing the line from inventive to radical.<span style="mso-spacerun: yes;"><br /></span></div>
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Drummer Hayward had been playing in a prog group called
Quiet Sun featuring Roxy Music guitarist Phil Manzanera in 1970 but split up
two years later, briefly reforming in 1975 to record ‘Mainstream’.<span style="mso-spacerun: yes;"> </span>This recording featured Hayward’s first vocal
track ‘Rongwrong’ revealing a Robert Wyatt/Soft Machine influence. <span style="mso-spacerun: yes;"> </span>A Quiet Sun tour was scheduled but Manzanera
had his hands full with Roxy Music.<span style="mso-spacerun: yes;"> </span>A
new line up was assembled of Hayward, Bill Mccormick and Charles Bullen who
previously knew Hayward from playing in Dolphin Logic and Radar
Favourites.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>By the time the Quiet Sun London show came
around only Hayward and Bullen were available to perform, they were joined by
Radar Favourites manager Gareth Williams, and in Hampstead 1976 that was it,
their first gig and they were called This Heat.<span style="mso-spacerun: yes;"> </span></div>
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Gradually moving away from Quiet Sun’s sound and eschewing punk
and prog which was booming at the time, This Heat took on something more
isolated and avant garde.<span style="mso-spacerun: yes;"> </span>Williams - not
being particularly musical, was the spark plug that initiated all the unusual
elements of This Heat’s song-writing, he had the advantage of following gut
instinct completely uninhibited.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In
their lifetime as a band they released three records, the first a self-titled
album, the second a superbly experimental piece with one long track on each
side of the LP, and the band’s best known and universally loved ‘Deceit’ is
where they ended. <span style="mso-spacerun: yes;"> </span>Hayward continues to
play in Camberwell now as Massacre, The About Group and as a solo artist;
Bullen performed in Lifetones and Circadian Rhythms whilst he's active today in Ground.<span style="mso-spacerun: yes;"> </span>This Heat did reassemble in 2001 but Williams
became terminally ill with cancer and they wouldn’t perform again together
again. <span style="mso-spacerun: yes;"> </span></div>
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These reissues were produced along with the surviving members of the band. <span style="mso-spacerun: yes;"> </span>Not only are these available now but a
cassette (made in collaboration with Mario Boyer Diekuuroh) will be on sale at
the Not This Heat show at Café Oto later in the week.<span style="mso-spacerun: yes;"> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-41462530418614963422016-01-20T14:15:00.000+00:002016-01-20T14:15:09.275+00:00Ty Segall : Emotional Mugger<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijLhlE0dqyZSFdt7inPjW767DGVTsEmgm2I7fhj7DOI2YKowsFhAFbVcXCfZSBUQlEvtny9rG8XaQ20T_yrzQV4GX2rOr_BSUF7xcIGn9t0vgESrNTqwvy3jCHmsZCwa6pGxE0tjCfH_Y/s1600/ty_segall_emotional_mugger_new_album_news_under_the_radar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijLhlE0dqyZSFdt7inPjW767DGVTsEmgm2I7fhj7DOI2YKowsFhAFbVcXCfZSBUQlEvtny9rG8XaQ20T_yrzQV4GX2rOr_BSUF7xcIGn9t0vgESrNTqwvy3jCHmsZCwa6pGxE0tjCfH_Y/s320/ty_segall_emotional_mugger_new_album_news_under_the_radar.jpg" width="320" /></a></div>
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<![endif]-->A collective “where does he find the time” is gasped it
seems every time a Ty Segall record comes out. <span style="mso-spacerun: yes;"></span>‘Emotional Mugger’ clocks in at his 10<sup>th</sup>
solo record so we should be used to it by now, right?<span style="mso-spacerun: yes;"> </span>But let’s face it this kind of output in 8 years alongside various other
projects <i>is</i> astounding. <span style="mso-spacerun: yes;"> </span>‘Emotional
Mugger’ shifts things yet again into a new domain by manipulating homemade recordings
and reshapping the glam in rock'n' roll.<span style="mso-spacerun: yes;">
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American detritus, love, soup, diversions, candy and late night drives
all appear in Segall's lyrics - delivered in a voice with two personalities; the high
and softly spoken type versus the low growls emanating from a different beast
entirely.<span style="mso-spacerun: yes;"> </span>You can expect the psychedelic,
blown out guitars that Segall is known for handling so brilliantly, solos that will take you
to another dimension and delicious pop hooks. <span style="mso-spacerun: yes;"> </span>Whistling and handclaps makes ‘Emotional
Mugger’ especially tangible, stand out track for me 'W.U.O.T.W.S', collaging fractured
recordings into a motley mesh of details morphed together - driving the experimentation aspect of this album to the brink.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The rate at which Segall is breaking new
ground is enough to make anyone’s head spin, and it’s no wonder there’s so
much buzz around the album coming out this Friday through Drag City.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Ty
Segall filters through the currents of sludge and electrified glitter to tease out new ideas on every release and ‘Emotional Mugger’ is no exception. <a href="http://www.npr.org/2016/01/13/462671881/first-listen-ty-segall-emotional-mugger"><span style="color: blue;"><b>It’s streaming right now on NPR if you're interested in a taster...</b></span></a></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-27328185515872656002015-12-21T13:27:00.000+00:002015-12-21T16:32:58.482+00:00Normil Hawaiians : Interview<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">It's a great pleasure to offer an interview with the Normil Hawaiians. Their lost album 'Return of the Ranters' has received nods from Wire, Louder Than War and Record Collector amongst other worthy publications. With talk of a reissue series on the way it seems a good time to find out more about Normil Hawaiians, so here we go...</span> </div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Hi! Thanks for taking part in this interview!<span style="mso-spacerun: yes;"> </span>Where are you right now? What are you up to?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><u>Guy Smith</u></b>:<span style="mso-spacerun: yes;"> </span>I'm in Wales in a
community in the sticks, a long way from London......but accessible in 5 hours
so not too bad.<span style="mso-spacerun: yes;"> </span>Back in ‘85 we were all
living communally in Brixton, then as we started having kids first Noel then
Simon moved with their families to N.E. Kent...I harboured visions of
travelling overland to Morocco in a converted bus so with Viv and our 2 kids in
tow hit the road in 87 learning to juggle and playing Irish folk music.<span style="mso-spacerun: yes;"> </span>We made it to Morocco and then spent a couple
of years touring Europe, busking...but we needed a base and finding London too
claustrophobic after all that<span style="mso-spacerun: yes;"> </span>fresh air
and living for the moment stumbled across the community in Wales where we've
been based since, though<span style="mso-spacerun: yes;"> </span>travelled a lot
in the meantime.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">You played your first show in 30 years recently at The
Lexington, how did it feel to be on stage again? </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Great! I've done
loads of different performances over the years from singing acapella in pubs in
Wales to juggling fire shows in Japan and with different bands on stages in
clubs and festivals.<span style="mso-spacerun: yes;"> </span>First time with the
Hawaiians - but it felt like last week not last century...so easy, a lot of
mutual love and respect.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">How did you prepare for the show?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>We came up with a
set list based on our favourite stuff from the albums and as Noel hadn’t
drummed for years we asked the very affable Ian Button lately of Death In Vegas
to deputise whilst Noel played some keyboard parts and other percussion...I
wanted to do some acapella stuff too and asked Zinta Egle to provide an extra
vocal presence.<span style="mso-spacerun: yes;"> </span>We then met up and
rehearsed for a week in a barn in Dover adding some extra bits to some
pieces...and we all stayed at Noels place as with Jimmy and mark living in
different parts of Scotland, Wilf on the South coast it was great to all hang
out together again.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Some of the visuals in your show made me want to ask whether
you’d seen Jacques Peretti’s BBC series ‘The Men Who Made Us Spend’ last
year.<span style="mso-spacerun: yes;"> </span>It talks about capitalism,
obsolescence, how we part with our money and where it goes – did you see
it?<span style="mso-spacerun: yes;"> </span>What are your feelings on this
topic?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>I didn't see
this, no but this is all stuff that we were aware of and debating in the squats
and festivals of the 80's and singing The Big Lie (particularly) on stage at
The Lexington I was reminded how relevant politically it sounded now.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Normil Hawaiians formed as a collective in Brixton in the
80s, what can you tell us about life then and what kind of connection you had
to any kind of music scene?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Normil Hawaiians
was formed from the ashes of punk in ‘79 by myself, Jim Lusted and our mate Kev
Armstrong’s 15 year old sister Janet.<span style="mso-spacerun: yes;">
</span>Jim and I were both 20 and had been at school together ...I'll never
forget the day near the end of the fifth form, when about a dozen of us were
all lined up outside the headmasters office at St Olave Grammar School for Boys
to be told we were surplus to requirements and on no account would be welcomed
into the sixth form...nearly everyone in that queue became a friend and most
joined bands.<span style="mso-spacerun: yes;"> </span>That school was horrible,
but we had a pretty cool education listening to Zappa , Soft Machine and
Hawkwind as 12 year olds.<span style="mso-spacerun: yes;"> </span> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">We formed The
Tarts and with Max Splodge as our drummer, played The Roxy and wherever we
could and were very much part of the second wave of punk bands formed in the
wake of The Pistols, Dammed and Buzzcocks.<span style="mso-spacerun: yes;">
</span>Until the whole punk thing splintered and we looked for new directions,
Siouxsie and The Banshees were mates of mates from the same part of South
London/Kent border. There was a while when just about everyone we knew was in a
band, I put out a compilation album of South London bands 'East of Croydon' on
Nothing Shaking Records in 1981.<span style="mso-spacerun: yes;"> </span> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">You
could live off the dole then and they’d ask you what your occupation was and
you said 'musician' so they just let you get on with it....some great places we
rehearsed and hung out at, one was InterGalacticArt Studios down The Old Kent
Road - a squatted pub with all kinds of freaks , actors and arty people passing
through. There were squatted wooden Wharfs by the river and the Anarchist
bookshop in Brixton, both inspiring, sometimes challenging and eclectic, smoky
jazz gigs and squatted boat yards, squatted boats, peace convoy and travellers
yards full of people living in busses and trucks passing through, welding
sculptures.<span style="mso-spacerun: yes;"> </span>There were the Stop The City
demonstrations, Colourful but always peaceful<span style="mso-spacerun: yes;">
</span>CND marches and north of the river we were part of Dining Outs<span style="mso-spacerun: yes;"> </span>label and did all-nighters at the Scala;
film, band, film, band with 23 Skidoo, Disco Zombies, Kan Kan, Occult Chemistry
. All bands who were beginning to push the musical boundaries further out.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><u>Noel Blanden</u></b>:<span style="mso-spacerun: yes;"> </span>At the same
time as the Olavians demobbed I too, in a local rival school, went through a
similar experience. I was hauled into the headmaster’s office and accused of
theft in the most juvenile display of psychological manipulation I’d yet
encountered in my young years.<span style="mso-spacerun: yes;"> </span>I lost
the last vestiges of respect for my betters who were capable of behaving in
such a childish way and immediately told them where to stick their school,
walked out and never went back. I was already in bands by then and came to
Guy’s attention via a group I played in that comprised Jim and Berlin/Bertie
(who were with/in Normil Hawaiians) and Peter Fenton who had just left Siouxsie
and the Banshees (and wrote Love in A Void and Make up To Break Up). It was
quite an incestuous community and yet everyone was playing in group of some
kind.<span style="mso-spacerun: yes;"> </span>Similarly Simon and Greenfield
Leisure, with Cliff McLenehan (also of Normil Hawaiians), who was an old school
friend of mine.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The inventiveness and quality of your recordings made me
wonder if you were influenced by other artists to start a musical project.<span style="mso-spacerun: yes;"> </span>Or, were you turned off by everything you
heard at the time and wanted to do something new? </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>: <span style="mso-spacerun: yes;"> </span>I was doing the
sound for my mates band The Heartbeats at The Rock Garden some-time around 1981
and I looked around and everyone looked the same...Slicked back hair, make-up
and dinner suits.....from an inspiring post punk beginning the scene had
morphed into a yuppie, Duran Duran clone thing. <span style="mso-spacerun: yes;"> </span>Horrified I vowed to grow my hair long, head
for the hills and start improvising musically. <span style="mso-spacerun: yes;"> </span>Of course it wasn't that simple...Jim, Nick
and Brian were getting a really funky groove going on guitar, bass and drums,
but it wasn't my thing. <span style="mso-spacerun: yes;"> </span>I wanted to
really push the boat out and started dusting off my old Faust, Can, Gong and
Hawkwind records which were big pre-punk influences. After a rather dismal gig
in Camden supporting The Thompson Twins we split, leaving me with the name- and
a week later a record contract with Illuminated. <span style="mso-spacerun: yes;"> </span>Simon, another Old Olavian joined on guitar,
Mark appeared from the Ether with a string synth and we recruited Noel on
drums. After a while we felt comfortable swapping instruments and sometimes
would improvise for 4 hours at a time in darkness doing whatever we felt like
doing...anything! <span style="mso-spacerun: yes;"> </span>Zoviet France was
about doing some really radical stuff but no one else around us...it was
factioning and genres and labels were being stuck on groups. We wanted to do
our own thing, without labels.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">How do you think you were perceived when you started?<span style="mso-spacerun: yes;"> </span>And do you think that impression has changed
at all since 'Return Of The Ranters' came out?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Hard to tell to a
point...John Peel loved us at first and played 'The Beat Goes On' directly
after announcing John Lennon’s death.<span style="mso-spacerun: yes;"> </span>We
had a bit of a reputation as eccentrics, slightly weird - but with only the
music papers and a few fanzines around it was hard to gauge. We didn't have a
manager or agent so no-one with an ear to the ground. <span style="mso-spacerun: yes;"> </span>We were always railing against the machine,
and politically nothing has changed. <span style="mso-spacerun: yes;"> </span>We've been pleased to receive some really
positive reviews and comments regarding the album since it has been released
even making For The Rabbits top twenty best albums of the year- 2015, not bad
for a 30 year old recording...but it does sound fresh and relevant.<span style="mso-spacerun: yes;"> </span>But generally people seem to get it more now.
We got much more stick for being different back then.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">How does it feel to have 'Return Of The Ranters' finally
released?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>G</b>S: Nice...it's been a long wait, but we split in '86
frustrated that the project wasn't complete, but we all needed to do different
things at the time.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Why did now feel like the right time to do it?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>: The timing does feel right, summer last year I stumbled
into the cinema tent at The Green Gathering Festival where they had just shown
Operation Solstice the documentary about The Battle of The Beanfield and the
director Gareth Morris was there talking about the film.<span style="mso-spacerun: yes;"> </span>We chatted and I sung The Battle of
Stonehenge acapella to the whole audience and that kind of started a ball
rolling. Of course 2015 is the 30th anniversary of the ambush and also of the
last Brixton Riots which we were also involved in the miners’ strike and all
that Jimmy sings of on Slums...the 30 year thing has significance somehow.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">And of course it was helped no end by a phone call from Chris
of Upset The Rhythm wanting to release our recordings, the people in the music
business seem much nicer now...real enthusiasts.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Importantly when we all made contact again, finding people
is relatively easy nowadays of course, we all wanted to play together again.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">What was the recording process for 'Return Of The Ranters',
I understand you went to Wales and worked with Dave Anderson to make this
album?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>We'd recorded
nearly everything we'd done since '82 at Foel and Brian the engineer knew us
well, Dave Anderson had become a good friend by then so we knew the environment
too. <span style="mso-spacerun: yes;"> </span>We'd go for long walks up the
mountains. <span style="mso-spacerun: yes;"> </span>We had a few half worked out
ideas taken from the IGA improvisations....but none of it seemed to be going anywhere
after a couple of days, so we decided to instil a bit of discipline by working
on an old Eartha Kit song- something we'd never tried before. We didn't use the
track, eventually and as far as I remember the entire album was written or
improvised there and then over 2 weeks, but we lived it day and night. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">How important is experimentation in your music?<span style="mso-spacerun: yes;"> </span>I saw you playing with hammers and trowels at
the Lexington, so was curious about this element in your song-writing.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Interestingly The
Lexington gig was the least experimental of all as we mainly took pre-recorded
pieces and effectively copied them.<span style="mso-spacerun: yes;"> </span>We
also played more 'songs' than we would have done before. But then I suppose
that in a way was an experiment. <span style="mso-spacerun: yes;"> </span>We also
stuck to single roles more, Zinta and I just sung…though Simon persuaded me to
play guitar on Big Lies and I did play a bit of bass on ‘Sally IVth’ and some
keyboard on Travelling West.<span style="mso-spacerun: yes;"> </span>But generally
we stuck to one thing with Simon using some samples, something we were just
touching on in ‘85. As for the hammers and trowels, again this was quite toned
down really from the past, though Simon makes a beautiful wail from his guitar
with screwdriver jammed in the frets. We were always a bit theatrical and all
of us having been involved in different musical, and circus and theatre
projects over the years it was nice to put on a bit of a show and include some
juggling as well as using industrial implements.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">What's your favourite song on the album?</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>It's got to be ‘Sianne
Don't Work In A Factory’, my one and only love song written for me eldest
daughter. The contrast between the opening womblike sounds of the birth,
followed by a gentler softer....dare I say it Love Song, then evolving into
industrial factory noise seems to work.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">But if I'm singing acapella live- ‘The Battle of Stonehenge’
is the one. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Some of the other tracks were complete improvisations, many
with a real outpouring of emotion...almost impossible to recreate....some of
the sounds Simon created particularly are quite unique, but everyone played their
part.</span></div>
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</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">What do you hope people take away from listening to your
music?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>: A wry smile maybe, but know we really created sounds
that came from within us spontaneously and lyrics a reflection of the times. I
hope it moves people one way or another</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">As far as I can tell all of your songs are originals, would
you ever cover a song?<span style="mso-spacerun: yes;"> </span>What would you
cover if you did?<span style="mso-spacerun: yes;"> </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Ha ha we actually
did two covers at the Lexington gig- both acapella. <span style="mso-spacerun: yes;"> </span>‘Heaven’ from the David Lynch film Eraserhead,
though we did it differently. The other was the chant at the end of ‘Sally
IVth’ which is a Hebredian mourning song<span style="mso-spacerun: yes;">
</span>originally sung whilst beating the chest with both fists to release grief.<span style="mso-spacerun: yes;"> </span>Towards the end a cover version of a Leisure
song kicks in.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">In 1980 we did a cover of Frank Zappa’s ‘Mr Green Genes’ as
part of the John Peel session we got to the BBC studio and there was a Grand
Piano and Hammond Organ. We really had to use them somehow and decided to try
something quite different. Nick was the best pianist amongst us so he played
both parts I think.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The record has two different sleeves, can you talk us
through the decision behind that and where the images came from?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>The photo montage
with the billboard and Stonehenge and a traveller mate of ours, Liam, was put
together by Wilf back in early 86 and was to be the original front cover.<span style="mso-spacerun: yes;"> </span>But over the years the artwork was lost
somehow, Simon felt we should come up with a different cover and he chose the
image of Jimmy, Jim and I before a gig we did in Basle in ‘85. <span style="mso-spacerun: yes;"> </span>Wilf eventually found a copy of the original
montage. Both seemed to have their merits so we went for both in the end.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">'Return Of The Ranters' feels political, especially
documenting your experience at Stonehenge in 1985, do you feel like you've
outgrown the ideology you had in the 80s?<span style="mso-spacerun: yes;">
</span>Has your perspective shifted at all?<span style="mso-spacerun: yes;">
</span>Or do you still feel as passionately in the same things as you always
have?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>No not at
all....though throughout the nineties things didn't seem quite so bad.<span style="mso-spacerun: yes;"> </span>But now globalisation and technological developments
have created a monster of corporate greed that like a truly successful parasite
is not recognised by its hosts. <span style="mso-spacerun: yes;"> </span>This aggressive
form of capitalism without compassion is ruining the world and its life-force,
the media is controlled by tax avoiding villains masquerading as protectors and
informants.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Squatting is now illegal, sleeping rough is often illegal,
rents and house prices are out of reach of many...where are people to go, what
are they to do?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">I stood as a candidate for The Green Party in the last
election to help spread awareness of the plight the power mongers are putting
the planet in. The whole system is crooked, but I do believe that it can be
changed with stealth and education. The banks are holding countries to ransom
but with a will- as in Iceland, there is a way. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>NB</b>:<span style="mso-spacerun: yes;"> </span>The
battles 30 years ago were to destroy community and collective power bases but
in doing so a terrible genie was let out of the bottle.<span style="mso-spacerun: yes;"> </span>Democratic capitalism has all but consumed
all other ideologies and has been so successful that the only route left for it
is to consume itself.<span style="mso-spacerun: yes;"> </span>It’s now
capitalism versus democracy and capitalism is winning.<span style="mso-spacerun: yes;"> </span>Global corporations are bigger than some
governments and they are starting to join and merge.<span style="mso-spacerun: yes;"> </span>These tax avoiding, people hoovering
behemoths pose a great threat to freedom.<span style="mso-spacerun: yes;">
</span>Governments disguise their own impotence and cling onto what little
power they have by focussing<span style="mso-spacerun: yes;"> </span>on
peripheral issues e.g. immigration and the unseen enemy, which is why we need
to do all we can to protect and promote local, family and community
alternatives to just being plugged into the mainframe.<span style="mso-spacerun: yes;"> </span>To paraphrase Guy we need to be aware of the
dangers and yet celebrate hope and beauty. These are the themes of today and
will I’m sure emerging in our new music.</span></div>
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_1Nf00ARv7AZFx3lG3vpQ3a1ZTy0qUrOa9DulyGleZP715_kLdMtX8tL8LxaU1RkrhAFhuzSDiVP0uk2brcQXuv25P5jIBpKskIvSd46C6w-pEhmxWs5DNMZ-ryDmK8qHZUC6bbf3D4/s1600/PICT0215.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_1Nf00ARv7AZFx3lG3vpQ3a1ZTy0qUrOa9DulyGleZP715_kLdMtX8tL8LxaU1RkrhAFhuzSDiVP0uk2brcQXuv25P5jIBpKskIvSd46C6w-pEhmxWs5DNMZ-ryDmK8qHZUC6bbf3D4/s320/PICT0215.JPG" width="213" /></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">I was wondering, now we're back in a Tory government… if
your band formed today, would you say/do anything differently in your song-writing
compared to 30 years ago when ‘Return Of The Ranters’ was penned?<span style="mso-spacerun: yes;"> </span>Are there new things that trouble you today
in this version of the Conservative Party?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>With the internet
now we know more about how we are being lied to and exploited, man being pitted
against fellow man. Divide and conquer. Our lyrics today will be as critical of
the powers that be, but also we see the beauty in so much and it's important
not to get swamped by the negative. <span style="mso-spacerun: yes;"> </span>I
really do wonder how Cameron, Osborne IDS (sounds like a disease) can look
people in the eye without flinching...I always thought that with privilege come
responsibility.<span style="mso-spacerun: yes;"> </span>HA!</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">How did you feel about the level of interest in Normil
Hawaiians recently after such a long time since going separate ways?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Nice!</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"></span>What do you plan on
doing with the momentum that has built up for the band now?<span style="mso-spacerun: yes;"> </span>New songs? Reissues? Touring?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>It was so good to
get back to performing with such good friends that we can't just leave it at
that.<span style="mso-spacerun: yes;"> </span>We are planning a few gigs around
Easter – Brighton & London again...but we want to play interesting places, we'll
see. We still all live miles from each other so we are limited with what we can
do, but definitely re-issues with Upset The Rhythm if all goes to plan...then
who knows,<span style="mso-spacerun: yes;"> </span>more recording- it's possible
and we want to do it so....</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">What have been the main differences you've experienced from
being in a band in the 80’s compared to now, technology has changed the game so
much for example, and have you felt any part of the process is helped or
hindered with the way things work today?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>GS</b>:<span style="mso-spacerun: yes;"> </span>Well the biggest
difference for us was the ability to use visuals , something we couldn't afford
in the 80's.<span style="mso-spacerun: yes;"> </span>A friend of Jimmy’s put
them together after we gave him an idea of what we wanted and then he pinged ‘em
back down to us to use as backdrops.<span style="mso-spacerun: yes;"> </span>Brilliant! </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b>NB</b>:<span style="mso-spacerun: yes;"> </span>We have already
seen a change of approach as much of our pre-rehearsal exchanges and practice
has been facilitated online.<span style="mso-spacerun: yes;"> </span>Despite
this, Normil Hawaiians have never been defined by the current technology.<span style="mso-spacerun: yes;"> </span>One of the main reasons ‘Return of The
Ranters’ has been well received (apart from the lyrical resonances) has been
that it doesn’t sound like it was recorded in the 80’s.<span style="mso-spacerun: yes;"> </span>So much 80’s music is unlistenable now, as
bands at the time rushed to embrace nascent technological developments without
pausing to reflect how best to utilise them,<span style="mso-spacerun: yes;">
</span>Consequently those records are locked in a time capsule.<span style="mso-spacerun: yes;"> </span>We deliberately eschewed novelty and
concentrated on performance and the dynamic interplay of our personalities to
grow our sound, only allowing into the process that which added value. That is
part of our blueprint.<span style="mso-spacerun: yes;"> </span>What we did know
was that we did not want to sound like every other band at the time. Today, we
are all aware of and use modern recording aids (there is some awesome tech out
there) and fully expect to trade ideas and explore online platforms to develop
new songs (out of necessity given that we all live so far apart) but the most
important thing is that what emerges has worth and fits our ethos.<span style="mso-spacerun: yes;"> </span>It’s a very democratic process.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYbmp8XhClUY4w0qP_Yy7seLTIpQ_bylo4K52ZCbICXA2gpYW8cGEZATXnlb-GnaNN5tWxpkVn6iARRiTGaTL5b5cgW9geFJUECqCXzyWWP_KqT-a5ERZj_gn9Nw76lGo31KqrYsS7oc/s1600/PICT0159.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYbmp8XhClUY4w0qP_Yy7seLTIpQ_bylo4K52ZCbICXA2gpYW8cGEZATXnlb-GnaNN5tWxpkVn6iARRiTGaTL5b5cgW9geFJUECqCXzyWWP_KqT-a5ERZj_gn9Nw76lGo31KqrYsS7oc/s320/PICT0159.JPG" width="213" /></a></span></div>
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<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Is there anything you want to say that you feel you haven't
been able to yet as a band?<span style="mso-spacerun: yes;"> </span>If so please
share!</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><u>Simon Marchant</u></b>: <span style="mso-spacerun: yes;"> </span>I
would say that the things we have done best in the past have been our
recordings. These have been honest and very much simply a record of 'what
happened then'; a triangulation of political, spiritual and geographical
aspects. I don't feel we've really done this live, though, and I would dearly
love to do so in future. <span style="mso-spacerun: yes;"> </span>But to do this
with integrity is quite an intimate thing. It's exposing and so can be quite a
challenge. Ironically, I feel that in order to feel free to perform effectively
in this way, to eschew rigidity and form, we have to create structures and
frameworks within which such freedom can take place and this is something
currently being worked on.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">For more about the Normil Hawaiians and to pick up a copy of 'Return of the Ranters' <a href="http://upsettherhythm.bigcartel.com/product/normil-hawaiians-return-of-the-ranters-pre-order"><span style="color: red;">CLICK HERE! </span></a></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com4tag:blogger.com,1999:blog-1733759889105530800.post-67484667306898244052015-10-23T14:34:00.000+01:002015-10-23T14:34:25.136+01:00Deaf Wish : Pain<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJc4Snprokt76VbKx_KJglWwBlYDek4vf6bCkIPzreEOm6VoAx4Tygtz30aFL3VMLr6trrKHfuw-OPjwGqT2MA0hON3zY3ZNI81ElFC_S9U9291L8fUwHqI5AsSdd0h4bmY8-aARZHIE/s1600/53301_Deaf-Wish-pain.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJc4Snprokt76VbKx_KJglWwBlYDek4vf6bCkIPzreEOm6VoAx4Tygtz30aFL3VMLr6trrKHfuw-OPjwGqT2MA0hON3zY3ZNI81ElFC_S9U9291L8fUwHqI5AsSdd0h4bmY8-aARZHIE/s320/53301_Deaf-Wish-pain.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">One tricky thing about writing an album about the personal
aches and pains is a lot of people have done it.<span style="mso-spacerun: yes;"> </span>A lot of people have made great music about
having a bad day, week … year.<span style="mso-spacerun: yes;"> </span>So why
try and compete?<span style="mso-spacerun: yes;"> </span>Because there will
still be a way that hasn’t been thought of, and as a band find their voice
there will always be a different angle taken on it that might reach someone
new.<span style="mso-spacerun: yes;"> </span>This is where antipodes Deaf Wish come
in. Their follow up 2010’s ‘Mercy’,
‘Pain’, pulls together ten songs of battered malfunction; connecting with
impulses of injury for an album delivering something wholly cathartic.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Sarah
Hardiman (Moon Rituals), Nick Pratt, Jensen Tjhung (Exhaustion, Lower Plenty)
and Daniel Twomey (Lower Plenty) have been working together very much on their
own terms for the last 8 years.<span style="mso-spacerun: yes;"> </span>As a
listener it feels like being treated to a warts and all experience, watching
the four-piece grow into the band, figure out what the project is and how they
all fit into writing the songs.<span style="mso-spacerun: yes;"> </span>‘Pain’
builds and expands on the last record, painting a fuller picture of what Deaf
Wish is – or is not.<span style="mso-spacerun: yes;"> </span>Deaf Wish may not
in fact be writing songs for people to enjoy, but perhaps offering a lifeline
making a direct link with suffering and those who suffer.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Right out of the gates ‘The Whip’ induces a sense of chaos,
guitars ring out and unravel alongside incanctative vocals calling out to and
reeling in a mind-set of ennui to feed off, “Our sentence is illness, your
youth is smoke, you live in the arc of the whip, outside, outside, striking the
sound of the whip song in you”.<span style="mso-spacerun: yes;"> </span>The
album is reigned in at parts for a more lamenting listen, focusing more on
dejection rather than outright angst.<span style="mso-spacerun: yes;">
</span>‘Sunsets Fool’ wanders on the periphery reflecting on things running
away from one’s grasp, this downwardly introspective viewpoint is balanced by
indie-pop influences on the guitar’s melodies lifting up the song.<span style="mso-spacerun: yes;"> </span>‘Dead Air’ brings an industrial approach to
the fore playing out cramping guitars apace with meteoric, lashing rhythms and
gulping bass holding it all down; every last notion of frustration is teased
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out internal noise. <span style="mso-spacerun: yes;"> </span>‘Pain’ is confrontational
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Pop who got in touch with Deaf Wish to see if they had any new material, which
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album instantly displays the foursome’s undeniable chemistry and unswerving
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<span style="font-family: Arial,Helvetica,sans-serif;"><iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/203939278&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-40987983414716721262015-10-16T14:09:00.002+01:002015-10-16T14:14:35.160+01:00Spray Paint : Punters On A Barge<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjHLEVqf3SsiuYyt4JrfujiEFFL6yVVaLlMawmREb0SQ6BuNw0R6GVCnv9AVvGM7Hzq028VjNXNJVJdcolPpbLZbvwKMsR7U8T65AwYB2dPwQeEmGlcbJnAWv97gI7zyyA1sCf4aoSvTg/s1600/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjHLEVqf3SsiuYyt4JrfujiEFFL6yVVaLlMawmREb0SQ6BuNw0R6GVCnv9AVvGM7Hzq028VjNXNJVJdcolPpbLZbvwKMsR7U8T65AwYB2dPwQeEmGlcbJnAWv97gI7zyyA1sCf4aoSvTg/s320/cover.jpg" width="320" /></a><br />
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Spray Paint's newest album 'Punters on the Barge' (Homeless Records) sees the
Austin three-piece delve further into a stormy vortex of industrial dysfunction.<span style="mso-spacerun: yes;"> </span>10 new songs explore minimal, angular guitars
and metronomic rhythms forging a stark album aptly reflected in the numbed vocal
delivery.<span style="mso-spacerun: yes;"> </span>Instinctively led twanged and
twitched gestures from both guitars punctuate the songs amplifying the anxiety Spray
Paint typify.<span style="mso-spacerun: yes;"> </span>One stand out element
throughout 'Punters On The Barge' is how the guitars toll or ring out in a
summoning motion adding a whole new creepy dimension to the songs.<span style="mso-spacerun: yes;"> </span>The use of a drum machine isn’t something I
think I’ve heard on their previous releases; it’s a great component that
recalls 80’s death rock and/or post punk of the same era.<span style="mso-spacerun: yes;"> </span>“Day of the Rope” not only employs a drum
machine but some synthesized glitches as well . <span style="mso-spacerun: yes;"> </span>“Middle Relief” is great too in how slurred,
plaintive and menacing the whole thing plays out to be, low rolling tones
juxtaposed with tense top end notes alongside big thundery drums fittingly
round off the album with apocalyptic aplomb.<span style="mso-spacerun: yes;">
</span>It's a sense of paranoia and abandonment that best sum up Spray Paint's
approach, locked in a perpetual groove, building pressure that never lets
up.<span style="mso-spacerun: yes;"> </span>They resolutely confine themselves
to this one state creating a passage for bleak explorations of extreme agitation.<span style="mso-spacerun: yes;"> </span>Spray Paint has a definite structure when it
comes to assembling their songs, and within these boundaries they push and draw
from those constraints to bring us something even more unsettling, I can’t wait
to see how far they’re willing to go next time.</div>
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You can have a listen <b><a href="https://homelessrecords.bandcamp.com/album/punters-on-a-barge"><span style="color: cyan;">HERE</span></a></b> </div>
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KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-29593481414425170402015-09-25T11:49:00.001+01:002015-09-25T13:36:18.153+01:00Exhaustion : Phased Out<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Ranging deeper into industrial experimentalism on this new
12” ‘Phased Out’ (12XU), three piece from Melbourne offer up abstractions of corrupted
guitars, smokestack vocals, <span style="mso-spacerun: yes;"> </span>narcotizing
bass riffs and dogged rhythms.<span style="mso-spacerun: yes;"> </span>Within
this unwavering structure Duncan Blachford, Per Brystrom and Richard Stanley
freely roam; forging something renewed and riveting by testing this format to
and beyond its limits.<span style="mso-spacerun: yes;"> </span>Both tracks ‘Phased
Out’ and ‘Colleague’ get the remix treatment by Mikey Young and Rites Wild
respectively and only expand the possibilities of where Exhaustion could take
things next.<span style="mso-spacerun: yes;"> </span>Exhaustion is a band that
has been pretty solid for me and this 12” is another string to the bow.<span style="mso-spacerun: yes;"> </span>This is the third post and counting on
Exhaustion, now’s the time to go and check them out!<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/223861041&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">Buy it <b><a href="http://12xu.bigcartel.com/product/exhaustion-phased-out-12-ep-12xu-082-1">HERE</a></b></span></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-31616688237393672652015-09-17T14:27:00.001+01:002015-09-17T14:33:37.872+01:00Royal Headache : High<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqD14PC_kBbKbIUX_PGRKcs0S1kkM0Q3lWqPAA_VKTRJGYXn50iLUut6aFlmLNzCFksLrzhwo9CxfHuX1bDQZ7L81cApoRMND3oq7tCCwMKHhMwMi1uedA2Cre0tOlyUlyfgUEP58qoPA/s1600/royal+royal.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqD14PC_kBbKbIUX_PGRKcs0S1kkM0Q3lWqPAA_VKTRJGYXn50iLUut6aFlmLNzCFksLrzhwo9CxfHuX1bDQZ7L81cApoRMND3oq7tCCwMKHhMwMi1uedA2Cre0tOlyUlyfgUEP58qoPA/s320/royal+royal.jpg" width="320" /></a></div>
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little like I’m wading in after many glowing reviews have already sung its’
praises, I don’t know if anyone even needs my unprofessional opinion at this
stage, but here it is;<span style="mso-spacerun: yes;"> </span>‘High’ is 10
tracks of pure bloody joy.<span style="mso-spacerun: yes;"> </span>They’ve
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The opener called ‘Fantasy’
explores this idea looking at everyday life being in a band compared to the
mythology of a “rock ‘n’ roll life style”.<span style="mso-spacerun: yes;">
</span>Chugging, hyper guitars, saccharine keys, racing beats and a rubbery
bass set the tone for the album, balancing total euphoria with a sense of restlessness.
<span style="mso-spacerun: yes;"> </span>This is pursued through the album,
particularly when we reach ‘Carolina’.<span style="mso-spacerun: yes;"> </span>Hall
hollers “now your future passions do you harm, you know you should have never
left the farm, somebody save her”, over fuzzed out guitars (Law) and bass (Joe)
held up by solid pop fuelled beats (Shortty).<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>This is the first track to get a
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Mum the video brilliantly shows the boundless energy that the record is chock
full of.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>‘Garbage’ is another song on repeat, I could
listen to that heady bass riff all day – “you’re as low as they come, you’re
not punk, you’re just scum, you’re garbage,” Hall protests in his fiercly raspy
register.<span style="mso-spacerun: yes;"> </span>Released via Distant and Vague
Recordings in Australia/NZ then What’s Your Rupture everywhere else the LP
seems to have disappeared pretty quickly, and it’s easy to see why. <span style="mso-spacerun: yes;"> </span>Leaving just as fast as they charged in ‘Electric
Shock’ certainly captures the manic pace on ‘High’, <span style="mso-spacerun: yes;"> </span>it shows the need for focus in a state of
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Listen on Royal Headache's <a href="https://royalheadache.bandcamp.com/album/high/"><b>BANDCAMP</b></a></div>
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<b><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GIA0DqVgMFU" width="560"></iframe> </b> </div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-88183859350348783412015-08-13T13:17:00.000+01:002015-08-13T13:17:09.280+01:00Pega Monstro : Alfarroba<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQxXp7ZbF3tR5R1tocAfnAtgUuAyxm-98nVmpghdMEVkmB4UjVs4Uyu-IifJPS3wcBZ2aL_ZCHDzoJQzPe_bd5H8kPyFeZ9QnmsDrCEUIYbhqgtw_dyfh0nj1jUP-dAm74TclsDzqDMb0/s1600/PEGA-MONSTRO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQxXp7ZbF3tR5R1tocAfnAtgUuAyxm-98nVmpghdMEVkmB4UjVs4Uyu-IifJPS3wcBZ2aL_ZCHDzoJQzPe_bd5H8kPyFeZ9QnmsDrCEUIYbhqgtw_dyfh0nj1jUP-dAm74TclsDzqDMb0/s320/PEGA-MONSTRO.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Satisfying rock experiments making one want to flip a
cartwheel are captured on this new album by Pega Monstro.<span style="mso-spacerun: yes;"> </span>‘Alfarroba’ is comprised of ten dizzying
songs displaying stellar reaches of what a core set up made up with drums,
guitar and keyboard can truly achieve.<span style="mso-spacerun: yes;">
</span>Sisters Julia Reis and Maria Reis are the pair behind Pega Monstro.<span style="mso-spacerun: yes;"> </span>The name translates to ‘catch the monster’
but is also linked to a jelly shaped toy hand attached to a string that kids
throw at each other in the band’s home of Lisbon, Portugal.<span style="mso-spacerun: yes;"> </span>The sisters began playing music together when
they were 15 and 17 respectively although they started out in other bands
before making the move to write and perform together.<span style="mso-spacerun: yes;"> </span>In 2010 Julia and Maria launched Cafetra
Records, their own label with a focus on celebrating Portugal’s garage punk
scene.<span style="mso-spacerun: yes;"> </span>Pega Monstro’s momentum grew
after self-releasing their first EP ‘O Juno-60 Nunca Teve Fita’, which was
followed by their debut album in 2012 - and as if the band needed any further assurance
things were going in the right direction B Fachada, a prominent figure in
Portuguese music produced their work.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">And here we are, with the latest offering and second full
length release from Pega Monstro ‘Alfarroba’ (Upset The Rhythm).<span style="mso-spacerun: yes;"> </span>‘Alfarroba’ references a sugary flavoured
bean called ‘carob’ which can be found growing on wild trees that sprout up
randomly along the Mediterranean coast.<span style="mso-spacerun: yes;">
</span>The songs deal with love, growing up as well as reflecting on the
process of writing songs and describing things from a woman’s viewpoint.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Maria’s guitar eddies and chugs through my
song of the summer ‘Branca’, I don’t speak a word of Portuguese but now am
singing “shoe, sha, shee” compulsively and some might argue incessantly – it’s
so bloody catchy.<span style="mso-spacerun: yes;"> </span>Bursting in fun with its
dreamy melody and overdriven approach, ‘Branca’ aptly shows how unswerving and
sensational this album is.<span style="mso-spacerun: yes;"> </span>The
interesting thing about Pega Monstro is it seems as though they draw from a
frame of mind as opposed to sifting through their record collections for
ideas.<span style="mso-spacerun: yes;"> </span>What we’re given is something
that purely represents them in the process, ‘Alfarroba’ isn’t trying to fit in
anywhere rather it embraces sounds that come naturally, and for that reason it
stands boldly amongst many bands using guitar, drums and keyboards.<span style="mso-spacerun: yes;"> </span>‘Estrada’ blasts bright hooks, angelic
vocals, Julia's hyper drums and curiously plummets into metal groves which further
unravel into psych inspired breakdowns; revealing the diverse elements
incorporated into the album.<span style="mso-spacerun: yes;"> </span>‘Alfarroba’
has a softer side too ‘Fado d’A’gua Fria’ has a soothing sort of lullaby
quality that envelops folk into a mesmeric moment on Side B.<span style="mso-spacerun: yes;"> </span>Have you had enough of the gushing yet?<span style="mso-spacerun: yes;"> </span>I really tried to rein it in here, but it all
just came pouring out.<span style="mso-spacerun: yes;"> </span>Pega Monstro does
something vivid and exuberant in their song-writing and this just spills over
to those who encounter it.<span style="mso-spacerun: yes;"> </span>Truly an
exciting new band worthy of your time – you have a chance to see them this
Saturday too (15th August) at The Vicotria in Dalston <a href="http://www.wegottickets.com/event/321016"><span style="color: lime;">BUY TICKETS HERE</span></a>!</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nw1tSJqb6Xo" width="560"></iframe> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-79714814209247684692015-07-31T08:39:00.003+01:002015-07-31T08:39:59.047+01:00Rattle : Interview<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-fBrxEJvXZHd4uc-Relxkydy3uCj3qqdQsQA9igAks1v3T6p63XjylBs-2ASzmokhSWsJSabwM3-36xYbYxkuOlZeD7Zy2eNNcps8lwZ7q5hyphenhyphenXP3Ft00KBNXY4_1CNSuW5o4KUHga_k/s1600/rattle.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-fBrxEJvXZHd4uc-Relxkydy3uCj3qqdQsQA9igAks1v3T6p63XjylBs-2ASzmokhSWsJSabwM3-36xYbYxkuOlZeD7Zy2eNNcps8lwZ7q5hyphenhyphenXP3Ft00KBNXY4_1CNSuW5o4KUHga_k/s320/rattle.jpg" width="320" /></a></div>
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* Photo - <span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Simon Parfrement</span></span><br />
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<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Nottingham outfit Rattle have been making huge strides with their duelling drums and vocal performance up and down the country lately. After seeing them a few times this year I had to know more about them, so here we are, a few questions shared with Rattle, if you've not had a chance yet check them out <a href="https://www.facebook.com/pages/Rattle/196974100379051"><span style="color: cyan;">FACEBOOK</span></a> & <a href="https://rattleon.bandcamp.com/"><span style="color: cyan;">BANDCAMP</span></a> or try and catch them at a show - totally worthy of your time!</span></span><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"></span></span> <br />
Hi – after some digging I
couldn’t find much in the way of interviews on Rattle so thought I’d kick this
off with some ‘get to know you’ questions, how do you know each other?<span style="mso-spacerun: yes;"> </span>I want to know about the start of Rattle!</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
<b>KB: This is the first interview! </b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>Theresa and I both live in Nottingham;
we’d both lived in Nottingham for quite a few years playing in other bands
before we became friends. First of all we got together to trade music skills –
the plan was that I would teach Theresa to play the guitar, and she would teach
me to play drums. But instead Rattle happened.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: There was a period where I’d
often go out and recognize people that were going to the same gigs, with the
same coats on, week after week for about a year. It took a while before we
started chatting and became friends, and fairly soon after we started making
music. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>Did you have a goal
in mind when you started Rattle? Is there something you want to achieve from
this project?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: Rattle happened very organically, almost
by mistake. I had a sneaking hope that maybe Theresa and I might make some
good, worth pursuing music with me playing guitar and her playing drums, but
all of sudden we were playing something that become the song ‘Boom’. It was
very clear right from the start that we didn’t need anything else but the drums
and voices. In terms of what we want to achieve or a goal - we both wanted to
make an album, which is something we have very almost done, and I think we just
wanted to play as many gigs as possible, and get out and about.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: When we started playing we
were just working out how different rhythms worked together; they didn’t feel
like songs until Katy added some vocals and we started structuring them. A lot
of people asked if we were going to add any additional instruments, but it
never felt like there was any space or need for anything else and it felt
really freeing to focus on what people might overlook as ‘the backing track’,
and to be really attentive and creative with that. I think Rattle’s also partly
a response to hearing bands cluttering their sound with too many changes or
instruments, I find that sometimes turns me off a bit and paring things down
can be much more exciting. <span style="mso-spacerun: yes;"> </span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
Bit of a straight forward question, but to get some
background on Rattle I was wondering what kind of drummers you are drawn to?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: I am always drawn to anything
that seems to me to be different and unusual. I’m really lucky to have met and
have played with most of my favourite drummers, Charles Hayward of This Heat,
Katherina Bornefeld of the Ex, Sayaka Himeno of Nisennemondai, Jim White of
Dirty Three, Yoshimi P-We of Boredoms.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
<b>I also love Chris Corsano, Ringo….</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>TEZ: All of the above – I guess we’re both drawn to
un-flashy, percussive drummers who can give a different feel to the song, I’d
add to that list Mick Fleetwood.</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On your Facebook page it says Theresa is ‘highs’ and
Katharine is ‘lows’, I don’t play the drums could you outline what you both
take charge of when you’re writing/performing?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: Theresa is highs, ie: high
hat, cymbals, cowbell, snare, but also the low low floor tom. I am lows, which
is the bass drum, toms, and snare.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>I suppose it is a bit like a band
with two guitarists sharing one set of guitar strings between two guitars.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
Can you talk about the song ‘Starting’?<span style="mso-spacerun: yes;"> </span>It’s really stuck in my head!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: Starting started with a
Theresa rim beat, and I came in with the bass drum and the toms. I think on
that one I was trying to be purposefully awkward in the best sounding of ways,
to go against Theresa’s beat as much as I could in the catchiest way possible.
Awkward and catchy are definitely two things I think I try to get involved in
as many songs as possible.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>Tez: It’s got a stop and start to
it that is a bit cheeky, I really like stop/start or false endings, you enjoy
the song so much you’re a bit sad when it ends, then it comes back again and
you’re extra excited! It’s a good positive mantra of a vocal line. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
How long does it take to complete a song, and how do you get
started? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: We start with an idea,
something that is made up on the spot or something that might have popped into
my head in down times at a Kogumaza (the other band I play drums in) practice
or through Theresa’s practicing. I write the vocal melodies and words,
sometimes whilst playing in our practice room and more often later when I am
driving in my car listening to practice recordings. It depends how complete and
how good the starting point is I suppose. Some songs have become quite full in
the first few minutes or even seconds of playing them, and we’ve been able to
play them live after a few rehearsals and keep them growing slowly like mould.
But some have needed some real elbow work to bend into shape. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: It’s really easy to get
together and make a beat/riff that works well, but it takes a while to get it
structured so it resembles a song. <span style="mso-spacerun: yes;"> </span>There
are also loads of things that might be changed or added when we’re recording so
it doesn’t feel fully complete until we’ve finished that stage. We’ve had stuff
knocking around for a couple of years now that are finally coming into their
finished form. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
To my ears at least Rattle reminds me a bit of Talk Normal –
do you know that band?<span style="mso-spacerun: yes;"> </span>What do you make
of that comparison?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: I’ve seen Talk Normal once
before, I do remember really enjoying them, particularly the performance
aspect, definitely something quite natural and raw about them which I think is
something I hope we do have in Rattle, even without the distortion and the
dirty sounds you can get out of a guitar.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: I hadn’t heard about them at
all until you mentioned them but now I’ve heard them I like them, so thanks. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
How do you feel about being compared to other bands in
general – is it weird?<span style="mso-spacerun: yes;"> </span>Do think it helps
or hinders trying to get people to form an idea of what your sound is like?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: I think we are very lucky in
Rattle and it happens very little. We often get told “I’ve never seen anything
like that before” or “I haven’t seen anything like that for twenty years” which
to me is very exciting and flattering. Do we want to see things we’ve seen
before? It’s much more exciting to see something you can’t place. It’s
Starting! Rattle would probably be quite difficult for the lazy journalist.
We’ve been compared to The Raincoats a few times, The Slits, The Melvins and
The Sugarcubes. Lots of ‘The’ bands!</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: It’s been great generally as
people don’t really know what to compare us to; we sometimes get some slightly
off the wall comparisons which is flattering and a good way to find new stuff
(as in your last question).<span style="mso-spacerun: yes;"> </span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
How long have you been playing live?<span style="mso-spacerun: yes;"> </span>It felt like you’d been doing it for some
time during the shows I’ve been to this year</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: We’ve been playing live since
2012. We like to play live with Mark Spivey, also from Kogumaza, who adds
effects from the desk.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: We started playing live
quite soon after we started and we’ve been lucky enough to get offered some
really great, interesting gigs when we only had a few ideas put together. I
think we’ve really developed what we do as a direct result from playing live
and we would have gone in a totally different, probably much duller, direction
if we hadn’t been able to get out of the house. When you rehearse you know you
can always stop and start again if you make a mistake, you can think too much,
but there’s loads of good pressure and good mistakes that come out of playing
live that keep things fresh.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
As a relatively new band I was wondering, do you find
performing live is something to develop as you play more, or does the chemistry
between you two feel spot on and it just works? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: We’re definitely getting more
comfortable playing live the more that we play. We don’t put on much of a show,
but I think people find it interesting to watch the interplay between the two
drums. I’d like to develop the ‘live show’ aspect of Rattle, we are both visual
artists too and love making films and I think there is a lot we could do with
that, and lights, and reflections, but at the moment the most important and fun
thing for me certainly is playing the drums and singing, so any Rattle time we
have is focused on that!</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: We just work on the songs
and getting them right, it’s good to give the impression when we play that
we’ve totally improvised everything in the moment, but in reality we’re usually
counting numbers and hoping we get the changes in time. As we’ve played more
and more though we definitely feel more comfortable with just responding to
what each other are doing, a lot of the time it feels like we’re carrying a
tea-set on a tight-rope, but that’s when we can play the best gigs. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
What’s been the most memorable show you’ve played?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: We were incredibly happy to
invite Charles Hayward (This Heat) up to Nottingham to play at our EP launch at
a Nottingham gallery space last year. His set was amazing and he’s a really
incredible and inspiring person. We also worked with Jim Boxall, a<span style="mso-spacerun: yes;"> </span>visual artist who created some film
projections for our set which worked really well.</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: We played with The Ex a
couple of times last year and that was awesome as they were so great, just so
energetic and inspiring.<span style="mso-spacerun: yes;"> </span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
Who have been your favourite bands to play with?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>KB: Charles Hayward,
The Ex, Obits, Sauna Youth, Xylouris White, Richard Dawson </b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>TEZ: … Konono no. 1, Sleaford Mods, The Wharves</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>If you could choose a
line up to be on, any band, any era, which 3 bands would you like to share a
bill with?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>KB: Oh my. I like to
dance after we’ve played. So:</b></div>
<div class="MsoNormal">
<b>Joy Division, B52s (circa 1979), Moondog</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>TEZ: Talking Heads, David Bowie, New Order </b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>Are there any bands
you’d like to play with that are around now?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>KB: We have been very lucky, a lot of my dreams have already
come true in this respect. </b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>TEZ: ESG, Earth, Cate Le Bon, there’s lots</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What’s the most memorable show you’ve been to?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>KB: Neurosis at Dudley JBs in 1999. They were a physical
force!</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>Tez: Thee oh sees at the Leeds Brudenell 2013 </b></div>
<div class="MsoNormal">
<br /></div>
You’re from Nottingham – what can you say about the music
scene there? Is there anything you would change?<br />
<br />
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: Nottingham has a huge
collection of talented people who are doing really interesting things,
completely unrelated to each other artistically but socially connected and
really supportive. It’s really uncomplicated and inexpensive to put a gig on at
the Chameleon, JT Soar, or Stuck On A Name, and have amazing sound quality and
people who really, really look after you and love independent music. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>All of this isn’t necessarily
represented by the way the music scene is sometimes marketed, which is often
represented by someone trying to make out there’s a certain ‘sound’ or to push
for a no. 1 single, that sometimes feels at odds with people making a really
independent and diverse scene that’s frequently amazing. </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
What was the first album that really made an impact on you?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>KB: Nirvana, Nevermind. That bit
on Drain You with the build-up. Suddenly just listening to music was never
going to be enough!</b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: This question has set off a
BLUR (arf) of 90’s album listening and it’s hard to pin-point just one, but in
terms of thinking about playing music I remember listening the Stone Roses 1st
album and thinking I’d like to play the drums, Reni had such intricacies and
riffs, what an ace drummer! </b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
What’s coming up for Rattle so readers know what to try and
catch – shows, recorders etc!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>TEZ: We’re playing Cops and
Robbers summer bash in Leeds Wharf Chambers on 24th July, and at the tramlines
fringe festival at the Picture House Social Sheffield on 25th July, in
Manchester on 1st August and the double dot bash festival on 12th September
http://www.doubledotbash.net/. We’re finishing off recording and mixing our
first album and we’re hoping to put together some kind of tour in the autumn.<span style="mso-spacerun: yes;"> </span></b></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-46286340800286446862015-07-22T13:09:00.001+01:002015-07-22T14:19:06.703+01:00Solid Space : Space Museum<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;">Maf Vosburgh and Dan Goldstein make up UK based Minimal Wave
band Solid Space.<span style="mso-spacerun: yes;"> </span>‘Space Museum’ started
as a project in 1980, and over the course of the next two years the pair
assembled eleven home recordings that would become one of the finest lost albums
of its kind.<span style="mso-spacerun: yes;"> </span>‘Space Museum’ plays off
drum machines and synths against acoustic instruments whilst also experimenting
with found audio clips.<span style="mso-spacerun: yes;"> </span>The songs deal
with space travel and a general sense of dejection supported by bright pop melodies;
just from the sheer finesse of the album it’s hard to believe the duo were
teenagers when they wrote it.<span style="mso-spacerun: yes;"> </span>The maturity of the album is best shown on ‘A
Darkness In My Soul’, the track is so striking in how desolate it is, rivalling Goth Rock
records that would start to come out long after this was written (The Cure’s ‘Disintegration’
springs to mind). <span style="mso-spacerun: yes;"> </span>‘Tenth Planet’ is my
absolute favourite, totally joyful guitar riff offset by numbed vocals alongside
layers of synths.<span style="mso-spacerun: yes;"> </span>It seems like a
lot of people have worked on trying to get this reissued, whether this will be
out again for general release is still hard to tell but it can be found online
to tide everyone over.<span style="mso-spacerun: yes;"> </span>‘Space Museum’ is
incredibly forward thinking for when it was written and I wish I could write
more on the band but I’ll be damned if I can find much background on these chaps
presently.<span style="mso-spacerun: yes;"> </span>Is it acceptable to write a “review” essentially saying “this is amazing, you should listen to it”? I guess that’s what I’m doing – when something’s this brilliant one doesn't
need to pick it apart and question it.<span style="mso-spacerun: yes;">
</span>This is really simple for us both, just click below!</span></div>
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KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-52734483829729980062015-07-06T14:08:00.002+01:002015-07-06T14:08:52.632+01:00Obnox : Know America<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr-y_n5f_rCmvb4_TfL8oBgWmHKmEuWFkBsmUBsurLce7q-3fCyO6SlK6tDfnTPW6Yt9EJH80SLozUgZQYSkp4s5X_rJtfsiJ16H2-u8aMUd23VpHX2KOJXuj9bGxSyOTSwr67TNvcOU/s1600/obnox.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr-y_n5f_rCmvb4_TfL8oBgWmHKmEuWFkBsmUBsurLce7q-3fCyO6SlK6tDfnTPW6Yt9EJH80SLozUgZQYSkp4s5X_rJtfsiJ16H2-u8aMUd23VpHX2KOJXuj9bGxSyOTSwr67TNvcOU/s320/obnox.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Garage Rock / Punk has had some pretty big moments in music’s frontlines.<span style="mso-spacerun: yes;"> </span>From new bands spearheading resurgence in the
last decade to the 90s and casting back to the bottomless pit of the 60’s. <span style="mso-spacerun: yes;"> </span>I’ve been fixated since living overseas for a
few years in 2006 where I got a baptism of fire in New York.<span style="mso-spacerun: yes;"> </span>I would say nearly all the records I bought
and relished were garage rock.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It was
new and exhilarating to me, after listening to a lot of albums some material
started to feel like mimicry of what had come before, and ultimately a genre I
had become enamoured with felt stale at times.<span style="mso-spacerun: yes;">
</span>Sure, there are truly great innovators but I’m not going to tire you
with a list, suffice it to say there’s been nothing quite like Obnox. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">Obnox’s recordings are thrilling and challenge its
predecessors.<span style="mso-spacerun: yes;"> </span><span class="st">It is
clear beginnings in 90s garage punk still play a vital part in what </span>Lamont
‘Bim’ Thomas <span class="st">does, along with a penchant for all things
underground.<span style="mso-spacerun: yes;"> </span>I mean the Tommy Jay cover
on this record gives a nod to one of <i style="mso-bidi-font-style: normal;">thee</i>
great outsider albums made in Ohio – and anywhere else for that matter</span>.<span style="mso-spacerun: yes;"> </span>Previously working in several other garage
and punk outfits such as Bassholes, Unholy Two, Puffy Areolas and This Moment
In Black History, Thomas has only gathered momentum for his most raucous
material yet. <span style="mso-spacerun: yes;"> </span>Obnox’s gritty
experimentation of introspective punk rock and soul began to emerge in his
hometown of Cleveland, Ohio around 2011.<span style="mso-spacerun: yes;">
</span>Thomas has had some pretty great labels behind him already 12XU,
Negative Guestlist and Permanent have all supported his releases with this new
record finding a new home at Ever/Never.<span style="mso-spacerun: yes;">
</span><span class="st">There’s a real sense that Thomas’ surroundings informs
his writing; <span style="mso-spacerun: yes;"> </span>musicians, the streets, the
community, people around him <span style="mso-spacerun: yes;"> </span>- in
searching of synergy in amongst all of it.<span style="mso-spacerun: yes;">
</span>The havoc brought forward in Obnox’s material feels like ideas being
brought into focus by chaos.<span style="mso-spacerun: yes;"> </span>Sound is
collaged and layered slammed against blown out guitars, pummelling rhythms and
melody driven vocals forever driven to breaking point.<span style="mso-spacerun: yes;"> </span>‘Freaky’ hits with the full whack of how
intense this record can get as it seems as though the song only just comes
short of frying the equipment it was recorded on.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="st"><span style="mso-spacerun: yes;"></span>The tempestuous nature of the song writing on <a href="https://evernever-records.bandcamp.com/album/know-america"><b><span style="color: blue;">‘KnowAmerica’</span></b></a> is undeniable and it still stands <a href="http://gildedgutterblog.blogspot.co.uk/2013/06/obnox-corrupt-free-enterprise.html"><b><span style="color: blue;">from the last time I said it</span></b></a>, Obnox’s
approach is unbelievably refreshing.<span style="mso-spacerun: yes;"> </span>For
the first time there’s a chance to see him perform all this too at the end of
the month at Café Oto <a href="https://www.cafeoto.co.uk/events/obnox/"><b><span style="color: blue;">you can buy tickets here</span></b></a>, not to be missed!</span></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-87194636402817053362015-06-25T17:26:00.002+01:002015-06-25T17:26:39.539+01:00The Coneheads : L.P.1. aka "14 Year Old High School PC-Fascist Hype Lords Rip Off Devo for the Sake of Extorting $$$ from Helpless Impressionable Midwestern Internet Peoplepunks L.P”<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-lvcMqPiYqdy28g9_D1lmxvxVolDru5UW41L-GSgvBapLTPdoqWXjp0huivlIZbmCYAoQ4wBXPTDg0XQn12NvQ4ukjhN-6yA0ARuYLygu5Wy7mekIGP2OP0iojgyddFlLQ8TBqkmyV4U/s1600/coneheads.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-lvcMqPiYqdy28g9_D1lmxvxVolDru5UW41L-GSgvBapLTPdoqWXjp0huivlIZbmCYAoQ4wBXPTDg0XQn12NvQ4ukjhN-6yA0ARuYLygu5Wy7mekIGP2OP0iojgyddFlLQ8TBqkmyV4U/s1600/coneheads.jpg" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I’ve been thinking a lot lately about a band who I learned
about after they’d been plugged by Brian Turner and Henry Rollins on their
respective radio shows.<span style="mso-spacerun: yes;"> </span>The Indiana based
youths who make up The Coneheads left a huge impression with a wild cover of
Nirvana (‘In Bloom’ I think… taken from a test promo) and then ‘Alien &
Warm’ from this, their debut LP.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">‘L.P.1. aka "14 Year Old High School PC-Fascist
Hype Lords Rip Off Devo for the Sake of Extorting $$$ from Helpless
Impressionable Midwestern Internet Peoplepunks L.P”’ (Erste Theke Tontraeger) came out in February
and an initial run of 500 copies has since sold out.<span style="mso-spacerun: yes;"> </span>The record compiles recordings initially
available on small runs of tapes released over the last year or so. I couldn’t
believe it, the last year or so, on first listen they sounded like they’d fit
right in the late 70’s to early 80’s weirdo musical underworld. <span style="mso-spacerun: yes;"> </span>Although watching some youtube footage of live
shows I’m pretty sure they weren’t even born in the 80’s.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Performing under a name associated with a film about people
who have misshapen skulls, it’s safe to say they don’t take themselves too
seriously.<span style="mso-spacerun: yes;"> </span>It’s really bold, covering
songs that people will most likely not want to hear; Nirvana, Talking Heads – how
many ‘Psycho Killer’ covers are out there now exactly?!<span style="mso-spacerun: yes;"> </span>But like the Nirvana cover they just totally transform
it, the way the singer addresses “run-away” in the chorus just slays me, is it
supposed to?<span style="mso-spacerun: yes;"> </span>It at least sounds like
they’re having fun. <span style="mso-spacerun: yes;"> </span>That’s the refreshing
thing about this album; there’s nothing out of bounds to chew up and spit out,
taking on those iconic songs and dismantling the myth or reverence around them
is brilliant.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The low fidelity recording style The Coneheads used certainly
suits the cassette format, no fads here, it just makes sense for what the band
are about. The LP is a strong compilation of what they’ve done so far which retains
their DIY approach. <span style="mso-spacerun: yes;"> </span>When I say low
fidelity/DIY , I don’t mean they’ve just covered everything in fuzz and delay,
the sound is actually pretty clean - each element comes through distinctly, you
can just feel from the recordings it was made with whatever means they had …
someone’s bedroom…. garage…. basement. It’s the skew whiffed vocals and hyper
pace they play at that really grabs one at first.<span style="mso-spacerun: yes;"> </span>The melody heavy bass creeps in and it’s
clear this is tying everything down.<span style="mso-spacerun: yes;"> </span>Frazzled
and choppy guitars play alongside palpitating beats and then, there’s the totally
demented vocals.<span style="mso-spacerun: yes;"> </span>‘1982’ is another stand
out track.<span style="mso-spacerun: yes;"> </span>It is 40 seconds long.<span style="mso-spacerun: yes;"> </span>‘Waste of Space’ is pretty fantastic too with
its spooked versus monotone vocal delivery and jittery/convulsive synths.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Oof, just love this record.<span style="mso-spacerun: yes;">
</span>‘L.P.1. aka "14 Year Old High School PC-Fascist Hype Lords
Rip Off Devo for the Sake of Extorting $$$ from Helpless Impressionable
Midwestern Internet Peoplepunks L.P”’ is far and away one of the best albums
to let loose from the last few months.<span style="mso-spacerun: yes;"> </span>Has
anyone ever wondered what it would sound like if The Urinals played Devo songs
on a rollercoaster?<span style="mso-spacerun: yes;"> </span>No, actually, to be
honest, me neither BUT The Coneheads prove that it sounds pretty friggin’
great!</span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Check it all out right <a href="https://erstetheketontraeger.bandcamp.com/album/ett-028-the-coneheads-l-p-1-aka-14-year-old-high-school-pc-fascist-hype-lords-rip-off-devo-for-the-sake-of-extorting-from-helpless-impressionable-midwestern-internet-peoplepunks-l-p"><b><span style="color: red;">HERE</span></b></a> </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com3tag:blogger.com,1999:blog-1733759889105530800.post-90524365875415621002015-06-18T12:26:00.000+01:002015-06-18T12:26:32.229+01:00Nots : Virgin Mary<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvUrUMiHXIZx-VxkkPm9evjRgDhy52kL80Lo03LPRuH4_HDtB4dGqKxu09_gmdnXvfZE1FiY6PaN4nHjDak5wAmfYv9eVo9nWdlS5qbuqNrC17MRxovlet2Ee6S61gsMkubjnNDb-2pE/s1600/virgin+mary.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvUrUMiHXIZx-VxkkPm9evjRgDhy52kL80Lo03LPRuH4_HDtB4dGqKxu09_gmdnXvfZE1FiY6PaN4nHjDak5wAmfYv9eVo9nWdlS5qbuqNrC17MRxovlet2Ee6S61gsMkubjnNDb-2pE/s1600/virgin+mary.jpg" /></a></div>
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KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-30725044375848015932015-05-29T12:36:00.001+01:002015-05-29T12:36:49.710+01:00Ausmuteants / Housewives Split 7"<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Out this week is this split 7” by Ausmuteants and Housewives
for Total Punk.<span style="mso-spacerun: yes;"> </span>Both bands wrote a song
then sent each other chords and lyrics for the partnering group to cover with
no information on how the track is composed, so Side-A will be the original
version Ausmuteants and Housewives wrote and Side-B will be their
interpretation of the other’s song – clear as mud?<span style="mso-spacerun: yes;"> </span>‘I Wanna Sedate You’ and ‘Brown Out’ are the
two original songs, interchanged and re-arranged by the Australian
outfits.<span style="mso-spacerun: yes;"> </span>Ausmuteants scored ‘I Wanna
Sedate You’, a deranged strain of punk rock joy which is just as considered as
it is totally rampant.<span style="mso-spacerun: yes;"> </span>The Housewives’
contribution ‘Brown Out’ is a shrieking, sludgy force of chugging guitars veering
on and off course commanded by forthright beats and a gulping bass.<span style="mso-spacerun: yes;"> </span>The thing both bands have in common (apart
from the same chords and lyrics of course) is a sense of complete disorder in
well-formed and thought out songs.<span style="mso-spacerun: yes;"> </span>And
if you want to know what the covers of ‘I Wanna Sedate You’ and ‘Brown Out’
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<span style="font-family: Arial,Helvetica,sans-serif;">Ausmuteants will be playing here in London as part of their
European tour at The Shacklewell Arms on Wednesday 10<sup>th</sup> June, get tickets <a href="http://www.wegottickets.com/event/316346"><b><span style="color: lime;">HERE</span></b></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="color: lime;"><iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202397475&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe></span></b></span></div>
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KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-44323706081050950472015-05-22T16:48:00.001+01:002015-05-22T16:48:20.032+01:00Shawn David McMillen : On The Clock WIth JJ & Mitch<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">There’s a strong chance that Shawn David McMillen is already
sitting in your record collection, he's played in Austin's power-pysch outfit
Rubble, featured on recordings with Jack Rose, Steve Gunn and Pete Walker -
he's also collaborated with Charalambide's Tom Carter. <span style="mso-spacerun: yes;"> </span>In recent years the Austin-via-Galveston
guitarist/vocalist/sound artist has turned out some releases for Tompkins
Square, and this new offering 'On The Clock With JJ & Mitch' (12XU) is his
first new album since 2010’s 'Dead Friends'.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">For this new album McMillen recruited JJ Ruiz on drums
(Trustees, Naw Dude, Teeners, Air Traffic Controllers) and Mitch Fraizer
playing bass (Sweet Talk, Church Shoes) then set to record the whole thing
using protools and an interface in New York during Spring 2014.<span style="mso-spacerun: yes;"> </span>Using a pay-per-hour practice space the
troupe utilized equipment around them - old choir mics, delay & Zvex fuxx
pedal plus JJ played the drums already in the rehearsal room.<span style="mso-spacerun: yes;"> </span>Some acoustic guitar, percussion and a good
portion of the vocals were produced at Tomas Casas’ art studio.<span style="mso-spacerun: yes;"> </span>Casas contributed field recordings to the
record as the band hung out in his studio absorbing some Yaseef Lateef albums.<span style="mso-spacerun: yes;"> </span>As McMillen puts it, "It all just fell
together and worked…”, and here we are with nine new songs.<span style="mso-spacerun: yes;"> </span>Wayward guitars, laidback vocals and intuitively
lead rhythms rooted by coolheaded bass lines are at the core of McMillen’s
songs.<span style="mso-spacerun: yes;"> </span>‘Hunting’ was the first song that
really grabbed me just by how the pace is propelled in fits and starts – then a
swell of guitar riffery comes in and you’re no longer listening to a chilled
rock record the first two tracks lead you to think it was, but pretty fantastic
psych piece to boot.<span style="mso-spacerun: yes;"> </span>‘Nowhere To Go’ is
another favourite “Walking around in the sun all day, nowhere to go I think I lost
my way,” McMillen reiterates through the track as it gathers momentum with
cyclical guitars, <span style="mso-spacerun: yes;"> </span>wired beats and palpitating
bass building up to another joyous solo with the song rounded off by one of
Casas’ field recordings.<span style="mso-spacerun: yes;"> </span>The album
leaves as aloof as it came in and the lasting impression from the shreds of guitar
and curious field recordings begs for more and more listens</span>.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;">Check out some of his material <a href="https://soundcloud.com/mancat-records"><b><span style="color: cyan;">HERE</span></b></a></span> </span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-42083176916302790712015-05-15T13:07:00.000+01:002015-05-17T08:21:29.305+01:00Easter & The Totems : The Sum Is Greater Than Its Parts (Reissue)<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Living in South East London I’m suprised I’ve not come
across this band yet.<span style="mso-spacerun: yes;"> </span>Sometimes things really
are right under your nose and you don’t even see them.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Doing
some background reading Easter & the Totems really seem to have been a cornerstone
of underground music south of the river. <span style="mso-spacerun: yes;"> </span>The group knocked out their first raw demos in
1981 called ‘Queen Menace Shock Six’. <span style="mso-spacerun: yes;"> </span>Their
self-styled ‘agit-pop’ was a search for balance between amphetamine driven rhythms,
battering punk and melodic arrangements whilst experimenting with tapes and
effects.<span style="mso-spacerun: yes;"> </span>Album ‘Hip Replacement’ debuted
this wrong-footed rock vision, made in 7 days when the band was still in their
teens.<span style="mso-spacerun: yes;"> </span>All in all Easter & the Totem
would go on to release 3 albums and 3 singles in the 12 years they were active
- all self-financed with no management, a hard grafting DIY effort.<span style="mso-spacerun: yes;"> </span>The line-up fluctuated a little with Mike
Barry Guitar/Vocals, Steve Mountain Drums/Vocals being core members, and John
Diver, Time Stocker, Dave Pearton, Chris Richardson, Kevin Tweedy, Richard
Morris, Neil Braddock all working in the band at different stages.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Rooted in a frustration with UK’s political situation in the
early 1980’s, specifically holding an anti-Thatcher stance, Easter & the
Totem drew from and gave a voice to the downtrodden working/lower classes of the
time.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Coming from those backgrounds themselves and
not really identifying with music around them either, Easter & the Totems
had more than one reason to feel alienated.<span style="mso-spacerun: yes;">
</span>Perhaps this spurred on their need to play in a band, and to make
connections with likeminded people in the area.<span style="mso-spacerun: yes;">
</span>Typically performing in Woolwich, Penge, Herne Hill, Catford and Crystal
Palace they established a group of artists who would be known as Bromley
Musicians Collective/South East London Musicians Collective.<span style="mso-spacerun: yes;"> </span>They go on to organize gigs for each other
and release records with a focus on giving support to victims of social
injustices they identified around them.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Easter & The Totem recorded some tracks in Bromley
Studios with Nigel Laybourne that had been going down well during these gigs. <span style="mso-spacerun: yes;"> </span>‘Distant Generations’ and ‘Acid Reign’ (both
direct political songs about Thatcher) from this session would feature on ‘The
Sum Is Great Than Its Parts’, originally released in November 1986.<span style="mso-spacerun: yes;"> </span>This was a collection of material documenting
their work to date released on Ideological Sounds (Barry’s label).<span style="mso-spacerun: yes;"> </span>Its first pressing came in 500 copies
featuring long time designer Bill Webb for album artwork, in 1997 Pinnacle
reissued a further 500.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">So here we are with SS Record’s 2015 version of the album. <span style="mso-spacerun: yes;"> </span>SS have actually had this up their sleeve
since the early 90s after finding the album in the back room of a record store,
having worn out their copy and worked for many years to get permission, SS got
the go-ahead to give ‘Sum Is Greater Than It’s Parts’ a full reissue treatment.<span style="mso-spacerun: yes;"> </span>‘Acid Reign’ is a finely-spun pop number featuring
sugary synths, wild rhythms and crispy guitar accompanied by melody driven
vocals.<span style="mso-spacerun: yes;"> </span>‘Distant Generations’ is a
florid post punk charge playing happy and sad off each other, in a way that
might remind one of The Smiths. <span style="mso-spacerun: yes;"> </span>‘We
Fade’ has a curious Death Rock feel to it, there’s something definitely darker
and more dejected, just in how the scaling <span style="mso-spacerun: yes;"> </span>guitars, numbed vocals and agitated synths
carry through the track.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">With the recent re-election of the Tories it’s an
interesting time for this album to re-appear.<span style="mso-spacerun: yes;">
</span>Easter & the Totem were true to their South East London roots never
venturing far from home turf, getting stuck into supporting local communities
and art projects. And I hope they would be happy to know people have picked up
this mantle today, I can’t finish this post without highlighting a few collectives,
labels and shops in the area worthy of your support:</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://diyspaceforlondon.org/"><span style="color: red;">DIY SPACE FOR LONDON</span></a></span><br />
<span style="color: red;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://staticshockrecords.blogspot.co.uk/">STATIC SHOCK RECORDS</a> </span></span><br />
<span style="color: red;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://thebookandrecordbar.co.uk/">BOOK AND RECORD BAR </a></span></span><br />
<span style="color: red;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://woolf.bandcamp.com/">WOOLF</a></span></span><br />
<span style="color: red;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://fraupunk.co.uk/">FRAU </a></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">And as for Easter & the Totems I’ll leave the summary to Mike Barry, “There was Mike Barry (age
18), Ian Self (age 18), and a Drum Machine. In those days, all you needed was a
couple of long coats, a mutual love of the Fall and Joy Division, a pile of
existential books, Kafka, Camus, Dostoyevsky, etc and some lager. They took
their name from a Jackson Pollock painting. It was Summer of 1981 and the band
was as rough as a bears arse.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/101793773&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe> </span></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-54608134650255594452015-04-30T12:26:00.000+01:002015-04-30T12:28:44.070+01:00Dick Diver : Melbourne, Florida<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDLx1P-YDSs3a22TNLEBz7aU7YehaCMV-v_bavdGoak0V51zncLzPfSAnVl5mzlUrZwXMSxvRwvS6KSLIQOxCLtWTynxdz3jReuYff2Xo0Ez-TYwFeIGC4KJ7ZGzLRyDXRXNZxYj3dcY/s1600/dick.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDLx1P-YDSs3a22TNLEBz7aU7YehaCMV-v_bavdGoak0V51zncLzPfSAnVl5mzlUrZwXMSxvRwvS6KSLIQOxCLtWTynxdz3jReuYff2Xo0Ez-TYwFeIGC4KJ7ZGzLRyDXRXNZxYj3dcY/s1600/dick.jpg" height="320" width="320" /></a></div>
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skills. The band treads new turf by feeling
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curious and enigmatic state in their music.
To create that atmosphere Dick Diver recorded this album in a large shed
at Apollo Bay, Australia with Mikey Young – setting the scene to achieve a more
far reaching sound than they’ve ever done before. ‘Melbourne, Florida’ incorporates horns,
synth, piano and pedal steel alongside the band’s core line up of; two
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buzz around their third record for Chapter Music (Australia)/Trouble In Mind
(US). Literature also seems to be a draw
for themes in Dick Diver’s songs, just look at how the band name is lifted from
a Fitzgerald character in Tender Is The Night – this carries over fittingly to
the first track on ‘Melbourne, Florida’ called ‘Waste The Alphabet’ which McKay
wrote with poet Michael Farrell. A heady
pop track touched by bracing melodies you might associate with 90s era indie-rock,
songsmith-ery doesn’t get more uplifting than this. Flipping over ‘Competition’ cuts through with
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it certainly feels like an album written by friends hanging out, not taking
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approach created something really accomplished.
Dick Diver have followed their guts making this record and in doing so
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bkMPEC9bBxw" width="420"></iframe> </span></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-9470047076896280522015-04-24T09:57:00.002+01:002015-04-24T09:57:37.492+01:00Ed Schrader's Music Beat : Emperor's New Chair<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qf7OfVYDYqY" width="560"></iframe><br />
<br />
The always incredible Ed Schrader's Music Beat has just released a video for 'Emperor's New Chair', taken from their second album 'Party Jail' (Upset The Rhythm). If you're in the states <a href="http://edschradersmusicbeat.blogspot.co.uk/"><span style="color: magenta;">don't miss this Baltimore minimal punk duo</span></a> when they play a town near you soon!<br />
<br />KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-41084481878853964952015-04-10T13:57:00.004+01:002015-04-11T20:16:40.172+01:00Ryley Walker : Primrose Green<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">The striking thing about <a href="https://www.facebook.com/pages/Ryley-Walker/1405815259669307"><span style="color: lime;">Ryley Walker’s</span></a> new album is how
close it comes to capturing his live performance, this isn’t simply committing
songs to record; ‘Primrose Green’ depicts <i style="mso-bidi-font-style: normal;">him.<span style="mso-spacerun: yes;"> </span></i>Ryley Walker routes songs through the
triumphs of traditional folk music whilst bringing his own kind of wildness to the
table, giving way to something that stands out in finger-picking guitar today
and stands with other present greats like <a href="http://danielbachman.com/"><span style="color: lime;">Daniel Bachman</span></a> and <a href="https://ciannugent.bandcamp.com/"><span style="color: lime;">Cian Nugent</span></a>.<span style="mso-spacerun: yes;"> </span>Since the age of 21 Walker has been
recording material after some hard grafting on his Guild D-35, he's put out
records on Plustapes, Tompkins Square and Agenda.<span style="mso-spacerun: yes;"> </span>Dead Oceans got behind ‘Primrose Hill’ and as
charming as the title sounds it obscures a dark pull within these 10 new
songs.<span style="mso-spacerun: yes;"> </span>Recorded at Minbal Studios where
Walker is based, Chicago, it is hard not to sense real penchant for pastoral
sounds <i style="mso-bidi-font-style: normal;">and</i> a sense of breaking free
from that too.<span style="mso-spacerun: yes;"> </span>The album preceding
‘Primrose Hill’ called<span style="mso-spacerun: yes;"> </span>‘All Kinds of
You’, stayed true to rustic folk and while this new LP leads neatly on from
there it departs mainly with some Jazz elements brought to the fore by some
musicians invited to perform;<span style="mso-spacerun: yes;"> </span>Fred
Lonberg-Holm (Cello), Frank Rosaly (Drums), Jason Adasiewicz (Vibraphone) and
Anton Hatwich (Double Bass).<span style="mso-spacerun: yes;"> </span> </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Opener
‘Primrose Hill’ fittingly introduces his rambling approach and sharpened artist
vision.<span style="mso-spacerun: yes;"> </span>‘On The Banks Of The Old
Kishwaukee’ carries the familiarity of an age old ditty in how succinctly sage it is.<span style="mso-spacerun: yes;"> </span>“On the banks of the Old Kishwaukee, I saw
you there getting, getting baptized by your Daddy when all the love was there,
have you heard the way they love you, have you heard their song, have you heard
the way they hold you, when you’re right you’re wrong,” Walker delivers in his
distinct vocal address.<span style="mso-spacerun: yes;"> </span>It’s pretty
clear Walker’s lyrics are sparked from personal experience, in this case seeing
people being baptized in Rock River, Northern Illinois where he grew up.<span style="mso-spacerun: yes;"> </span>Throughout ‘Primrose Hill’ one can’t help but
feel Walker has this reckless itch to scratch and he gets there on my favourite
song ‘Sweet Satisfaction’.<span style="mso-spacerun: yes;"> </span>Changing
things up Walker plays an electric guitar and it just gnaws its way through the
softer sounds from acoustic instruments.<span style="mso-spacerun: yes;">
</span>The freely roving tones chewing through the track add something
exhilarating to the album especially as the song builds to its charged
climax.<span style="mso-spacerun: yes;"> </span>‘Primrose Hill’ explores beauty
and desperation driven by surviving in districts of American detritus, I said
at the start this album captures <a href="https://soundcloud.com/walker-ryley"><span style="color: lime;">Ryley Walker</span></a> as he his – he’s clearly studied folk guitar
exhaustively and after accomplishing playing it, seems like he wants to wrestle with it too.<span style="mso-spacerun: yes;"> </span>Folk is what speaks
to Walker but there’s an unrest, something unsettled and more savage at play
and this is why he is an interesting figure, and this is why I can’t wait
for you to hear ‘Primrose Hill’.</span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-30831487405784684482015-03-30T13:08:00.001+01:002015-03-30T13:09:03.058+01:00Boyhood : When I'm Hungry<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Wow wow wow.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>This record from <a href="http://boyhoodsongs.bandcamp.com/album/when-im-hungry"><span style="color: blue;">Boyhood</span></a> came out at the tail
end of last year on Bruised Tongue and I’m kind of obsessed with it.<span style="mso-spacerun: yes;"> </span>It’s hard to find out much on Caylie
Runciman’s career so far other than she’s from Ottawa, has one other EP/Tape
out on the same label and ‘When I’m Hungry’ appears to be her first full length
album.<span style="mso-spacerun: yes;"> </span>Comprised of swampy pop and
noise explorations these 12 songs are shrouded in psychedelic weirdness. <span style="mso-spacerun: yes;"> </span>‘When I’m Hungry’ is predominantly an
electronic record however,<span style="mso-spacerun: yes;"> </span>‘Heat’ allows
guitar to the fore in the closest thing this album comes to traditional indie,
and a song that could be considered straight up indie on here still exceeds
expectation by delivering something adventurous and electrifying.<span style="mso-spacerun: yes;"> </span>Runciman’s vocals get filtered through chewy
haze alongside a freely ambling melody line pitting loud and quiet arrangements
against each other, and if you think you’ve heard this all before just give it a
listen and see how her treatment moves the goal posts of where these sounds can
go.<span style="mso-spacerun: yes;"> </span>As the album progresses it reveals
songs made from pimped subterranean beats, blissed out vocals and spooked
guitar work.<span style="mso-spacerun: yes;"> </span>Runciman wrote/performed
all the songs on here and the interplay between drum machines and a drum kit
gives the album different grains to latch on to, checking out ‘Maintaining My
Uncool’ followed by ‘Cheddar’ is a great example of that.<span style="mso-spacerun: yes;"> </span>‘Where I’m Going’ fittingly shows how <a href="https://www.facebook.com/pages/Boyhood/185832741489148"><span style="color: blue;">Boyhood</span></a>
captures an immersive pop sound that is sunny as it is sunless , and closer
‘Post Poc’ best describes these shady undertones intermittently emerging
throughout.<span style="mso-spacerun: yes;"> </span>‘When I’m Hungry’ is an
intimate search of the curiously twisted parts of bedroom pop.<span style="mso-spacerun: yes;"> </span>It’s this creeper slant touched by saccharine
glamour that makes the LP prevail as a blood-tingling debut release; executed
with a forward thinking approach ‘When I’m Hungry’ is effortlessly
unpredictable, exuberant and captivating.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Bruised Tongue's Bandcamp is <b><a href="https://bruisedtongue.bandcamp.com/album/when-im-hungry-lp"><span style="color: blue;">here</span></a></b> where the album has a few more track's on it than Boyhood's personal page, copies of the LP are still available too!</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-22000391522634728182015-03-23T17:25:00.002+00:002015-03-27T09:53:02.085+00:00SAUNA YOUTH : Distractions<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPEKixahEIN7wTzQOhgEYU4dNHJZqbLy3XHrg87jxm0JOznNocD8ZOgYlqqgsPk0bj-jP67QVEA6GpH1TKayiu6ulVRE8RtG2jLUiej8NdDDUKUhFJ-vfCHUCdlcTScxW9OoUVku9Y8TI/s1600/sauna-youth-distractions-UTR071-300dpi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPEKixahEIN7wTzQOhgEYU4dNHJZqbLy3XHrg87jxm0JOznNocD8ZOgYlqqgsPk0bj-jP67QVEA6GpH1TKayiu6ulVRE8RtG2jLUiej8NdDDUKUhFJ-vfCHUCdlcTScxW9OoUVku9Y8TI/s1600/sauna-youth-distractions-UTR071-300dpi.jpg" height="320" width="320" /></a></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Sauna Youth have always been a great band. Exerting pulse racing punk rock in every bar,
basement and house party in and outside of London. Sauna
Youth’s insatiable energy for playing shows has only served to refine their
sound, and once it took shape there were no limits to where their songs could
go as this new album attests. When it
comes to DIY in this city Sauna Youth have been a pivotal fixture in the scene
for some years now, recording and releasing their own material up until debut
‘Dreamlands’ (Faux Discs/Gringo, 2012).
‘Distractions’ (Upset The Rhythm) is the follow up to that album and it’s not just a follow
up, it’s a game changer. In approaching
things from a new angle Sauna Youth’s song-writing has been elevated by experimenting with
composing the album together in one room.
If it sounds different that’s
because this is their first time in a recording studio, utilising Homerton’s
Sound Savers with Mark Jasper documenting the 3 days Sauna Youth spent there in
July 2014. Desire, repetition and
distractions are central to Sauna Youth’s impetus on this new record. No polite po-going happening here, these tracks
fully spin out of control with a beer can or two flying over-head. Once “Transmitters” sinks its teeth in ‘Distractions’
doesn’t let go for 14 songs incorporating spoken word, experimental noise and
undeniable punk joy. Jen </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Calleja and Richard Phoenix’s vocals
bring a brilliant androgyny to record - especially on ‘Monotony’. Lindsay </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Corstorphine’s crunchy blown out guitar and Christopher Murphy’s
rubbery bass come in from all directions with thrilling melodies channelling
all kinds of rock greatness… and those beats! </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Richard's immense rhythms are the backbone to it all along side Jen's howling sampler work. They haven't ended there either, Sauna Youth re-arranged
themselves as Monotony in a new project - where they switch instruments and song-writing duties which you
can listen to <a href="https://soundcloud.com/upset-the-rhythm/monotony-luxury-flats"><span style="color: lime;">here</span></a>. It's a voracious momentum that Sauna Youth has which sets them apart and shows how they keep going from strength to strength. Sauna
Youth have never stopped writing incredible songs, they’ve never stopped playing incredible shows, They've never stopped supporting London’s local music scene – I hope Sauna Youth never stop.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">You can pre-order the album <a href="http://upsettherhythm.co.uk/sauna-youth.shtml"><span style="color: lime;">here </span></a></span></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0tag:blogger.com,1999:blog-1733759889105530800.post-45302906136584833362015-01-23T13:25:00.000+00:002015-01-23T13:25:11.866+00:00NOTS : We Are Nots<div style="text-align: justify;">
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<span style="font-family: Arial,Helvetica,sans-serif;">Memphis four-piece NOTS started releasing material in 2013 and follow two singles with their first full length recently on Goner. ‘We Are Nots’ is forged from a penchant for wild synth punk polished over the course of touring. The album packs the same punch as the singles whilst tightening the bolts with sharper production so every element comes to the fore with unflinching clarity. NOTS sound strong and feverish with ferocious drive made up by Natalie Hoffman’s errant guitar, Alexandra Eastburn’s forthright synth waves, prowling bass lines from Madison Farmer and the dogged rhythms of Charlotte Watson. The eleven frantic songs clock in at around 25 minutes opening with ‘Insect Eyes’, a demented cyber stomper setting the pace for the record. ‘Reactor’ leaps out with its stormy approach and a chorus that high-jacks your brain, just try and stop spinning it in your head! ‘Black Mold’ plays out unshakeable vocals, chugging guitars, melody heavy bass and siren synths making it another track stuck on repeat for me. With tour dates approaching with Parquet Courts it feels like NOTS are already gathering momentum for whatever 2015 has to throw at them. ‘We Are Nots’ is a radical force to be reckoned with making this a great album to lose your mind to.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">More NOTS <a href="https://www.facebook.com/memphisnots"><b><span style="color: magenta;">HERE</span></b></a></span></div>
KPhttp://www.blogger.com/profile/05139144686586698555noreply@blogger.com0