Maisieworld. The Monochrome Set

De Britse band The Monochrome Set werd in 1978 in Londen geformeerd. De band liet zich uiteraard inspireren door de eerste punkgolf van het jaar ervoor en maakte deel uit van de new wave en postpunk beweging die volgde.
 
De band uit Londen wist zich, mede door wat wisselvallige platen, uiteindelijk niet te scharen onder de allergrootste bands binnen de Britse punk en new wave, maar ik vond het persoonlijk altijd wel een bijzonder buitenbeentje, vooral omdat de band zich niet schaamde voor de grote voorbeelden van voor de punk en flink wat invloeden van Roxy Music, David Bowie, The Kinks en zeker ook The Doors liet doorklinken in haar muziek.
 
The Monochrome Set verkreeg misschien geen hele prominente plek in de geschiedschrijving rond de Britse punk en new wave, maar bleek, zeker achteraf bezien, een zeer invloedrijke band, die hoorbaar invloed heeft gehad op 80s smaakmakers als Lloyd Cole & The Commotions, The Smiths en Prefab Sprout en 90s bands als Pulp en Franz Ferdinand.
 
The Monochrome Set is sinds 1978 niet altijd even actief geweest, maar is wel altijd platen blijven maken, wat twee jaar geleden nog het verrassend sterke Cosmonaut opleverde. Die plaat wordt nu gevolgd door Maisieworld, dat wat mij betreft nog veel sterker is.
 
Eerder gaf ik al aan dat The Monochrome Set nooit vies was van invloeden van The Doors, maar zo duidelijk als op Maisieworld hoorde ik ze nog niet eerder. Een aantal tracks op de plaat sluit naadloos aan op het werk van de roemruchte band uit de late jaren 60 en vroege jaren 70, zeker wanneer wordt gekozen voor bijzondere ritmes, donkere vocalen en een onweerstaanbaar klinkend orgeltje.
 
In de net wat minder donker klinkende rocksongs zijn ook dit keer duidelijke invloeden van The Kinks hoorbaar, terwijl The Monochrome Set op Maisieworld wederom een brug slaat tussen rockmuziek uit de jaren 60 en 70 en de muziek van enkele legendarische 80s en 90s bands. Maisieworld klinkt hierdoor niet alleen als de plaat die The Doors nooit hebben gemaakt, maar ook als de plaat die The Smiths nooit hebben gemaakt.
 
Maisieworld ademt absoluut de sfeer van het verleden, maar maakt ook muziek die nog niet voorkomt in de geschiedenisboeken over de popmuziek. Cosmonaut omarmde ik twee jaar geleden als een plaat vol mooie herinneringen aan de popmuziek uit de jaren 80. Maisieworld gaat nog een stapje verder en bestrijkt een aantal decennia geweldige popmuziek.
 
Bij eerste beluistering was ik nog vooral aan het zoeken naar vergelijkingsmateriaal, maar de nieuwe plaat van The Monochrome Set werd al snel een eigenzinnige plaat die op bijzonder aangename wijze een greep doet uit een aantal decennia popmuziek.
 
De songs van de Britten steken nog altijd knap in elkaar, de zang overtuigt op een of andere manier makkelijk, de ritmesectie houdt de vaart er lekker in, terwijl het orgel en de gitaren (met hier en daar een vleugje Santana) veel fraaie duels uitvechten en goed zijn voor flink wat passages die je alleen maar wilt koesteren.
 
Wereldberoemd gaan ze er vast niet meer mee worden, maar waar The Monochrome Set in haar beginjaren nogal wisselvallig was, houdt de band nu makkelijk een flink hoog niveau vast. Wat een lekkere plaat.

Ewin Zijleman


Je kunt Maisieworld hier beluisteren en kopen:

https://themonochromesetuk.bandcamp.com/album/maisieworld



Here's the link to our Spotify Playlist to find out what we are writing about:

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

Untangled (An Introduction To). And Also The Trees

This album is lying on that stack with cds for quite some time. The music soft, intriguing, different, somehow lukewarm. Heat hidden by 10 kilometres of cold oceanwater. Something like that Untangled by And Also The Trees presents me with. Yes, there are emotions, but well hidden under a suave sound of men who have seen it all and lived to tell.

And Also The Trees is a completely new name to me. To my surprise the band started its career as support act for The Cure just a few years after the breakthrough of that band. The first album is from 1984, the latest from 2016. Nowhere on the website of And Also The Trees there's any mention of an album called Untangled. So what am I listening to?

Somewhere I recall a subtitle 'An Introduction To' and that proved correct. Gentlemen Recordings from Rotterdam releases a compilation of the best songs by And Also The Trees from the past 30 something years. From a band of youngsters from the post-punk, doom and gloom 80s to the 50 somethings in the mid 10s. That is a whole trip. I know, I lived to tell.

Is it possible to present a coherent album as an introduction when spanning so many years? Somehow the answer is yes. This band has a very consistent sound. A song like 'The Street Organ' could have been made in the mid 80s at a time when no one seemed to know joy, in music that is. I remember loads of fun in those years, just not a lot of it in then current music. The song is from 2009. Caught in time this band seems to be.

Promo photo

The album is never as impressive as in the opening and title song. And Also The Trees manages to conjure up a superior atmosphere that sort of stuns. The mood of Untangled is sort of set in stone. Despite the years that have come and gone in between. And Also The Trees stands for seriousness. Life is something to take on seriously. Even when a holiday to Spain leads to a different approach to a song, 'Your Guess', the mood remains dark and moody.

The laden atmosphere of Untangled makes 17 songs a long sit in one go. The alternate sound of the guitars in a song like 'Your Guess' come as a pleasant change. What I did, is to start the album half way with 'Paradiso'. This led to a few nice surprises along the way for sure. As a whole the atmosphere of the record remains too laden for me. The whole seems to brace itself for impending doom. A lot of that comes from the way Simon Huw Jones sings. He has that dark way of singing that was very popular in the U.K. around 1980 and still sings that way nearly 40 years later. The music underscores his timbre. There's simply no escape allowed. A fleeting glimpse of something more optimistic that passes by in the sound of a guitar is the best one can hope for on Untangled.

And Also The Trees managed to keep itself successfully off my radar for decades. Through a tiny label based in Rotterdam that changed and I'm glad it did, despite the fact that this is not easy music to digest. Some songs are certainly impressive, in fact, very good.

When I look at the re-released albums I recently discovered by TV Personalities, Bark Psychosis (there are some similarities to be found here) and The Jazz Butcher, there undoubtedly is so much more out there by bands releasing records for years, and more, without ever really getting noticed. Perseverance pays off in the end.

Wo.


Here's the link to our Spotify Playlist to find out what we are writing about:

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

REM. Van Subcultuur Naar Internationaal Podium. Dave Bowler & Bryan Dray

So here's a short review of a book I bought in 1996 and never got around reading. It dutifully followed me around from address to address, never to be taken from the shelf I put it on, except to be packed once again. Until the early summer of 2018. There were two reasons for doing that: 1) In my review of the Roger Waters show I referenced R.E.M. and 2) for some reason, I can't recall, I wanted to find out how 'Radio Free Europe' sounds like, as I always hear about the that song and have never, consciously at least, heard it. And then I remembered I had this book and tried to find it.

R.E.M. has never been my favourite band. In the 80s I heard about this band that was supposed to be the new The Byrds or the new Tom Petty. Both not the kind of endorsement that invited me to listen to its music. I had a tape with a live show from somewhere in the 80s that did not convince me. Two cassette tapes from around 1990 with copies of albums, I think 'Document' and Green', that I never found a reason for playing really. My musical taste was in limbo in the late 80s. Stuck between what had been and what I did not like in the 80s.

And then came 'Losing My Religion' and from there onwards I tried to get into R.E.M. and was sorry to hear of Buck-Mills-Stype putting the band to pasture as I liked the band better per album ever since. Its 80s output still went by the song. I never truly found a reason to reach back right up to this day. That may change now I've listened to 'Murmur' with my 2018 ears. When the band quit, several years back, it did so with an album I can't even recall the title of, but that showed a band in great shape and form, that could have grown old gracefully, but decided not to. Independent thinkers as they were (probably are) as I found out by reading this biography, they chose to call it quits while they were still artistically winning.

This book, originally titled, 'REM-documental', follows the band from its first steps in the alternative 1980 scene of Athens right up the release of 'Monster' in 1994. Dutifully the authors follow the band forward in time per album. There's no true depth, hardly any explaining, just the words of the various band members and people around the band culled from interviews in English language music magazines, mostly from the U.K. as well. An aptly chosen title it seems, 'Documental'.

A few things truly stand out. The choices the band made career-wise, were not the easiest to make. R.E.M. became bigger by the album, allowing the band to mature fairly naturally, through the hardships and the slow growth towards bigger and lusher pastures. Control is an important word in the career of the band. True control and no compromises are impossible for every person in life, but this band tried hard to have it over its own career. It came a long way, I learned.

Yes, there's a lot mystique involved around the lyrics and the consciously subdued vocals of Michael Stype adding to the mystery of what he truly is singing. As anyone can see, the titles to songs are often sort of incomprehensible. 'Swan Swan H'? You tell me and that's just one example.

R.E.M. has a clear vision of its music and where it wants to go with that music. Political messages are all over the place and that somehow stuck with me, the none fan, as I think it's time for R.E.M. to step back on stages and telling the world what's happening right here and now.

Finally, what surprised me is that the band more or less gave up on Europe while under contract to IRS, Miles Copeland's label. R.E.M. was a huge underground name over here in the 80s. They never could have become that if the records did not reach the right people. So what's the true story Mrs. Bowler and Dray? This part truly surprised me, as finding a distribution channel isn't an impossibility, even for an U.S. based independent label in the 80s.

As most biographies, R.E.M.'s reads like a page turner. Am I truly learning something? Of course a few things, about the start of the band, producers they worked with and why, but in the end not really enough. For that this book is too light weight. There's not much in there had I been a fan and following the band from an early stage. So for now certainly enough and like I wrote: this is a good read. Perhaps this combination comes with the publisher?

In Dutch the book in 2018 is only available in second hand stores. The publisher, the Free Record Shop, is out of existence for years also. One the many chain stores that went under with the advent of the Internet and illegal downloading in particular. Also a far to shallow record store. I hardly ever went there to buy anything really as it hardly had records I was looking for. Discount DVDs, yes. And somehow this book it seems.

Wo.


Here's the link to our Spotify Playlist to find out what we are writing about:

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

FELIZ EP. FELIZ

Joes Brands, a name that pops up more and more on this blog. The LVE's drummer is also a producer and the artists he works with are able to find their way to this blog.

So here is FELIZ, a band from Flanders, singing in Dutch. FELIZ is also a story about a band wanting to release its songs. Songs it believes in and has the drive to make sure we can all hear the songs. What a lot of people tend to forget or simply do not realise is how costly making music is. Not just the investments in instruments (let alone the time invested, but that starts as a hobby), but the recording process, the pressing of records, the distribution, etc., etc. Dozens of people make money before the artist, who created the music from nothing, sees a first cent. If ever these days of The Pirate Bay and Spotify.

FELIZ worked hard towards this release. Through a crowdfunding project it starting playing living room shows until it had the € 10.000,= together it needed to step into Brands' studio and record the songs. 100 Shows FELIZ played in order to invest. Of course that comes with benefits. Songs crystallise itself by playing them more, new ideas will have presented themselves on route to the end goal. None the less, respect is due to the band and the love of its music.

So, let us focus on the music. FELIZ on its first EP presents the world with a relaxed sort of music that combines a pop feel with a dreamy atmosphere. In front is singer and guitarist Lise Reyners. Her voice is slightly breathy and thin, while touching on a deeper feeling and depth in the right places. Her voice matches the music around and behind her perfectly.

That music is absolutely clear, almost transparent. Mixed in a way allowing me to look straight through it somehow. The drums are positioned in such a way that the different elements are mixed separately, creating a broader sound behind the band. Something easily to spot in 'Alles Anders' as the sound is so transparent and clear. Pieter Van Hecken doesn't play more than strictly necessary, no drumming pyrotechnics here.

Around the drums several layers of music are built. There are synths involved and a piano. If there is a lead instrument in FELIZ, it is the piano. Slow notes are sprinkled over the song, adding to the dreamy atmosphere that is the foundation of FELIZ' music. The guitar is a rhythm instruments, at most playing arpeggios. (Yes, there are a few solo notes in 'Mijn Huis'.) The synth lays the embedding of most songs. Long drawn chords filling up some space in the mix.)

The lyrics are a mix of fond memories and feelings of doubt, hurt or wonderment over things that have left and gone away. "I never said it was over". "I am feeling far too much". "We cannot wake in the shit we've created". Just some (translated) examples of lyrics sung by Lise Reyners, someone who believes in the healing qualities of sleep. Something more people should be able to allow to happen to them.

Producer Joes Brands has provided FELIZ with a clear sound that brings out the strengths of the six songs on the EP. Songs that are a joy to listen to, songs that have that mood, the FELIZ mood. Fans of Hanne, Mevrouw Tamara, The LVE and Elenne May should certainly listen to FELIZ EP'. The same goes for all others who like soft pop and melancholy songs with a beautiful clear sound.

Wo.

Here's the link to our Spotify Playlist to find out what we are writing about:

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

Soft Sounds From Another Planet. Japanese Breakfast

Japanese Breakfast is het alter ego van de uit Philadelphia, Pennsylvania, opererende Michelle Zauner.
 
Deze Michelle Zauner, die Zuid Koreaanse roots heeft, komt niet helemaal uit de lucht vallen. Ze timmerde in kleine kring aan de weg met haar band Little Big League en bracht als Japanese Breakfast al een aantal cassettes (!) uit, voor ze in 2016 debuteerde met Psychopomp, waarop Michelle Zauner de dood van haar moeder probeerde te verwerken.
 
Het vorig  jaar verschenen Soft Sounds From Another Planet had ik al wel eens beluisterd, maar bij vluchtige beluistering maakte het album op mij zeker geen onuitwisbare indruk. Omdat ik de plaat zag opduiken in enkele aansprekende jaarlijstjes, heb ik de plaat echter een nieuwe kans gegeven en wat eerder niet gebeurde, gebeurt nu wel. Ik ben onder de indruk van de muziek van de Amerikaanse muzikante.

Japanese Breakfast maakt op Soft Sounds From Another Planet muziek die zich heeft laten inspireren door het universum, wat dromerige en ruimtelijke klanken oplevert. Het zijn klanken die prachtig passen bij het warme en verleidelijke stemgeluid van Michelle Zauner, dat de muziek op Soft Sounds From Another Planet nog net wat lomer en dromeriger maakt.

Toch is de muziek van Japanese Breakfast niet altijd muziek om bij weg te dromen. De plaat citeert hier en daar uit de archieven van de dreampop en is ook zeker niet vies van psychedelica, maar de songs van Michelle Zauner hebben zo nu en dan ook een gruizige of tegendraadse kant. Deze komt naar voren in voorzichtig opgebouwde gitaarmuren of in tegen de stroom in draaiende gitaarlijnen, die de muziek van Japanese Breakfast voorzien van net wat meer avontuur dan de gemiddelde indie-pop plaat.
 
Qua invloeden blijft het zeker niet bij dreampop, psychedelica en wat shoegaze, want Michelle Zauner gaat op Soft Sounds From Another Planet ook aan de haal met indie-rock, synthpop, 80s pop en pure pop van dit moment, waardoor haar muziek uiteindelijk lastig in een hokje is te duwen en zich ook niet makkelijk laat vergelijken met die van anderen. Wanneer ik dat probeer liggen namen als Jay Som, Soccer Mommy en Frankie Cosmos het meest voor de hand.
 
De muziek van Japanese Breakfast ging bij mij een aantal maanden geleden makkelijk het ene oor in en het andere oor weer uit en dat verbaast me eerlijk gezegd niet. Japanese Breakfast maakt op Soft Sounds From Another Planet popliedjes die makkelijk vervliegen en die bovendien niet altijd direct hun schoonheid prijs geven. Wanneer ik de plaat op de achtergrond laat voortkabbelen blijft er nog steeds maar weinig hangen, maar wanneer ik de muziek van Michelle Zauner met flink volume of met de koptelefoon beluister dringen de songs op Soft Sounds From Another Planet zich stuk voor stuk genadeloos op.
 
Japanese Breakfast gaat op eigenzinnige wijze aan de haal met uiteenlopende invloeden en springt hierbij van de hak op de tak. Het ene moment zit je midden in de dreampop, het volgende moment opeens in de beste jaren van Roxy Music, om de organische klanken vervolgens weer direct te verruilen voor kille elektronica of juist voor nog meer warmte. Van zoveel variatie moet je houden, maar als je er van houdt is de muziek van Michelle Zauner muziek vol mooie verrassingen. Soft Sounds From Another Planet springt even kris kras door het verleden, waarbij ook nog een vleugje Phil Spector opduikt, maar schiet vervolgens op intrigerende wijze en vol vertrouwen de toekomst in.
 
Hoe vaker je de popliedjes van Japanese Breakfast hoort hoe zoeter en onweerstaanbaarder ze worden. Waar de groei van Soft Sounds From Another Planet durf ik momenteel nog niet te voorspellen, maar dat de plaat ver gaat reiken is wat mij betreft zeker.

Erwin Zijleman

Je kunt Soft Sounds From Another Planet hier beluisteren en kopen:

https://michellezauner.bandcamp.com/album/soft-sounds-from-another-planet


Here's the link to our Spotify Playlist to find out what we are writing about:

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