Crumb and Juan Wauters

Today two albums that were in fear of dropping of the list but together found a spot on the blog: Ice Melt by Crumb and Real Life Situations by Juan Wauters.

Ice Melt. Crumb

It took Crumb five years to release it's second album, following 'Jinx' (2016). While working on Ice Melt the world caved in on itself and that affected Ice Melt according to the band. What I hear is an alternative indie band presenting itself as if in lockdown. The mood of the album in general is closed and subdued. The sound is kept small with only mild excursions into beats or exuberance. The voice of singer Lila Ramani is soft, always just above the music, making band and singer almost one.

The New York based band went to L.A. to work with producer Jonathan Rado (of Foxygen fame) on Ice Melt. If I had to point to his influence, it is e.g. in the change in 'Trophy', where the tempo and mood of the song totally change into something else.

What I notice is that the rhythms on Ice Melt are extremely bare and dry in sound. Almost as if recorded from under a thick eiderdown, synthetic in sound. This results in the subdued sound of the album. This is rather surprising as drummer Jonathan Gilad is capable of playing, in my ears, complex rhythms like in 'Balloon'. A fact that deserves some more emphasis in my humble ears.

All in all it makes Ice Melt an album that is hard to instantly like, while at the same time I think it is an album that is more than just nice to know. It's an album that takes more effort to appreciate. That is one step ahead of Jinx that I remember not taking up all those years ago. Just listen for starters to that lazy rhythm of the title song and I'm sure you'll know what I mean, when I tell you that listening to Ice Melt is worth the effort.

Real Life Situations. Juan Wauters

The track list of Real Life Situations is 21 songs long. Are you kidding me?, I found myself asking before listening to the album. Especially because it was announced as a Latin album and that is not my music.

It turns out to be an album with spoken word sections in between and a hybrid of many musical styles. A little Latin, modern rhythms, hip hop, pop and even more. It results in an album that is free flowing, interrupted by the spoken word that is not for me. I was quite happy to hear a song like 'Locura'. Jarabe de Palo has stopped because of Pau Dones' death last year and now I hear a song like 'Locura'. Dones' lives on alright in a more modern setting.

Juan Wauters is not afraid to throw in a little alternative rock-hop like the Beastie Boys were capable of or Dog Eat Dog, but all a little softer and nicer. 'Presentation' is softer of tone while also edgier. A lot is going on in the song besides the groove that certainly is going and going.

The dance influences are not all on my good side ('Unity') but as a whole Real Life Situations is an album that is quite nice. All these influences blend in into the groove Wauters created. The spoken word section reminds me of Manu Chao's successful solo albums of the 00s. Juan Wauters is a less radical descendent, as he is far more easy going in his songs. The songs as such are no amalgam of street recording, just the interludes are. It's his ode to radio and to surrender. As such it works.

And for all those English speaking folks wondering how to pronounce my name, you all go 100% wrong, for which you are excused, it's the same as Juan's family name, but how does one pronounce that in English? (Spoiler, it's like wow, with a t at the end, dropping the second w.)

Wout de Natris

You can listen to and order Ice Melt here:

https://crumbtheband.bandcamp.com/

and Real Life Situations here:

https://juanwauters.bandcamp.com/album/real-life-situations

 

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Headache Sorbet. Alicia Breton Ferrer

Only two years ago, Alicia Breton Ferrer, was someone I had never heard of. Since, she has found her way into these pages with the band The Sweet Release of Death, then with the band Neighbours Burning Neighbours and now as a solo artist. That is three different guises for one singer/bassplayer/guitarist. It may well be that without corona the world would never had heard the songs on Headache Sorbet, but is the richer for it.

Headache Sorbet is the result of home recordings, poor neighbours I can't help thinking every once in a while. An amalgam of sounds, noises, instruments and experiments come by, in some ways turned into something resembling songs. Not songs that through the decades found their way into the Top 40s of the world, with the exception of 'Oh, Superman', but music that people delving quite a little deeper in released music will find attractive to explore.

Because exploring is the right word for the quest Alicia Breton Ferrer sends her listeners on. I'm just not quite sure what the holy grail in this quest is made up of. The answer is, that there's no need for a price. Appreciating or learning to appreciate Headache Sorbet is price enough. It allows you to backtrack the adventure she put herself on, being in isolation from both her bands, from performing. Music is was she does and it came out of her, of course it did.

On the basis of a single released a few weeks ago, I had never expected to like Headache Sorbet. That as such is not new, I had to find my way into her two bands as well, and did. Where I gave up on the single within a minute, I decided at the same time to give the album a serious chance. It paid out.

Headache Sorbet is far from an easy album. For a few reasons. Rhythms are experimental. I even believe an old-fashioned typewriter was used in one of the songs to create the rhythm. From there it's possible to experiment further. There are no straightforward songs in earshot. The melodies are halting, incapacitated even. Were I asked to compare 'Red Alert' to anything, it would be an abstract COBRA painting. On it something faintly resembling a bird or tree hidden in between the thick swaths of paint. In the same vein instruments and sounds were thrown into the mix, faintly resembling a song, hidden somewhere in there. Because of the ending De Kift springs to mind. A weird rhythm over a bizarre guitar riff, but where De Kift ends its experimental music, Alicia Breton Ferrer begins..

Iggy Promo photo

So why do I like Headache Sorbet? I have been racking my brain over that question but do not have an answer for you that truly explains it. I would start with that I'm fascinated by the sounds and how they interact with each other. How within this abstract environment interesting pieces of music come together. That the mood on the album as a whole challenges me to pay more attention than the album at first listen merits. Above all, because I have the impression that when making this album, if that idea was there at all at the start, there were no rules. All was open, possible and accepted only when it fitted a slowly emerging bigger picture. That bigger picture now is out in the open and challenges, attracts, pushes away, attracts again..

I hope this helps you a little, dear reader, but you will have to undergo your own adventure and challenge, as Headache Sorbet is both. All sounds except cat Iggy and the flute were played or created by Alicia Breton Ferrer, so this is truly her album.

Although it's easy to predict you will stop listen quite soon within 'Nosebleed', that would be the easy way out. I found that the adventure does lead to musical satisfaction, making Headache Sorbet a very interesting album to follow, undoubtedly containing dozens of surprises that will unfold long after these first listening sessions.

Wout de Natris

You can listen to and order Headache Sorbet here:

https://aliciabretonferrer.bandcamp.com/releases

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Let The Bad Times Roll. The Offspring

"Come on sugar let the good times ro - oo --oll". This sentence from The Jimi Hendrix Experience's rendition of 'Come On, Part 1' (is there a part 2?), is edged on my mind from puberty onwards. The Offspring's new album's title is all the more interesting because of the negative to Jimi's joyous song.

It was nine years since The Offspring released a record, so you find them exactly once on this blog, in its earliest days. At best a lukewarm reception it was of 'Days Go By'. Perhaps Dexter Holland's thoughts already were on his phd study that is now finished. So after Brian May and the guy from The Descendents we have another phd graduate in (punk)rock.

Let The Bad Times Roll is an excellent album. Let me come out for the album straight away. It sounds inspired and effort has been put into it to get the best out of the songs. In the very first song 'This Is Not Utopia', the band goes for it and does not relent along the way.

The Offspring is often seen as a pastiche band, something not to be taken too seriously. This is short-selling the band considerably. The fact that it does like a good gimmick in some of its songs, is not the same as not being good. The band has managed to stretch punkrock considerably. Not unlike Green Day has done, both bands are around about as long and broke big in the same period, mid 90s. Where Green Day managed to go onwards to stadiums and headlines, The Offspring remained behind in the mid section of venues.

Come 2021 it is too late to change this position as hits for both bands are something that lies behind them, fans are ageing. It is the more surprising that The Offspring delivers such an inspired album in 2021. The band clearly wants to score a point or two after having been away for nine years; and does. The music is tight. The rhythm section closes in on each other to give the songs the drive they need. They are powerful anthems. Not singing along is simply not an option.

The single, 'We Never Have Sex Anymore' is of the gimmick kind, with mariachi horns in there. (See the singles post of this week.) Without a doubt it is great fun. The punkified classic anthem 'In The Hall Of The Mountain King' by Edvard Grieg from 'Peer Gynt', is another such gimmick. There was one song I recognised, a ballad, piano driven at that. What is this? I thought Spotify had changed albums. Of course it's a song from the band itself in a new version. It was on 'Ixnay On The Hombre' album from 1997. Where does time go? It's almost like a flag on a pigsty. All the loud, great punk tracks and then this piano ballad. A beautiful song, but what does it do here?, I'm inclined to think. What it does show, is that a good song remains a good song in whatever setting. 'Gone Away' happens to be a great song. The album then ends with a punk lullaby.

To close up. To everyone who is or once was a fan of The Offspring. 2021 is not 1994 and the days of 'Smash' will never return, but that said, Let The Bad Time Roll is an incredible good and strong album. The Offspring is in great form.

Wout de Natris

You can listen to and order Let The Bad Times Roll here:

https://theoffspring.bandcamp.com/album/let-the-bad-times-roll

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

10 singles, 2021/17

Where have the days gone when punkrock bands could score hits with great punkrock songs. One of these bands returns to this blog after nine years but with a song that is as much fun as their hits of decades ago. Welcome back, The Offspring. What else do we have for you this week? Two more Red on Red Records from Boston singles. Even a little bossa nova and a Greek experimental jazzy song. In other words let yourself be surprised by this selection of recent singles. 

Science And You. Linnea's Garden

"Hey, baby, I wanna make you some guacamole". Did a song ever start with a nicer introduction? With this line Linnea's Garden returns to this blog. ("I don't believe in God, only in) Science And You" is one of those, short and effective alternative rocksongs. At the same time it doubles as an alternative love song. One that doesn't need much more than bass, drums and a rhythm guitar, barring the nice, aggressive guitar solo. Linnea Herzog sings the song in her lower register, giving the impression that she may not really mean what she's singing. Looking at the video though, I have the impression that she's totally sincere here. With an EP coming up my interest in Linnea's Garden's music certainly is rising.

Que Reste-t-il De Nos Amour? Patrick Watson

Patrick Watson is from Montréal in Canada, so most likely was educated in English and French. Usually singing in English, I was surprised to find a French single. It is a slow song, like they used to make in the 1950s for musical is my impression. Sonically it was impossible to record a song like this at the time. The atmosphere certainly is there in the strings behind his voice. Every once and again that typical Patrick Watson mood breaks through. Of course that is in part caused by his voice but not all. That mystical wave that is typically added to his music, in which the atmospherics woven into the song seem to slow the music and with it reality down considerably. It is here alright.

Googling a little I find numerous versions of the song, indicating that the song was written and recorded years before I was born, let alone Patrick Watson. It is a Charles Trenet song, a French chansonnier, who is only a name to me. That explains the jazzy atmosphere in Patrick Watson's recording. All said, quite a nice one.

Chrysalis. Avawaves

Avawaves is a new name to me. I had expected another girl punkrock duo based on the name. So consider the level of surprise when I heard a keyboard violin duo playing around an minimal themed, neo-classical piece with some trancelike synthesizer sounds behind it. That puts Avawaves in the category of the many artists focusing on neo-classical music with either only a piano or little extra's thrown in. In Chrysalis the extra's certainly are present. A whole string section (unless it's digital). The song is serious, moody and fairly uniform. Musically a few themes are repeated over and over, with little surprises. My music? No, not really, but I certainly want to share my surprise with you.

Through The Fog. Marinero

Why not a little bossa nova on the blog? Alright, for today then. Recently I was sent the link to an album called 'Hella Love' (May 21). It did not take too long for me to grow tired of the music. But let's face it, it is also fun for a while, as it sparks memories of warm beaches, nice weather and cold caipirinhas served at a party in a mansion once was owned by a Colombian drugsbaron. Work can go together with a tropical destination sometimes. I do not know a lot of bossa nova, besides that one song by Astrud Gilberto and and album by Bebel Gilberto, making a more modern version of the genre, incorporating more modern beats. Marinero, an American called Jess Sylvester, operates somewhere in the middle. The mood of the song is certainly nostalgic and where modern instruments are used they are there to underscore that nostalgia. The downbeat singing of Sylvester brings the mood down a little, making the song sound a little melancholy as well, as if things used to be much better once. Somewhere through the fog that makes the past invisible.

Stockholm Syndrome. The Daylillies

Stockholm syndrome as a metaphor in a break up song. "When I said that I loved you, that was Stockholm syndrome". Another single sees the light on Justine Couvault's Red on Red album. The song is a study in restrain, as nothing is overdone. The Daylillies play its perfect alternative pop song totally balanced. The lead vocals are echoed by the male backing vocals. The guitar is matched by the piano playing a few lead notes here and there. The drums and bass only have to goad the rest forward, no pushing or shoving required. Those with some pop knowledge in their bags, will find more than enough references from decades past in the song, but who cares. Stockholm Syndrome is a beautifully crafted song, very much worthwhile to get acquainted with. Originally from 2019's eponymously called mini album, Red on Red must be happy to release the song in 2021. The video is a reflection of what happens to bands in times of covid.

One More Hour. Flock of Dimes

A single that is full of mystery. Like I wrote on Patrick Watson in the above, One More Hour is a song that creates the impression of delaying time somehow. It's caused by the slurring effect in the singing and playing. It turns a song that could have been a straightforward ballad, into something totally different. Not as easy to digest, but certainly one that caught my attention. Flock of Dimes is Jenn Wassner from North Carolina. She started writing the songs for her second album, 'Head Of Roses' in the early lockdown of the pandemic, accompanied by a fresh heartbreak. After writing she started working with producer Nick Sanborn and a few musical collaborators. The result is in this case a mysterious single. The topic is, if the singer could make one wish, it would be one more hour with someone. Musically there are some faint traces to Annie Lennox and The Eurythmics, in the moments that duo really held back, as Flock of Dimes never takes the breaks off on One More Hour.

Underrated. Atreyu

Harder it does not often become on WoNoBlog. Most likely because System of a Down hasn't released a new record for over a decade now. Atreyu is a System of a Down, there's no denying there. Including a fantastic melodic chorus. Those remembering my recent review of Suffocate for Fuck Sake's 'Fyra', may wonder why I like Underrated. All the screaming and grunting going on! That is so easy to explain. It is a melodic, albeit intense part of this music, just like the melody itself is and the supertight metal riffing has a great melody. The result is a hybrid song that is extremely loud, but it's also full of force ans above all a song.  Listening to this song the only question I'm left with is whoever is underrating it?

Finger/Painted Landscape. The Puzzle Is Cast

With the sixth song being released of seven, the monthly project of The Puzzle Is Cast from Athens, Greece, is slowly coming to an end. (For those counting, yes, we missed the first release.) Where some of the songs were very experimental, Finger/Painted Landscape is less so. The basis is a beautiful melody played rather subdued on an electric guitar. The style is jazzy. Around it there's emptiness, despite there being other sounds. It's easy to identify a bass guitar and all sorts of atmospherics and sounds can be heard as well. Still, I have the impression the guitar is alone. It is not supported. The effect the rest has on me is estrangement and a level of eeriness. It is as if everything is alright but had this been music in a movie, all viewers would know the situation to be different. Interesting to notice what a piece of instrumental music can do to the mind. This composition is Kairos material.

Real Hero. Blaudzun

Following the trilogy of albums, it became quiet for some time around Blaudzun. This month the band returned with a first single from an album that may not be released before 2022. Real Hero was inspired by the illness of a young child, at the moment that a full recovery was still imaginable. Unfortunately that was not to be, a tremendous tragedy for the family.

With Real Hero it is becoming clear that Johannes Sigmund and Blaudzun have settled into their music. The song sounds like I have come to expect a Blaudzun song to sound. Of course I do not want the band to change to opera or dance, but fulfilled expectation also makes me as listener a bit complacent. Real Hero does not challenge me in any way, like many songs on the previous five albums all did. At first listening I was even a little disappointed. That has dissipated but I'm not overly enthusiastic. Real Hero is no 'Promises Of No Man's Land' to give just one example. It is a decent Blaudzun song nothing less but also nothing more.

We Never Have Sex Anymore. The Offspring

Does The Offspring still exist? Coincidentally I asked myself that question very recently. The last album was reviewed in the very first months of this blog. That is spring 2012. Nine years later the band returns with a phd graduate in the band. Singer and songwriter Dexter Holland decided to finish his studies and did. Now several of The Offspring's biggest hits had a novelty element in them and so does We Never Have Sex Anymore in a way. Punkrock songs with horns? It's not your everyday plate service, right? I faintly remember a band from Brooklyn mixing punk with mariachi (The Bronx under another name?). It gives this single a load of extra energy and shows that The Offspring can still write a song that makes a difference in the band's oeuvre. I can't imagine this becoming a hit in 2021. Times have changed over the past 27 years. For those who liked the band in the past decades should welcome this new song. I know I did. It is upbeat, despite the topic of when relationships die, where love goes to die and only little irritations and spite remains. A love song upside down and still come up with a great punkrock song, horns and all! Well done, gentlemen.

Wout de Natris

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

 

 

Kairos #125, January 2021

The number of Kairosses slowly grow, our Wo. is still a quarter of a year behind. Is that important? Not really, as he shares his inner most experiences with you on an individual episode of the programme .No makes for Concertzender. It's on the Internet perhaps for forever, so what is a month in the face of infinity? Kairos subjects Wo. to music that he's not subjected to on a daily basis. Except in those instances where the influence of the Blog comes together in writing and radio. Where the twain do meet, so to say. Continue reading and you will find out what happened in the next hour.

The familiar notes and the dark, pleasant voice announcing Kairos come to me through my computer box speakers. I find myself bracing for another musical adventure. Let's go.

A wave of synthesizers roll over me and a female voice speaking a Slavic language speaks to me in a language I don't understand, except for the world Hollanda. This is about me, as a citizen, I rejoice. The voice changes to Dutch, a story about war, dark colours. The music has nothing to do with the story, I read in the playlist. The music is Blear Moon's 'Winter Journal'. Long held notes on a synthesizer. The story is a recording of Richard Bolhuis and Hybrid Agency called 'Ongehoorde verhalen' (Unheard Stories). Ninar is telling her life's story about a war and the longing for what once was had to be left behind. Only memories remain. The mix is quite impressive, as Blear Moon's music is a presence, almost an entity. There may even be a female ghost voice looped into the music. Blear Moon reminds me of that weird movie 'The Blair Witch Project'.

The music changes to a more upbeat instrument. A harp? I don't know. The Estonian duo Maarja Nuut and Ruum return to Kairos. The violinist plays a basic theme over which she starts singing, with intervals. More a recital of tones that a melody at first. Like the violin notes being repeated over and over, so the voice repeats. In the background waves hitting the beach sound. In the atmospheric singing with loads of echo added, slowly but surely vocal melodies as stapled. I'm reminded of Celtic music, let's say Enya for the ease of an example. The melody is taken over by other instruments. I take it Ruum is at work now in 'Mahe'. I find myself slowly but surely moving into the layers of music, able "to walk" around in there.

Another story starts. Johnny tells that he is not always feeling good. He only shows the good side of himself to the world. When he does not feel good, he leaves. Behind him there's music, a little chaotic Johnny announces silence in his words, that Kairos reflects. It was quiet for a few seconds!

Maarja Nuut returns with her voiced looping different backgrounds before the lead melody starts. Sung with a high voice she sings in her Estonian language, I suppose. 'Kurb Laulik' from there moves into a plucked violin sequence. Slowly grown more and more, layer for layer. The voices replaced by a bass sound. Beautifully done with a magical folk like element, not unlike Norwegian singer Susanna. Do the dark, estranging sounds belong or are they mixed in? I do not know.

An acoustic guitar comes in joined by a second one. The slow melody slowly grows with some atmospherics in the background. Michael Tanner & Sharron Kraus play 'Valley4'. The poem of this month is by Jan Kleefstra, read out after which 'Valley 4' continues its meandering melody. The atmospherics in the background could be a meandering brook in a forest. Slowly but surely carrying the water to a lower point. Never in a hurry but certainly adhering to the laws of nature. The next story is about a person who walks the route to work for 20 years, never seeing, again by Johnny. Tanner and Kraus wind up soon.

They are replaced by dark sounds, changing the mood less then perhaps expected as the mood wasn't joyful already. It is only that the dark piano notes stress the darkness a little more. It becomes more obvious, not much darker. Moonchy & Tobias return to Kairos. 'Dum' is actually quite interesting and nice. Nothing like I remember the whole album to be. Moonchy's voice got in my hair quite soon there. Here it is absolutely beautiful, while the dark music underscores the deeper shade of her voice. 'Dum' is a song deserving to be heard.

From Tiny Room Records it's only a small step to Snowstar Records. It becomes even better. Label owner Stefan Breuer played bass in I Am Oak for several years. The Corona album, where I Am Oak rerecorded 50 songs, for having something to do in the first lockdown, called 'Odd Seeds' is a beautiful album. You can find my review somewhere late last year on the blog. 'Clavicles' is a nice, small song, just keyboard and Thijs Kuijken's voice with loads of echo on it. It simply works. A review can be that simple and still fully justified.

A piano takes over. Slowly tinkering away over a bass progression. It is SYML with 'In Between Breaths'. One of the many albums released in the past two years, where a pianist plays romantic, neoclassical pieces, alone or with more accompaniment. In this context I notice that it is relaxing to listen, so it works.

The lightness of 'In Between Breaths' disappears instantly. The dark side is moving in once more. Long held, dark notes hover into my room. Creaking doors and floor boards, a voice of the devil is all that is missing here. What to make of this? Let me call it intriguing.

There's no time to linger on my thoughts too long, as the next song comes in already. Piiptsjilling's 'Unkrûd' is slowly playing itself out. What is it I'm hearing? Extremely long held notes coming from a ...? I do not know. I suppose some sort of synthesizer or a singing saw. That's another option. A female voice sings notes, a male voice recites a poem on weeds, the translation of the title by the way. Ah, I hear an electric guitar playing a few isolated notes. Unkrûd is experimental but also quite listenable. It is also exciting in a way as it's unpredictable when something is added to this form of minimal music.

When a choir is added, I know .No is mixing away. First dark male voices than the ladies come in. A John Cage composition from the Rothko Chapel album. It's been a while since we heard this on Kairos and I welcome its return. Like a chapel or church has, the choir singing has an effect on my mental composition. A sort of rest and awe come over me while I listen to small nuances in the vocal melody. I do wander whether it is gratifying for the choir members to sing Cage. The members or perhaps better, sections of the choir are used to produce sounds, monotonous sounds and not nice flowing melodies. On the other hand, they do sing Cage and are on record. So perhaps it's honourable to be involved in this experimental choir music. Personally I prefer playing in a band, singing pop, blues and rock tunes from a while back.

Dark tones on an organ, long held once again, are added before the choir is slowly faded out. Stars of the Lid is the name of the band or artist. The music clearly fits this Kairos. It was January, the darkest month and music like this belongs there and not in the ever lighter evenings of April. That is my fault of course. A matter of keeping up. A piano moves into the long held notes. Beware folks. If you thought that only the DeWaele brothers can do successful mash ups, listen to .No. He's mixing Stars of the Lid's 'Don't Bother They're Here' with SYML's 'Where We Landed' and not much later with Olafur Arnalds' 'Frá Upphafi'. The listener is treated to something that does not exist in the real world outside of Kairos. It takes a tremendously good set of ears and the dedication to actually do something with the connections .No hears in his head. I have to say it works. The dark piano notes blend into the dark, moody sounds behind it.

This composition of Arnald is another estranging affair, seemingly announcing danger or evil. I kind help thinking of that Medieval clad devil monster in the first episodes of the Netflix serie 'The Irregulars'. I haven't watched further yet, so don't ask me what comes next.

All in all this was a dark Kairos, matching the time of year. Also a Kairos that allows one to think and take the time to do so. To contemplate what I was hearing. It's almost one hour later and I am listening to the slow piano and violins of Olafur Arnalds' 'Lokaðu Augunum' and feeling quite alright.

Wo.

Here's the link to the Kairos show:

https://www.concertzender.nl/programma/kairos_588697/ 

 

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g
 

This is the Playlist:

00:13 – 07:34  Blear Moon. Winter Journal.
EP ‘Winter Journal’. ΠΑΝΘΕΟΝ Records (Pantheon).

00:18 – 00:27  Richard Bolhuis/Hybrid Agency. Ninar (fragment).  Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

01:14 – 02:05  Richard Bolhuis/Hybrid Agency. Ninar (fragment).  Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

03:14 – 04:23  Richard Bolhuis/Hybrid Agency. Ninar (fragment).  Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

07:20 – 08:04  Richard Bolhuis/Hybrid Agency. Ninar (fragment).  Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

07:48 – 12:47  Maarja Nuut & Ruum. Mahe. Album Muunduja. 130701 Lt. CD13-30P.

12:29 – 14:52  Richard Bolhuis/Hybrid Agency. Johnny (fragment). Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

14:50 – 18:57  Maarja Nuut & Ruum. Kurb Laulik.
Album Muunduja. 130701 Lt. CD13-30P.

18:36 – 23:50  Michael Tanner& Sharron Kraus. Valley4 (slightly altered by Wino Penris).
Album “In the Rheidol Valley”. Morctapes.

18:46 – 18:54  Maarja Nuut & Ruum. Kurb Laulik (fragment).
Album Muunduja. 130701 Lt. CD13-30P.

18:54 – 18:57  Maarja Nuut & Ruum. Kurb Laulik (fragment).
Album Muunduja. 130701 Lt. CD13-30P.

20:07 – 20:39  Poem by Jan Kleefstra from his collection ‘Verlegen land’. 

22:11 – 22:44  Richard Bolhuis/Hybrid Agency. Johnny (fragment). Ongehoorde verhalen: https://hybridagency.bandcamp.com/album/ongehoorde-verhalen.

23:38 – 26:46  Moonchy & Tobias. Dum.
Album ‘Moonchy & Tobias III. Tiny Room Records.

26:26 – 29:48  I Am Oak. Clavicles. Album ‘Odd Seeds’. Snowstar Records.

29:38 – 33:02  SYML. In between breaths. EP ‘You Knew It Was Me’. V2 Records. 

32:36 – 34:19  Akasha Project. Quantality Part 2 (fragment).
Album ‘H2 the Quantum Music of Hydrogen’. Klangwirkstoff Records ‎– KW005.

33:55 – 40:15  Piiptsjilling. Unkrûd. Album ‘Wurdskrieme’. Mariska Baars, Romke Kleefstra, Rutger Zuydervelt. Poem: Jan Kleefstra. Expermedia XPCD012.

39:21 – 45:50  John Cage. Four2. Huston Chamber Choir.
Album ‘Rothko Chapel’. ECM New Series 2378 4811796.

45:22 – 55:33  Stars of the Lid. Don’t bother they’re here.
Album ‘And their Refinement of the Decline’. Krank 100.

49:06 – 53:41  SYML. Where we landed. EP ‘You Knew It Was Me’. V2 Records.

54:58 – 56:45  Olafur Arnalds. Frá upphafi.
Album ‘Dyad 1909’. Erased Tapes Records eratp19 cd.

56:45 – 59:57  Olafur Arnalds. Lokaðu Augunum – Dyad 1909 Version (fade out).
Album ‘Dyad 1909’. Erased Tapes Records eratp19 cd.

Cleaned The Windows. Geri van Essen

And finally Van Morrison's chore of 'Cleaning Windows' is done. It took 40 years but the windows have been cleaned. With Cleaned The Windows Geri van Essen releases her first album on Tiny Room Records. having left The Netherlands behind to write and play music in London. The album sounds inspired and warm.

After Jane Willow in Dublin, a second expat Dutch musician finds her way to this blog. On her second album Van Essen started working on her own in her home, recording her voice, guitar and piano, overcoming all the challenges working at home posed to her. From that moment two things happened. First she handed over the tapes to producer and label owner Stefan Breuer who started adding instruments to the home recordings, while in London friend musicians added more "exotic" instruments like horns, violins or euphonium. The result is a collection of small, modest songs that nonetheless make an impression immediately.

I'm totally inclined to compare Cleaned The Windows with three great albums coming out of New Zealand over the past 18 months: Aldous Harding's 'Designer', 'Reb Fountain' and recently 'The War On Peace Of Mind' by Dianne Swann. Geri van Essen moves into this class of musicians with her new album. Although she starts off from a U.K. folk perspective with her songs, one person, one guitar, the way music is added to them, take the electric guitar in 'Spelling Lonely', the songs tend to receive a bite, changing their nature along the way. This results in a deeper layer making the album so much more interesting. Always there's something extra to discover. Even after multiple listening sessions.

Of course this begs a question, I guess like with most singer-songwriters who work with a producer. In how far is this Geri van Essen's album and in how far Stefan Breuer's? This question I cannot answer, but it seems like a relationship of mutual consent. Breuer is not in a position and most likely does not want to be in a position where he forces decisions on the artist for commercial reasons. Cleaned The Windows will very much be a project where Van Essen's wished ruled.

The result is simply beautiful, warm, delicate yet forceful songs. Beautiful because the already nice melodies are all adorned by the addition of different instruments. Warm is simply what these songs are. Delicate because most are presented as frail songs that one could break, if wanting to do so. Forceful because of the self-assured way they are presented. Geri van Essen displays no doubts about her songs. They are hers alright and she knows they're good.

What has been avoided, is any modern influences, something the New Zealanders do not shun. It does give rise to wonder what a remix could do to one of the songs, like Reb Fountain's 'Hawkes And Doves'. Is that an option for a song like 'In The Morning'? What would it sound like?

All that aside. Cleaned The Windows is a beautiful album. I can not stress that enough. Together with Stefan Breuer and all the musicians who contributed, Geri van Essen has produced an album that is worthwhile to invest time in and some money so you can listen to it on your own device(s). Sometimes a song does not need more that a characteristic voice and an acoustic guitar. Sometimes just a little more. Cleaned The Windows attests to this.

Wout de Natris

You can listen to and order Cleaned The Windows here:

https://tinyroomrecords.bandcamp.com/album/cleaned-the-windows

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

For The First Time. Black Country, New Roads

Critici komen momenteel superlatieven tekort bij het onthalen van de Britse band Black Country, New Road en daar valt niets op af te dingen, want wat is dit een fantastisch album.

Zes songs en veertig minuten lang combineert de uit Londen afkomstige band Black Country, New Road invloeden uit met name de postpunk, postrock en jazz. Het zijn invloeden die nog niet vaak gecombineerd zijn en zich ook lastig laten combineren, maar het pakt op het debuut van de Britse band fantastisch uit. Het schiet alle kanten op en het maakt je zeker niet altijd makkelijk, maar bijna alles dat Black Country, New Road doet is functioneel en draagt bij aan het fascinerende en bezwerende eindresultaat. Dat dit album momenteel stevig bewierookt of zelfs gehyped wordt is alleen maar logisch en For The First Time wordt ook nog eens alleen maar beter.

Eind 2019 werd voorspeld dat de Britse band Black Country, New Road zomaar zou kunnen uitgroeien tot een van de grote sensaties van 2020. Al na een paar maanden gooide de corona pandemie helaas roet in het eten, maar deze week verscheen dan eindelijk For The First Time, het debuutalbum van de band uit Londen. 

Direct vanaf de eerste noten van de openingstrack Instrumental wordt duidelijk dat Black Country, New Road het je met haar debuut niet makkelijk gaat maken. Instrumental opent met een opzwepend ritme, waarna een fraaie gitaarlijn wordt gecombineerd met een wat atypisch keyboard loopje en blazers de song omtoveren tot Klezmer met een wat donkere ondergrond. Zang komt er niet aan te pas in de openingstrack, wat gezien de titel ook logisch is. 

Na vijfenhalve minuut vol opzwepende klanken, vervolgt For The First Time met Athens, France. In de tweede track hoor je waarom de muziek van Black Country, New Road regelmatig van het etiket postpunk wordt voorzien. De instrumentatie is donker en dreigend en zit vol repeterende elementen. 

Het past fraai bij de praatzang van Isaac Wood, die de song voorziet van een beklemmende lading. Heel lang blijft de band echter niet hangen in het vaste stramien van de postpunk, want meer uptempo passages worden afgewisseld met dromerige passages, die door de bijdragen van de saxofoon jazzy klinken. 

Na de vijfenhalve minuut durende openingstrack, neemt de band ook in de tweede track de tijd, want deze duurt nog een minuut langer. In muzikaal opzicht doet het me wel wat denken aan de eveneens Britse band Black Midi, maar ik hoor ook wel wat van het laatste album van Shame, al durft Black Country, New Road veel nadrukkelijker te experimenteren en betreedt het paden die voor Shame nog volledig uit zicht zijn. 

Voor liefhebbers van betrekkelijk toegankelijke popsongs is For The First Time al snel zware kost, al strijkt de muziek van de band uit Londen nergens heel nadrukkelijk tegen de haren in. De gitaarlijnen zijn keer op keer wonderschoon, de ritmesectie blijft maar strooien met inventieve ritmes, de praatzang heeft iets bezwerends, de keyboards zijn fraai dreigend, de vioolaccenten verrassend trefzeker en dan zijn er ook nog eens de stuwende bijdragen van de saxofoon. 

Zeker als de gitaren scheuren, de drummer de meest fascinerende ritmes slaat en de saxofoon los mag gaan, klinkt For The First Time als het album dat Bowie in Berlijn zou hebben gemaakt als hij toen al een jazzband had opgetrommeld. 

De eerste drie tracks klokken al rond de zes minuten, maar er volgen nog tracks van acht of zelfs bijna tien minuten, waardoor er uiteindelijk slechts zes tracks in veertig minuten passen. In die veertig minuten schiet de muziek van Black Country, New Road alle kanten op, met gelijke delen postpunk, postrock en jazz als basis. 

De energie en urgentie spatten er van af, maar er ligt ook altijd een verrassende of introspectieve wending op de loer, waardoor je met volledige aandacht naar het album blijft luisteren. Bij beluistering valt er steeds meer op zijn plek, maar op hetzelfde moment blijft For The First Time van Black Country, New Road een buitengewoon fascinerend vat vol tegenstrijdigheden. Makkelijk is het zoals gezegd niet, maar wat is het mooi dat er ook in 2021 nog bands zijn die zo wild buiten de lijnen durven te kleuren als deze Britse band.

Erwin Zijleman

Je kunt For The First Time hier luisteren en bestellen:

https://blackcountrynewroad.bandcamp.com/album/for-the-first-time

 

of luister naar onze Spotify Playlist om uit te vinden waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

 

The War On Peace Of Mind. Dianne Swann

New Zealand is a country that was in the news over the past years because of an earthquake in Christchurch, the mass shooting in the same city, it's prime minster going on maternity leave and the extremely positive handling of the Covid pandemic. For anything basically except the incredibly talented musicians recording and releasing albums there. Today I was introduced to Dianne Swann via that newsletter of newsletters sent to me by Flying Nun Records. I started this introduction on the same day, after a few listening sessions on Spotify.

Late last year I discovered Reb Fountain. Her eponymous album really made an impression on me and still comes by regularly. Let Reb Fountain make a very positive appraisal of The War On Peace Of Mind and my attention is caught for certain. I can only write that I'm in total agreement. Dianne Swann's album is of the sort that is immediately interesting.

Where does this start? With the folky undertones of opening song 'These Are The Days'. Hidden somewhere is a folk heart. Added to that is a tougher sort of Americana in the twangy guitar notes. The rhythm section is not afraid to play tough giving the impression to be able to rock as well. Over this all is the voice of Dianne Swann, I don't think I have to say more there. I'm smitten, that suffices.

To me Dianne Swann is a new name. For New Zealanders she is around for much longer as part of the Auckland duo The Bads. My advantage is that I do not have to compare this album to anything else. It is all new and fresh. Of course in general there's a host of singers and albums that came before. It's here that I'm so impressed. Of course I'm hearing influences of things that came before. Fact is that The War On Peace Of Mind does really well in that department. It all has to do with that mix I already mentioned. Somehow that mix is perfectly tuned for my ears.

I'll be the first to agree that nothing spectacular happens on this album. No great, epic solo's, no flashy arrangements to be found. The quality is all in the songs themselves, in the melody, arrangement and singing. Every single song on the album grabs me, with tremendous ease.

The mix of songs on the album is quite good as well. A little more pop, a little more folksy and a rocker to end the album. In most songs it is a subtle difference, until that final one. By far the loudest of the bunch 'Rare Good Feeling' is. The counterpoint to a relaxed album of high quality.

In one week two fantastic new albums from New Zealand come by on this blog. There are weeks that far larger countries do not manage this number. New Zealand has a very special music scene. It must be that special element in the water.

Wout de Natris

You can listen to and order The War On Peace Of Mind here:

https://dianneswann.bandcamp.com/album/the-war-on-peace-of-mind

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

iii. Milk

When Flying Nun Records announced iii in its weekly newsletter about a month ago, I had never heard of Milk. Reading further, it turned out that in a way I learned about the band too late. The artist behind Milk, Reuben Samuel Winter, had died in September 2020, after living with a horrible and extremely painful decease. iii is a posthumous album released by Flying Nun in close cooperation with Winter's family. It's an album Winter had recorded in 2019, did not release, but simply had to be presented to the world.

Next, I received the album digitally and started listening. From the very beginning I was totally gripped by the album. I literally had no idea what to expect. The sad story made me want to make an extra effort. Most likely I would have listened after the release. The effect of the first song, 'Dopehead', certainly would not have been different. The difference is that the introduction enticed me to make an effort beforehand.

iii simply is an incredibly good album, by an incredibly talented artist, who due to illness and the pain was not able to continue his life and career. Reuben Winter had two musical careers actually. One in electronic and hip hop under the name Totem and one in alternative rock and punk under the name Milk. At 26 he took his own life, leaving behind many grieving musician friends who described him as very kind and gifted. Someone who shared his talents with others, to receive in kind.

So what for an album is iii?, you may ask yourself by now. It's an alternative rock album filled to the brim with interesting melodies, little extra's on guitars and keyboards. Surprising sounds, massive drumming and bass playing. Over it all, Winter sings or screams, venting his anger and / or angst.  Don't run away immediately, as you will miss the tranquil interludes, the spoken word pieces and the softer rock songs that all together make up iii. This is not a 30 year after 'Nevermind' rehash of Nirvana's best album. Reuben Winter expressed his own take on alternative rock without having to look back on the grunge that once was. At the end of the album I'm sure you will be able to take the more metal tinged 'A Letter To Silent Heaven' without a problem, as it is another great song, with a little home made sounds and a contented sigh to end the album, just before the stop-recording button was pushed.

To go back to the opener 'Dopehead'. What I noticed of course was the giant opening, that great riff, the screaming. At that point the album could still go off in a horrible screamo or whatever extravaganza. It doesn't. A great guitar melody comes along, the pleasant singing voice of Reuben Winter follows. All this makes a nice song, without a doubt. It becomes special in the middle section when the force goes out and a saxophone solo comes in played by Jung-Yun J.Y. Lee. It turns the song and album upside down, before the great intro returns as an outro. By then iii had me alright. When the soft and slow opening of 'Maple' takes over, I'm reminded of the best ballad Smashing Pumpkins ever made with a better, much better, singer.

On the album the best of Britpop is integrated into the alternative rock as well. You can find a Supergrass melodic solo in a song like 'Stolen Valor', while being so much louder or wilder, what you prefer to call it. From there be surprised what else this song brings the listener. Milk shows a few sides to itself in just one song. As a whole, just let yourself be surprised by iii. You will not be let down for a second.

There's only one good side to this incredibly sad story announcing iii, that there are two albums to backtrack to. At best a small consolation for all the music we will never hear. Reuben Samuel Winter was tremendously talented. With iii he has left the world his legacy. It is an album that all fans of alternative rock with a little pop feel should take to their hearts and minds. Mid April 2021 I dare to state that I'm just about to post on one of the contenders of album of the year 2021 and who knows of the 20s.

Wout de Natris

You can listen to and order iii here:

https://flyingnun.bandcamp.com/album/iii

 

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Ten singles 2021/16

Having arrived in week 16 I have to admit that I have let a single jump the fence to the top of the line. When my biggest musical hero throughout the decades releases a surprise single I am not letting it lie on the shelf for a few weeks. So here comes Eazy Sleazy, Mick Jagger's new, grand rocker. Coming with the new Jagger solo song, you also find some country (rock), singer-songwriter, pop-rock and some alternative songs. Yes, by now you know, it is once again quite diverse. There's a link below should you want to follow it all.

Eazy Sleazy. Mick Jagger with Dave Grohl
Surprise, surprise. While the world is waiting for the new The Rolling Stones album, in vain, perhaps forever, Mick Jagger releases a solo single. Most likely because it is impossible to get the "old men" (I started to call them that in 1990. I'm much older than them then now) out of their homes. I finished watching the video, seeing the sly smile on Mick Jagger's face and spontaneously started clapping to my screen, while saying out loud "well done, Mick". Is that because Eazy Sleazy is a Jagger top 10 song. No, of course not, but certainly because it is dashing, it's vibrant, its rocking, it's convincing and so much alive. Part of the secret is Dave Grohl playing guitar, bass and drums behind Jagger. That said, the lyrics are a nice sign of the times, just like The Rolling Stones' 'Living In A Ghost Town' was last year. The way Jagger takes on QAnon in one of the verses is spot on. It all results into the best Jagger and Stones song since 1997, 'Saint Of Me', I mean. Eazy Sleazy will never become a hit but it should. This song rocks. It reminds me of 'Respectable' and many other songs on 'Some Girls' (1978). The Rolling Stones were washed up and hung out to dry by all the punks. The band did what it was good at, come up with a loud, rough, sleazy album. Where are those punks now? Where Mick Jagger is, is quite clear. This single is as punk as punk comes and kicking a lot of people who need a big kick in the somewheres with a very big Dr. Martens boot. Yeah!!!!!!

Trans-Lunar Injection. The Yummy Mouths

A second single of The Yummy Mouths on WoNoBlog. Following 'White Noise', Trans-Lunar Injection announces the band's debut EP 'Ugh', to be released soon. The new single is a nice alternative pop rock single with a few twists thrown in, totally changing the pace and mood for a while. A part of the song seems pretty straight forward, allowing the listener to settle in to the poppy atmosphere. Just listen to the way the intro, the fairly long intro, is played. I loved it immediately. The verse is barer but still pleasant leading up to a repeat of the intro, which turns out to be a work up to the short chorus. Next, as if the plug is pulled from the bath, the band drops away from the song, only leaving atmospherics and the bass. Emptiness, where did my warm water go? The band kicks in with double energy to work towards the end. Several ideas went into one song, showing the ambition of The Yummy Mouths. Nice song, again.

World Of Convenience. The Mistons

Alright, Ritalin ready, as this is an ADHD song if I've ever heard one. In second 1 The Mistons kick in the pedal to the metal and don't take it off before the song finishes at 2"38 minutes leaving me out of breath, totally exhausted. Of course World Of Convenience is a great modern rock and roll song with a breath of punk in there that simply does not relent for a second. The Mistons is working towards the release of its album called World Of Convenience. If the title track and single is anything to go on, it will be a devastating affair of balled energy enough to blast a medium sized planet to smithereens. The duo from Portland, Oregon on its first single wanted to make an impression and did. World Of Convenience is a rocker like they used to make and now they do once again.

Antihero. Jaguar Jonze

Following her album 'Diamonds & Liquid Gold, reviewed on these pages only a year ago, Jaguar Jonze returns with a five song EP that is as intriguing as her debut album was. In many ways Ms. Jonze is as modern as a whole host of female singers in this century, with one major difference: I like her music, because it blends modern sounds and beats with some rock. The result is a song like the opening track 'Tessalations'. A rock guitar keeps invading the song with long notes, while the rhythm section provides the song with a very sound, tight and loud foundation. It is a mix that simply works for me. Moving into the EP 'Deadalive' and 'Murder' keep that same balance between  pop and rock. I really like the way 'Murder' keeps that pace going, without ever overdoing anything. The music does not need large tricks to keep the flow of Jaguar Jonze's singing going. It is a song that works all by itself. Melody, vocals, modern instrumentation and that rock vibe, it all gels effortlessly. The surf vibe of 'Curled In' tops it all of. This EP does not go wrong any more. Did I forget to say that Jaguar Jonze is a good singer? Oh, she is alright.

Duzend Keer. Tijs Vanneste feat. Kate Ryan

'Hier Is 't Goed' heet Tijs Vannestes LP. Net als The Yummy Mouths komt Vanneste uit de Belgische Kempen. De muziek kan niet anders zijn. Als hele LP was het een beetje teveel voor mij om te verwerken. Zoveel sferen, zoveel songs. Toch wil ik wel even een spotlight op Vanneste zetten. Luister naar de country song van het album Duzend Keer, samen met Kate Ryan. Het nummer is country, maar heeft ook een soort sfeer dat geen Amerikaan op de plaat kan krijgen en dat komt niet alleen door het Kempense dialect waarin wordt gezongen. Er ligt een deken over het geluid heen, wat de muziek iets smerigs geeft. Een dreiging die niet in traditionele C&W thuishoort. Vanneste maakt er iets van zichzelf van, niettegenstaande het mooie geluid van de lead gitaar. Hoe mooi traditioneel dat ook klinkt, het is hooguit een toefje slagroom. Dat alles daar gelaten, is Duzend Keer gewoon een verdomd aardig liedje.

All My Wounds. Pentral

Hard rock from Belem in Brazil. Pentral is a trio, releasing its second single, working toward the debut album 'What Lies Ahead Of Us'', scheduled for May. Fans of loud, melodic rock should perk up their ears, as this song brings together a few great elements of classic rock and metal. A Van Halen type solo is mixed with strong, tight metal playing, while the vocal melody is not afraid to contain a pop element that allows for singing along. All three members are such good players. The drums are so tight and wide in sound. A great bass sound supports both drums and guitars. The guitarist shows a multitude of techniques in just one song. If I could play this for 50% I would be quite content. Alas, this sort of rock is not for me as a guitarist. All My Wounds contains many things I like to hear in a good rock song.

Hey. Ben Reddell Band

Next up is some country again (and notice the difference with Tijs Vanneste). Hey is an extremely sympathetic song that mixes traditional country with a rocking element that makes it so much nicer for me. That starts with the dark twangy sound of the lead guitar, that picks all these darker notes and ends with a warm Hammond organ. Textually Ben Reddell, a Texan living in L.A., is not singing about every day's life for me. There's many a day that I do not have cocaine and a gun in the dashboard of my car while stopped by police. When was the last time I was stopped by police at all? That aside. Hey is a nice song that combines a dark and a light side with an upbeat sound and a melancholy mood. As such the single works truly well. Together with his band Ben Reddell has found his own niche in a well-trodden genre where a good song extra is always welcome. And I can relate to having an old car that always comes around.

Hurt A Fly. Squirrel Flower

I can't help feeling that I've only just gotten to know Squirrel Flower and already a new album is underway. Planet is scheduled for June. Hurt A Fly is the lead single, as they call it nowadays. If it's anything to go by, it's an alternative, darkish rocking album. Where 'I Was Born Swimming' contained quite some innocence, in Hurt A Fly all that is lost to a singer that has wisened up to the world. Together with producer Ali Chant, Ella O'Connor Williams recorded her new record, layer for layer and bringing in English musicians like drummer Matt Brown and guitarist Adrian Utley of Portishead fame. It results in a multilayered track called Hurt A Fly. The song is dark, because of the way the singing was recorded and the sound in general. The piano that keeps repeating that dark chord over and over is a part of the explanation where the sound is concerned. On 'I Was Born Swimming' Squirrel Flower only hinted at being able to create this kind of music. Now it's here, I can only say I like this direction, with of course no idea yet what Planet as a whole will bring me.

Gala At TheUniverse City. Possum

Possum, a Canadian band, is compared with everything and everybody ranging from Frank Zappa to Can. On the basis of just this song, I'm not familiar with any other, I can't help thinking of The Doors. The way Possum blends blues, rock and psychedelia in only a little more than two minutes is uncannily like The Doors were capable of doing. (Apart from the fact that in the final notes I have the impression the band is about to start a Jimi Hendrix Experience cover. Tell me which one you think it is.) Even the singing is dark, just like Jim Morrison often did. There's one difference though. Gala At The Universe City is not as good as a The Doors song was. How can it, as The Doors are like one of my absolute favourites for decades on end. In this single the wah-wah solo guitar works really well, as do the estranging elements through the short song. I like it alright.

Normal / One Man Guy. David Ramirez

At a time when it was the most normal thing in the world to do, I saw David Ramirez play in the Q-Bus in Leiden. Today I have no clue when seeing a show will become normal once again. I do know one thing, that the shows in the Q-Bus are over. If they return, they will be elsewhere but closer to the train station. An era of nearly two decades of shows there has ended.

David Ramirez recently released two songs as a single. The songs show me how little a singer sometimes needs to make a song work. I like One Man Guy the best. It is a song that is bare. At heart it is Ramirez' voice with a drum and a bass behind him. The rest is accents. His nice voice carries the whole song as if it's the most normal thing in the world. Just like live on his own with a guitar in the Q-Bus it is enough to keep me enraptured. And, yes, there's a nice piano and slide solo in the song as well. Normal is just as beautiful in its approach and, and this is very well meant, simplicity.

Wout de Natris

 

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

 

Fyra. Suffocate For Fuck Sake

Last week I was reviewing 'Kingdom Of Oblivion', Motorpsycho's new album. When I was finished writing I put on another album to test what I should still review for the upcoming week. While editing the Motorpsycho text, I sort of forgot I had put on a new album. In the background I heard Scandinavian mumbling and long drawn out instrumental music. Subconsciously I was still listening to Motorpsycho. Up to the moment the singer started to roar, I can't call it singing, sorry.

Something happened in my brain at that moment. The music was fantastic, I thought, while I was totally abhorred by the senseless screaming. Why does someone want to share his deepest feelings, as I suppose that when communicating like this must be, like this? They must be extremely deep, sad, horrid and heartfelt? And I can't relate to them this way in any way. That was my thought, instantly.

I can't help thinking the following. When I was a very young child and once or twice as an adolescent, I remember getting into a tantrum it was impossible to get out of. Crying so hard and long that suffocation was closer than relief. This is what I'm reminded of listening to the singing/screaming, a memory I can do without. There are far better ways to deal with deep frustration and anger.

Promo photo

This band is closing in on being two decades in music, so it's not youthful frustration I'm hearing on Fyra. A deep anger and despair certainly is vented, but effectively? It may have a function but as far as I'm concerned, it mostly just drives me away.

The music at times is fantastic. Layered, doomed, dark, spacey, impressive. Tuning in on the album, it caught me within seconds. While turning me off within seconds as well. All in all Fyra is an 80 minute plus long album, with spoken words, in Swedish, lifted from programmes or podcasts. The Swedish band simply amazes, but can I listen to it for long? Due to the singing that answer is no for now. I've amazed myself before but this screamo thing seems to be a terribly bit much.

Music is strange sometimes, just like life itself. In a way I'm so impressed by Fyra that I wanted to write about it anyway. But man, what a horrendous way of singing. My vocal chords are bleeding by proxy and so are my eardrums.

Wout de Natris

You can listen to and buy Fyra here:

https://suffocateforfucksake.bandcamp.com/album/fyra

or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g