Gunmoll live. Patronaat, Haarlem, Friday 10 April 2026

Photo: WdN-vdB

Gunmoll is on tour on the back of its really, really nice debut album. I was really looking forward to hearing the songs live. A few things really stood out. This band is able to rock. With a strong drummer and a bass player who really is taking care of the deep end, the foundation of Gunmoll is so strong. At times my throat vibrated with the sound of the bass. They can groove as well, making it very easy to move in a dance like way to the more up tempo songs. The band had enough fans in the room to get a party started.

Over that groove the rhythm guitar plays some great riffs or strictly rhythm that supports the voice and the lead lines played by the singer, often drenched in reverb like a true surf rocker. The more eastern European sounds came across as well, but less strong than on the album. Gunmoll live likes to rock foremost it seems.

Anyone who has listened to 'Kill Your Darlings' knows that singer Jolien Grünberg's voice is not your average rock singer's. Live, at least in the mix the Patronaat Café offered that does become a bit of an issue. As the band rocks with a deep sound, Grünberg sort of got lost in the mix and had to sing through the band instead of over it. This does take away some of the charm of her unique voice. Despite this fact, I never had the idea she had out-shout herself, so could comfortably sing her lyrics and melodies.

Fun fact, I ran into bass player Lana Kooper of Loupe (ex-Dakota) and she told me she was married to Jorien Grünberg. A pretty unique household, as I truly like both bands.

Photo: WdN-vdB

What also stood out, is that the three men accompanying the singer, remain very anonymous on stage. They remained mostly in the shadows with the spotlight on Grünberg the whole of the time. The backing vocals of guitarist Bram Bol were inaudible for me. Which is too bad, as this adds flavour to the songs.

Finally, Jolien Grünberg is getting into her stride as a front woman. Some of the poses she struck are alright for a bigger stage. Gunmoll deserves a bigger stage and far more people attending than were present in the Patronaat Café. The fact that the café wasn't even sold out, makes me wonder why. This band rocks, has several outstanding songs that any post-punk-pop loving listener should get his way into.

Gunmoll has to mind the mix in the venue, so that Jolien Grünberg's voice comes across in a better way. As soon as that happens, I see a better future for the band ahead.

Wout de Natris - van der Borght

 

You can listen to and order Gunmoll's music here:

https://gunmoll.bandcamp.com/music 

Kill Your Darlings. GUNMOLL

In April it is two years ago Amsterdam's GUNMOLL could be found on WoNoBlog for the first time. A year ago the EP 'Welcome To The GUNMOLL Family' was and here is the debut album. And what an album it is. GUNMOLL goes full out and does not fail to show to the world what it is good at, playing extremely exciting music, including music allowing for major party time.

GUNMOLL is Jolien Grünberg (voice, guitar) and Bram Bol (guitar, producer) with Koen van Bemmelen (bass) and Bas Janssen (drums). The former two started the band and found the latter to complete their energetic sound as they are an important part of the sound.

The album opens with a statement. 'Chasin'' has surfrock written all over it. Of course, this is far removed from what Dick Dale and such could create in the late 1950s. The reverb on the guitars and the rhythm jabs leave no doubt what the inspiration is. 'Pulp Fiction' could be the intermediate link of course. In the song the signature voice of Jolien Grünberg is another clear anchor. It is not your everyday voice, somewhat girlish with some helium assistance, just like the singer from the Danish band The Astroid Galaxy Tour, Mette Lindberg. The higher Grünberg sings, the more distinct her voice becomes.

Photo: Roan de Vries

It matches the firm background though. She surfs on the riffs of the guitars as if there is no danger underneath them at all. And there isn't for her, as the band carries her. Just listen to how "a dozen" Grünbergs sing out in the chorus of 'Wanna Be A Star' or in the über track 'Tata's Lie'. Rock meets surf in abundance here with Grünberg cresting the highest waves the band is able to create. As far as I'm concerned this is THE GUNMOLL track and the first single in 2024. This ought to be a huge hit, but unfortunately the song does have seven writers, six producers and three featurings. I hear a lot of international bands playing rock songs like 'Tata's Lie', there are not a lot matching this prowess and energy.

The second influence that shines through is an eastern element in the music. GUNMOLL shows it for the first time in the prosaic 'Fuck Everything Up'. While Jolien Grünberg runs amok with full anarchic intentions, the guitars fire off one eastern sounding riff after another to my ears. For certain from further east than her Romanian roots. It is just a starting point for what is to come.

No matter what sort of genre the band explores, you can hear a few different bands as influence as well, the rock element is always up front. The guitar(s) will play a loud riff or lead line, that always excites. They set off Jolien Grünberg as well. The two match their intentions no little on Kill Your Darlings. Slowly but surely it becomes clear that the album is one big party the band leads you to and through.

Recently, I read on the website Musicmeter the comment that Dutch bands seldom excited the writer. I answered that I tend to disagree. GUNMOLL delivered the latest point of proof. Kill Your Darlings is an extremely exciting record and GUNMOLL is ready for more. This ought to be a breakthrough album.

Wout de Natris - van der Borght

 

You can listen to and order Kill Your Darlings here:

https://gunmoll.bandcamp.com/album/kill-your-darlings 

Brian Wilson (1942 - 2025) RIP

On Wednesday Brain Wilson died. He was lauded almost beyond measurement and quite rightly so. He was the last of the three brothers Wilson in the band to die and with discarding the others, its principle songwriter. The three other principle members, cousin Mike Love, neighbourhood friend Al Jardine and, Brian Wilson replacement, Bruce Johnston are still with us.

Almost all attention went to two songs from Brian Wilson, 'Good Vibrations' (1967) and 'God Only Knows' (1966). Someone wrote "if you want to know what music in heaven sounds like, play 'God Only Knows'. The hit single has been mentioned as the best pop song ever written. I'm too young to remember them or for them to have made a true impression; at the time.

The sad news made me think of what the first The Beach Boys song is that I have a memory of it being in the charts. That question is easy to answer, that was 'Bluebirds Over The Mountain', but what the oldest song that I remember hearing on the radio, is harder to answer. It may be 'Sloop John B', also because it is an easy melody to remember as a small kid. The two principle songs mentioned in the previous paragraph, certainly are not easy to notice as a child. Although 'Good Vibrations' has a distinct sound of course.

It is a strange thing to think that most of the hits that I remember being new, 'I Can Hear Music', 'Breakaway', 'Cottonfields', all minor hits in 1969, are not exactly seen as the best The Beach Boys songs. They all came before that. Over the years I will have picked up the older hits one after the other, as they were always played on the radio. I remember singing along to 'Barbara Ann' as high as possible in the kitchen drying the dishes with my mother washing, somewhere in the later 1970s. I remember it vividly because I came so close in height, spontaneously, without ever having tried it before.

I simply love most of the old hits by the band. 'Surfin' USA', 'I Get Around', 'California Girls', etc., etc., there are so many of these great rock and roll-i kind of songs with the great singing by the band. Everybody is talking about 'Pet Sounds', the album seen as the seminal album of pop music. For me, I don't hear it. I'm not saying it's bad, the album was not made for my ears. Like a lot of mainly U.S. artist's music like James Taylor, Paul Simon, Christopher Cross, does not reach me for some reason.

When I play The Beach Boys it is a greatest hits compilation starting in 1962, while indulging most of what comes after 1967. Allowing for exception like 'Tears In The Morning' or the heavy rock and roll of 'Student Demonstration Time'.

At 82, Brian Wilson died at a normal age, especially for a rock and roll artist. He was one of the really great and that gives me pause to think there are some many to come in the next few years. My heroes of old are at best in their late seventies and a few well on in their 80s. It's going to be a sad lot of years ahead, but it is true what they say: We've still got the music. It will be there long after I'm gone as well.

Wout de Natris - van der Borght 

Cari Cari live with Komodo. Tolhuistuin Amsterdam, Wednesday 23 April 2025

Photo: Wout de Natris

Conquer by storm, that would be the right description of the Cari Cari show in Amsterdam's Tolhuistuin on 23 April. A show with a perfect build up. A great start, a little lull in the middle and a finish of the kind that is hard to forget. One that makes you go home with only Cari Cari songs in your head, while waking up them and going about your day with as well.

The Viennese duo of two world citizens, Stephanie Widmer and Alexander Köck, supported by a drummer, is touring behind its third album 'One More Trip Around The Sun'. The album was welcomed warmly on this blog, albeit with some slight hesitation, as the band moved away from its original source of music: surf rock in Tarantino movies for the 21st century. The new songs landed well, but the public's favourites obviously were the older songs. Something that happens to most bands of course.

In a very well filled, if not sold out venue, Cari Cari did not hold back for one second. It started with the psychedelia in its new album, but not before the famous opening of Richard Strauss' 'Also Sprach Zarathustra' introduced the band. The show was a sort of home match for an away crowd from the very first second. The band was very warmly welcomed, more than average was my impression. Around me I heard Flemish and a lot of English with Spanish accents. So a part was an away crowd for me as well, showing how international an audience Cari Cari draws.

Photo: Wout de Natris

A mouth harp opened the show, followed by the characteristic guitar sound of Alexander Köck. As if Dick Dale has reincarnated into a Viennese guitarist in the 21st century. One great riff after another was fired at the audience and because of a loping device the riff continued by itself, providing the option for Köck to play a second part. Of course, Stephanie Widmer's didgeridoo joined in several songs, giving Cari Cari it's other signature sound, the drone of the didgeridoo.

The other influence of the band is The White Stripes, as Widmer shows when she sits behind the drumkit for a few songs. Each one gets that particular drive Meg White gave to Jack. It gives immediate excitement and power.

Photo: Wout de Natris

Alexander Köck gave a passionate speech on what it means to be an independent artist and how trying a management didn't work for the band. In Dutch btw, showing how much he has improved speaking the language since my previous show. Cari Cari is now totally DIY, with help from family. It is no doubt hard work besides having to be creative and play, but when it works, see the crowd here and hopefully many festivals over the summer, it will be stimulating and satisfying.

As a final comment. Again, the light show was very well done. With a relatively small equipment a maximum effect was reached. It allowed the duo to play with the contrasts of light and shade, making the show visually a little mysterious at times. There even was some choreography in the show that also underscored the accents in the music perfectly. But above all it is the energy and enthusiasm that comes across most.

The combination makes Cari Cari is a must see band. And, 'Mapache' is certainly Tarantino movie worthy. Spread the word, send a link to the guy if you happen to know him.

Photo: Wout de Natris

The surprise of the evening was not Cari Cari, as the band fully delivered on expectation from the past shows (see Bitterzoet and Paradiso on this blog). The surprise was Komodo, a Dutch band. Also, a band that is not afraid of switching instruments, as a song calls for it or play heavily distorted guitar solos on a bouzouki or a somewhat similar instrument, a flute, melodica, it all came by.

Komodo, at least I think they are called that based on the number of times singer Tommy Ebben mentioned the name during the 30 minutes show, comes across as a band that is very self-assured and for all the right reasons. It has songs that swing and invite your body to start moving. To me the band was totally new. Name and music were all new to me. That changed within half an hour. This is a party band with songs you want to listen to as well. The drive and rhythm are there and a somewhat exotic element as well. And not just because of the "soul" clothes the band members were wearing, as it used to be called around 1975. 

Komodo fitted very well with what was coming next. Tolhuistuin was totally warmed up and the applause the band received after the final song and their best one, was well-deserved and well-meant. The band will have gone home with new fans of which three in the company of

Wout de Natris - van der Borght

2025, week 10. 10 singles

At a time the world receives one big surprise after another, nearly on a daily basis, except for golf days, and the post 1945 world order is torn apart, it is time for new music. There are an exceptional number of new names in the singles' section this week. It cannot be more than a diversion from world politics unfortunately. The day that a respected, rather conservative magazine like 'The Economist' compares a president of a friendly(?) nation to Don Corleone, something is really, disturbingly wrong. Let's focus on the songs anyway. Enjoy this new selection.

AAAAH! POM

Until today the title 'AAAAH' was taken. The fantastic debut single of The Hague band Taymir, long since gone, had the exclusive rights as far as I was concerned. Luckily this can remain the case, as POM has only named its EP AAAH! and not one of the songs. The songs are about wanting to shout AAAAH! So, I do not have to choose and can simply praise the songs on the EP. POM can be found on this blog for several years. First with its singles and then with that great fun album 'We Were Girls Together' and then some more singles. The trend you find there is that POM is a band with a sound that is fairly unique due to the voice of singer Liza van As. She blends something girlish with maturity. The band provides her with a modern, alternative rock sound, while the vocal and musical melody provides the songs with a pop feel that makes the music irresistible. Take 'A Craving'. The songs rocks, loud even, contains almost more energy than anyone can handle, but creates the urge that makes me want to sing along for the whole of the way. The song is one of POM's best and it already has a few of those for a young band. With 'We Were Girls Together', my #5 album of 2023, POM set a standard for itself. The only thing to complain about concerning AAAAH! is that it's not a full album but only a four song EP. 'Nough said.

Gratitude feat. Robin Lane. Adam Sherman

There are times that a song is just nice to listen to. Gratitude is one of them. Adam Sherman knows how to write a song somewhere between different genres, not unlike Tom Petty could and The Beatles set the standard for. Not to forget where it all came together in a brilliant mix: The Traveling Willburies! Gratitude has a nice rhythm and the electric guitars provide some nice licks, strokes and twangs at the right moment. Over the music Adam Sherman sings with a somewhat aged voice. The song is a 100% duet with Robin Lane, who we met on this blog exactly two years ago with her own album 'Dirt Road To Heaven'. Sometimes a song is just nice to listen to. Let me leave it at that.

Sweat. King Garcia

King Garcia is from the original Athens in Greece, a town that can look back on thousands of years of history and the place where a form of democracy started about 2500 years ago. The band consists of Alex Orfanos – Trumpet & Clarinet, Kamil Kamieniecki – Drums, Kornilios Kiriakidis – Bass and Kostas Konstantinidis – Guitar. Yes, you've read right, it starts with a trumpet and clarinet player. There's no singer and you may hear a more traditional Greek instrument along the way as well. King Garcia formed in 2019 with all members bringing in a lot of experience from their respective musical past. They play their own brand of progrock with several musical climaxes in one song. Sweat starts off with a dry drum sound, not unlike Therapy's in the 1990s after which a dark riff kicks in and the song develops from there into highs and lows, light and dark, but often with traditional Greek rebetico elements woven into the hardrock. Very much worthwhile the listen to Sweat is. I love how important the drums are in this song. And you can guess what the lead instrument is, right? Album 'Hamelin' is out on 18 April.

Left Of The Dealer. Ocean Alley

From the Northern Beaches of Sydney comes another new name to this blog, Ocean Alley. This six member surfer dudes band seems even more popular in New Zealand than in Australia, its home country. To me the band is totally new, despite it started in 2011 already and releasing records since 2013. Left Of The Dealer is a super relaxed song with a lot of Creedence Clearwater Revival influences seeping into the rhythm and rhythm guitar. In the singing a little psychedelia seeps in. On the one hand the song is upbeat but due to the singing of Baden Donegal the song has a downbeat element as well. But then listen to that ooh ooh in the chorus and the sun comes from behind the clouds immediately. Left Of The Dealer may not be the best song I've ever heard but it provides Ocean Alley with a great introduction to this listener for whatever comes next.

Bardo or Heaven? Will Stratton

Will Stratton released his album Points Of Origin two days ago on this day of posting. Bardo Or Heaven? is one of the singles coming from the album. The song is a sophisticated singer-songwriter song aimed at the more serious music lover. Where the song starts with a fairly straightforward arrangement, Stratton allows for more and more instruments to come in, until there is a near cacophony of woodwinds, and horns when the song, abruptly, ends. The start is drums, bass, guitar and a piano that is the most present instrument, there. It gives Stratton the option to sing with his soft voice over it all. Slowly but surely other instruments come in. At first, accompanying but in the end they kick Will Stratton out of the song. We don't need you any more, singer, they seem to say. Bardo Or heaven? is a listening experience in more than one sense.

Sanctuary.  Rebekka Karijord & Roomful of Teeth

How to describe Sanctuary? My musical ear and experience tell me new age. As the music is more a composition, a modern composition than a song, but at the same time the song has some resemblance to Enya's 'Orinico Flow'. Where that was a song with atmospherics, Sanctuary is atmospherics with the rudimental traces of a song hidden in it. Rebekka Karijord is a Norwegian composer, living in Stockholm, Sweden's capital. She has composed numerous filmscores and music for performances, but also solo records. Her upcoming record, 'The Bell Tower' (25 April), is a collaboration with the vocal group Roomful of Teeth. The singing takes place over swaths of electronic music and a crackling sound, in which the song disappears and comes back to. The melody is carried by the voices. This is straight 'Kairos' material. If I have to compare it to anyone else, Norwegian singer Susanna is the only one coming to mind, besides the already mentioned Enya. Intriguing is the right word to describe Sanctuary.

Anywhere The Wind. Supersister

A new song by Supersister? That ought to be a surprise but with its drummer living down my street, it's not. (My band Sweetwood even performed once with Léon Klaasse at our local street party.) So much for me thumping my chest. Supersister and I go back for over half a century, when I got a compilation album with Dutch artists containing 'She Was Naked', that outrageous single for more than the title only. By the time I had money to buy albums Supersister was long something of the past. For a few years the band is back on the road, with songwriter, singer and keyboardist Robert Jan Stips as the only original member, former Golden Earring bassist Rinus Gerritsen and Klaasse on drums. Anywhere The Wind is a dreamy song. Stips sounds as if he is still in the early 1970s where his singing is concerned. The most distinguishing instruments is the grand piano he plays, letting wide ranging notes escape from it. A dark synth takes care of the bottom line. What to expect from a band over fifty years down the line? Well, a song like Anywhere The Wind is the right answer.

Back To Your Heart. Robin Jackson

Another new name on the blog this week is Robin Jackson. The Portland, Oregon singer-songwriter had to make up with someone and came up with Back To Your Heart. It doesn't say whether he succeeded but a person could be quite pleasantly surprised when someone writes a song like Back To Your Heart. Jackson sings with a modest tone striking the right tone when asking for forgiveness. The song has two parts, the quiet first three quarters and the more upbeat final quarter where the beat comes in and lyrics are superfluous. "li-li-li" seems enough here, suggesting a happy ending? I guess so. This song is for fans of e.g. James Blunt's hit 'You're Beautiful'. Album 'Silver Lining' is out already.

Spades. Vundabar

And, yes, another new name on the blog. How is it possible to have so many on one day? Vundabar is a Boston band that has not reached me through one of the three record companies or pr agencies from that town/region. Even that is possible. Brandon Hagen (guitar, vocals), Drew McDonald (drums) and Zack Abramo (bass) form Vundabar, which is a take on the German word Wunderbar I suppose. (Remember that great Tenpole Tudor single from the early 80s?) Spades is an alternative rock song, with a little of the doom and gloom sound of the early 80s because of the way Brandon Hagen sings. The music is far more eclectic though, if dark. Where the early 80 postpunk bands were afraid of the bomb, Vundabar musical sets it off. There's postpunk galore here but with an energy and big sound bands then could not even dream of. Album 'Surgery And Pleasure' is out.

Dime. Serebii

How else can we end this week then with another new name. New Zealander Serebii (Callum Mower) presents a track that any lover of singer-songwriter music will recognise as Nick Drake influenced. The bio speaks of a jazzy track and that is the sort of arrangement Nick Drake's producer Joe Boyd laid underneath his voice and acoustic guitar. Serebii does not just copy. For that the sound of Dime is far too modern. The basis of the single is Mower and his (I presume) acoustic guitar. From there the story starts. His voice is treated, unlike the live version on You Tube which is more organic. All through the song other instruments join in, only to disappear again just as abruptly, while that guitar is plucked all throughout. Album 'Díme' is out on 28 March.

Wout de Natris - van der Borght