Saturday, January 25, 2025

Gipsy Kings - Sessions at West 54th 1997


The Gipsy Kings are largely responsible for bringing the joyful sounds of progressive pop-oriented flamenco to the world. The band started out in Arles, a village in southern France, during the '70s when brothers Nicolas and Andre Reyes, the sons of renowned flamenco artist Jose Reyes, teamed up with their cousins Jacques, Maurice, and Tonino Baliardo, whose father is Manitas de Plata. They originally called themselves Los Reyes and started out as a Gypsy band traveling about playing weddings, festivals, and in the streets. Because they lived so much like Gypsies, the band adopted the name the Gipsy Kings. Later, they were hired to add color to posh parties in St. Tropez. Popularity did not come to Los Reyes right away, and their first two albums attracted little notice. At this point the Gipsies played traditional -- albeit passionate -- flamenco music punctuated by Tonino's precise guitar playing and Nicolas' exceptional voice. Though they had devoted fans, they still had yet to gain wider recognition until 1986 when they hooked up with visionary producer Claude Martinez, who could see that the Kings had the makings of a world-class band.
Thanks to Martinez, the Kings began to relax a bit and take on a more contemporary edge, combining their traditional songs with sounds from the Middle East, Latin America, North Africa, a hint of rock, and their inimitable joy. It was, in a music industry filled with flamenco purists who resisted any kind of change, a very daring move, and many felt the Gipsy Kings would fall flat and disappear. But the naysayers were wrong. In 1987 they released "Djobi Djoba" and "Bamboleo" on an independent label and scored two smash hits in France. Their success led them to sign with Sony Music and release their eponymous debut album later that year. Again, they had tremendous sales in France, and then found their album was appearing on the Top Ten album charts in 12 European countries, including England, which is traditionally unreceptive to international music.
In the late '80s, the Gipsy Kings debuted in the U.S. at the New York New Music Seminar. This led them to sign to Sony in America. In 1989, they were invited to perform at the inaugural ball for George Bush, but they chose to return home to rest and be with their families. Later that year, they held an SRO concert at the Royal Albert Hall, where the Gipsy Kings hobnobbed with some of the world's biggest pop stars, including Elton John and Eric Clapton. To top off their great year, the Kings' debut album spent 40 weeks on the U.S. charts and went gold, becoming one of the few Spanish albums to do so. The Kings have had an active release schedule ever since, including the albums Mosaique (1989), Live! (1992), Love & Liberte (1994), Tierra Gitana (1996), Cantos de Amor (1998), Somos Gitanos (2001), and Roots (2004). After extended touring, a new studio album Pasajero appeared in 2007, followed later that year by Live in Los Angeles. The Gipsy Kings continued touring the globe almost incessantly before taking an extended break during which several greatest-hits and best-of compilations appeared. In September of 2013, the band celebrated its 25th anniversary with the release of Savor Flamenco.  From: https://www.allmusic.com/artist/gipsy-kings-mn0000555695#biography  


The Asteroids Galaxy Tour - The Golden Age


In an age where conformation culture is threatening individuality in the music industry, The Asteroids Galaxy Tour are a unique feat – a group who haves repeatedly rebelled against the norm. Since the band’s inception, not only have they released three studio albums but their songs have been featured in iPod and Heineken commercials, and hit USA TV shows including Gossip Girl, CSI Miami and Suits. Their current album, Bring us Together, was released to critical acclaim in September 2014. The band’s lead singer Mette Lindberg formed the band with fellow Danish musician Lars Iverson in 2007. They met through mutual friends, who introduced Mette to Lars, the latter of whom was looking for a singer for his band. “We kind of looked at each other and said OK – let’s try to give it all we got.” Similar to her stage persona, Lindberg is ebullient and effervescent and possesses the ability to be refreshingly candid. During her conversation with Schön! she discusses all things Asteroids Galaxy Tour, from the beginnings of the band, to their evolution and their future plans.
They have had a meteoric rise – space pun intentional – and went from recording at Iverson’s home studio, to partying on a private yacht with Katy Perry and Rihanna. So does it feel like fame happened overnight? Mette Lindberg disagrees. “It takes a lot of time and a lot of hard work to make things happen. And sometimes when you create a song you have to remember that it might be a long time before you hear it on the radio. Of course we got some attention from the beginning, as in within the first year, but it took two years before our first album was released, so to us it feels like a long time coming.” Their first big break came when they were contacted by the management team of Amy Winehouse to open for her whilst on tour in Copenhagen. It was their first stadium show and Lindberg remembers her moment on stage as “super fast and super slow at the same time”. Recommended to Katy Perry by a friend, the band also got to support the California girl on tour in Europe.
Lindberg still finds it strange when her music is played on TV and radio. “It’s a bit funny, you know”, she says of her listening to her music on CSI Miami or when she first saw the iPod Touch commercial in a pub in London. Her first thought was “What the hell - they are playing my music”, followed by bewilderment. Working in tandem as a duo certainly means she and Lars have gone beyond the stage of being merely colleagues. She clarifies, though, that like all friendships it has its ups and downs. “We toured a lot for the second album and at one point Lars and I got a bit annoyed at each other. We travelled so much together, we were always together and it felt like we did everything together…we lost that friendship and I think most bands can relate to that. It’s the big issue that splits up bands. We took a break after that, we wanted to think about whether we want to make more music together.” Time off and a DMCs meant they decided not only to renew their friendship but to start work on their third album.
Listening to Bring us Together, it is obvious that it has a very different sound and feel to Fruit and Out of Frequency. For this album Lindberg and Iverson “wanted to write about their longings and the lust for everything - their search for euphoria” combined with a “moment that will never end”. It is a much more personal record about “that everlasting emotion of love that will not diminish” and the need “to stay in that moment forever, to feel the loneliness and longing” which eventually ends in jubilation. Lindberg further explains that with their second album they “tried to create a retro ‘60s or ‘70s vibe, whereas Bring it Together focuses on getting a more present and more futuristic tone”. They have foregone the use of drums in this album entirely and instead the beats resemble more of an electro and club sound. The change in direction is in keeping with the bands ethos in that they “don’t want to be the kind of band that can be defined into an exact genre”.
Having just finished touring to promote their new album, Lindberg explains “there are too many highlights”, but if she had to pick she would say it was the pleasure of playing the album to a live audience. The ability of music to affect people in a sub dimensional level and to have that connection with the audience is “invaluable and priceless”. Her one take home piece of advice for up-and-coming musicians would be to “learn to say no [if offered something they don’t believe in] as it’s much easier to say yes”. Now that touring is over, will they be taking a break before recording again? “Well actually I’m on my way to the studio to meet Lars now - we are going to collaborate on a song but I’m afraid I can’t tell you what it is, though it’s going to be big and exciting I think.” Wait and watch this space, then. In the meantime, The Asteroids are well and truly on their way to conquering the universe.  From: https://schonmagazine.com/AsteroidsGalaxy/


UK - Caesars Palace Blues - Old Grey Whistle Test 1979


Having impressed the remaining prog audience and the most open-minded musical press of the late 70s, UK’s combined forces of symph prog and jazz rock stopped being allies and became mutually incompatible while the band was touring. It was clear then that the most unsatisfied parties - jazz purveyors Holdsworth and Bruford - had to leave, and so they did. That left Jobson and Wetton in charge of determining UK's direction, and that trend was focused on an ELP-ish bombastic symph prog with an incorporated powerful melodic aspect - ELP-ish albeit neither cloning nor ripping off. The trio was completed with the entry of drummer Terry Bozzio, who unfortunately couldn't afford to let his particular magic develop within the band's artistic confines, which had already been determined by Jobson and Wetton as more restrained, in order to wash off any remains of the jazzy grandeur that the estranged alumni had provided for the band's debut album. On the other hand, "Danger Money" turns out to be a more cohesive album indeed, and anyway, Bozzio can still manage to dispose of some room to display his own percussive skills now and then, appropriately bringing his peculiar sense of energy to the band's overall sound. IMHO, 'Caesar's Palace Blues' and 'Carrying No Cross' stand out as the album's most accomplished gems. The former is a hard rocking tour-de-force, featuring Jobson's most explosive electric violin performance ever: the powerful rhythm anchor provided by Wetton and Bozzio proves crucial in order to sustain an appropriate articulation for the incendiary, electrifying fire that keeps itself constantly burning at white-hot level. The latter is an amazing old-fashioned prog suite that dates back from the days of the "UK" album touring. Performed now by the power trio formation, it successfully conveys a solid variation of motifs and moods with robust fluidity. Both gems are showcases for the trio's ability to interplay masterfully. I find tracks 1-3 less impressive in comparison, but still they are great tracks. 'The Only Thing She Needs' is an up tempo piece that comprises some of the best drumming provided by Bozzio: the way he uses his kit as a vehicle for dialogue with Jobson's keyboard harmonies is awesome, and so are the successive violin and organ solos performed by the latter. Meanwhile, Wetton plays his bass lines as a bridge between his two partners. 'Rendezvous 6.02' is a melancholy ballad that conjures images of a lonely pub before the first light of dawn - the romantic atmosphere is delivered with absolute elegance and the complex rhythm patterns are structured with a deceitful air of simplicity. Actually, there's a bossa-nova vibe in it that makes it subtly complex in many passages. Oh, and those eerie synth adornments and ambiences during the interlude are simply delicious. The post-apocalytptic lyrics, which set a portrait of solitude among ghosts, adds to the music's ethereal sadness. The namesake opener is the least impressive to me - it certainly is powerful and catchy - that's undisputed - which makes it an effective opener, but in terms of compositional creativity it turns up to be less satisfactory than the other two aforementioned numbers. Now, let's talk about 'Nothing to Lose'. What can I say? It's a favourite prog guilty pleasure of mine. This prog-pop showcase contains a beautiful violin solo and a clever alternation of 3/4 and 4/4, which makes it quite dynamic; it also comprises an inventive series of keyboard orchestrations that makes the song rise above the 'intended single' status. But those silly lyrics and those corny backing harmonies. my God, how they ruin what could have been just a nice prog tune, taking it dangerously closer to ABBA-meets-Wings territory, instead. What was supposed to be a celebration of self-determination ends up a trivial sing-along about whatever. All in all, my specific objections regarding this particular song (which, as I stated before, I happen to enjoy) won't stop me from labeling "Danger Money" as an excellent album, a very valuable successor of the amazing debut.  From: https://www.progarchives.com/album.asp?id=1361  


Sneaker Pimps - 6 Underground


Most commonly associated with trip-hop, Sneaker Pimps might have had their path to the mainstream eased by the likes of Massive Attack, Tricky, and Portishead, but they have set themselves apart from those fellow British acts with a unique mix of pop, glam, and dark post-punk flowing through their sound. Together with first vocalist Kelli Ali, producers Liam Howe and Chris Corner -- the core of Sneaker Pimps -- achieved repeat U.K. Top 40 success highlighted by the number nine hit "6 Underground," the biggest hit off their gold-certified debut album, Becoming X (1996). Following a pair of Corner-fronted Sneaker Pimps LPs, Splinter (1999) and Bloodsport (2002), Howe and Corner moved on to a vast assortment of other studio work over the next two decades, but they resumed the group with the addition of Simonne Jones and have recorded the fourth Sneaker Pimps album, Squaring the Circle (2021). Howe and Corner began working as a production team under the names Line of Flight and F.R.I.S.K. In 1994, they formed Sneaker Pimps, named after Beastie Boys' term for a person drafted to obtain premium footwear. Based out of Hartlepool, Howe and Corner were joined by vocalist/songwriter Kelli Ali (known then as Kelli Dayton) with assistance from fellow writer Ian Pickering, drummer David Westlake, and bassist Joe Wilson. In early 1996, Sneaker Pimps debuted with "Tesko Suicide," followed months later by "Roll On." That August, they issued Becoming X, a full-length highlighted by its next two singles. "6 Underground," a deceptively mellow song incorporating a John Barry sample and boosted by a subsequent Nellee Hooper remix, peaked (after a second release) at number nine on the U.K. chart. "Spin Spin Sugar" crept and sneered its way to number 22. Becoming X, supported by major-label Virgin, reached number 27 on the U.K. album chart and was eventually certified gold. In the U.S., the LP landed just outside the upper half of the Billboard 200 and topped the Heatseekers chart for developing artists. Becoming Remixed, a limited-edition compilation with contributions from the likes of Paul Oakenfold, Armand Van Helden, and Roni Size, followed in 1998. Despite all the commercial success and the acceptance of top-tier club producers, Howe and Corner opted to go in another direction with their proper follow-up. Once they determined that new material they were writing with Pickering was best suited for Corner's voice, they dismissed Kelli Ali. As a consequence, second album Splinter, released independently in October 1999, featured a darker emotional edge that placed the group closer to the likes of Garbage, Placebo, and Death in Vegas. Lead single "Low Five" climbed to number 39 in the U.K. and carried the album to number 80. In January 2002, Howe and Corner returned with Bloodsport, a dramatic set with Bill Withers, Iggy Pop, Ultravox!, and Visage among the sampled artists. The LP, released on Tommy Boy, peaked Stateside at number 16 on Billboard's Top Electronic Albums chart. Ali, who had been featured on songs by Marc Almond and Satoshi Tomiie, among others, also released her first solo album in 2002. After a series of scrapped projects, Howe and Corner left Sneaker Pimps behind but kept busy as writers, producers, and all-around studio collaborators. The two were heard either separately or together on recordings by the Zip and Ultrafox (both of which also involved Joe Wilson), and Corner's solo endeavor IAMX. Howe was particularly active, aiding writing and/or recording sessions for artists such as Sophie Ellis-Bextor, Adele, Ellie Goulding, Marina and the Diamonds, and Foxes. Corner was also a regular IAMX contributor. Howe and Corner revived Sneaker Pimps in the mid-2010s. Vocalist, writer, and producer Simonne Jones joined them, and the trio put together Squaring the Circle, prepared for release in 2021.  From: https://www.iheart.com/artist/sneaker-pimps-117225/


Sam & Dave - Hold On I'm Comin'


“Hold On, I’m Comin’” was a bit of soulful reassurance from R&B vocal legends Sam & Dave. Off the debut LP from Sam Moore and Dave Prater, released in 1966 and also called Hold On, I’m Comin’, this song rose to #21. “Hold On” was released on the Memphis-based Stax label. Stax’s Al Bell told WGBH about what inspired Isaac Hayes and David Porter to write it: Porter “was going someplace one day with Isaac Hayes and as you came out of Studio A, going out the front of the theater to the right, there was a bathroom. Isaac had come out and was in the bathroom there, taking care of some private matters, and David was in a hurry to get out of the building. He kept hollering to Isaac, ‘Come on, come on, let’s go man, let’s go, let’s go, let’s go,’ and Isaac said, ‘Hold on, I’m coming.’”
While campaigning for the presidency in 2008, Barack Obama would play this song. Moore wrote him a letter, putting a stop to it: “I have not agreed to endorse you for the highest office in our land. I reserve my right to determine who I will support when and if I choose to do so. My vote is a very private matter between myself and the ballot box. My endorsement and support of a candidate, because I do carry some celebrity, makes it quite a different matter.” Moore told ClassicBands.com about where Sam & Dave were at when this song dropped. Geographically, that is: “By the time ‘Hold On, I’m Comin’’ came out, we were traveling all over the place. I had gotten this big band. Oh, my God, we stayed out on the road. I stayed so long I should be like Dr. Dre now. I should be a billionaire. We traveled a whole lot, man.”  From: https://genius.com/Sam-and-dave-hold-on-im-comin-lyrics




Eve's Plum - Jesus Loves You (Not As Much As I Do)


Eve's Plum were one of the many bands that came out in the '90's during the major-label alternative rock feeding frenzy but there was something more that separated them from the pack. They ended up getting lumped in with bands like Belly, K's Choice, L7, Veruca Salt, Letters to Cleo and others because they had a female singer. Colleen Fitzpatrick was best known to some as Amber Von Tussle from the original Hairspray. After that, she relocated to New York, met up with guitarist Michael Kotch, his drummer brother Benjamin and bassist Chris Giammalvo and together they formed Eve's Plum, a sly nod to Brady Bunch actress Eve Plumb. Colleen was a dynamic singer, one of the most interesting voices in that era of alt rock - very underrated indeed. After getting signed, the band released their first record, 1993's Envy which launched the hit single and the band's calling card "I Want It All." Michael Kotch also showed off his skills on the second single "Blue" which has one of the best riffs of the whole alt rock era.
While "I Want It All" was a hit, the album as a whole wasn't and sales were slow. The band parted with Giammalvo, off to join wanna-be's Madder Rose, and they replaced him with Theo Mack. They also contributed a song to the soundtrack of the film Higher Learning. After supplying a cover of the disco classic "If I Can't Have You" to a Rock for Choice benefit album, they began recording their second record with producer Fred Maher, who'd worked with everybody possible. The band underwent a bit of an evolution on this disc. When Cherry Alive was released in 1995, the music was heavier, the guitars a bit grungier and the band had a stylized look where they never had before. The first (and only) single, "Jesus Loves You (Not as Much as I Do)" is one of my favorites but the record landed with a thud and the band began seeing the writing on the wall. While touring for the record, the band began crumbling. Benjamin left and they carried on for a while with a replacement. During this time, they began recording songs for a potential third album, including a dynamic version of Duran Duran's "Save A Prayer," which became their last known released recording, appearing on an otherwise awful Duran tribute record in 1997.
After the band broke up, Michael Kotch hooked up with alt-rockers Ruth Ruth and played with them until they split in the early 2000's. Colleen, on the other hand, underwent a transformation and became a pop diva under the name Vitamin C. Releasing two records for Elektra in quick succession, she ended up having two more hits, "Smile" and "Graduation (Friends Forever)," which for anyone in my age range was a guaranteed tear jerker at graduation ceremonies. After Vitamin C ended, she worked behind the scenes, eventually landing a prestigious gig at Nickelodeon. While Eve's Plum have been gone for nearly twenty years, the music still lives in those who always enjoyed it and those who are just discovering it for the first time. In June 2016, I had the pleasure of interviewing Michael Kotch and I took the time to ask him some questions about the band.

PSF: When did you become interested in music?

Michael Kotch: As a kid always loved music, my parent had an old reel to reel that I would try to make work. I took piano lessons as a kid and then moved to the guitar. But I really didn't get totally into it until I was about 12 or 13, then I couldn't put the guitar down.

PSF: How did you meet Colleen and what led to the formation of Eve's Plum?

Kotch: I met Colleen at NYU, she was in my Shakespeare Survey II class. Then later, completely coincidentally, she answered an ad we put out in the Village Voice looking for a singer. That's the way we had to do things pre-internet, use newspapers.

PSF: How did you get signed to Epic and what was that like?

Kotch: We were playing out and writing and we recorded a few demos. A friend of Colleen's, Richard Reines who later started Drive-Thru Records shot a video for "I Want It All" and it got sent around and the next thing we knew labels were calling us. It was pretty incredible at the time for us, but looking back it's much more obvious that that was just a first step towards success.

PSF: Did you guys enjoy your success or was it more than you anticipated?

Kotch: Well that's interesting, from my point of view, we didn't quite hit that mark of "success." Yes we put out records, yes we toured, but we never quite broke through in the way we would have liked, for a variety of reasons.

PSF: What happened with the first bass player?

Kotch: We just had a mutual parting of ways after the first record, nothing major.

PSF: Was the cover of "Save A Prayer" one of the last things the band recorded?

Kotch: Hmm. It may have been, I'm not sure quite honestly! We recorded a bunch of songs in that session and then I remember we did some live recordings after that too.

PSF: What caused the breakup of the band?

Kotch: The second record didn't do as well as we'd hoped, and we received not-so-subtle hints from our label that they weren't going to support us with it shortly after it was released. So there was a morale issue for sure. Then my brother Ben the drummer decided he didn't want to stay with it and that pretty much killed the whole thing, though we did play a number of shows without him.

PSF: How did you come to join Ruth Ruth?

Kotch: I had become friendly with those guys while we were touring and Chris Kennedy called me up because he wanted to add a second guitar for touring, and then they just couldn't get rid of me! For a few years anyway.

PSF: How long have you and Colleen been together and what are you guys up to?

Kotch: Well, we met in the early '90's so more than 20 years!! We've been married for 11 years now. I compose music for TV commercials and Colleen is currently VP Music for Nickelodeon.

PSF: What is everyone else up to?

Kotch: Theo works at DTS the audio codec company and Ben is an Internet/Mobile Development Director

PSF: Any chance for a reunion in the future?

Kotch: Well we are all in the LA area, so if it's going to happen, now's the time!

PSF: What do you hope the band's legacy will be?

Kotch: I don't know, it was a particular time and place and when I listen now it brings me back to that time and those places. There were a lot of great bands and places to play, I hope people who hear the music can be transported and inspired, and maybe some kid out there can chop up one of the tracks and turn it into something incredible and new.

From: https://www.furious.com/perfect/evesplum.html

Instant Flight - Vanishing


The Summer of Love is only minutes ago, the Beatles are releasing another psychedelic album and Pink Floyd are jamming with Jefferson Airplane in Swinging London. A hint of grass and incense is wafting through the air, the sky is pink, the meadow is a delicate lilac and long-haired people in raffia robes are smiling as they walk towards the pale blue horizon. Oh, how pretty, these soft-focus memories of the time when everything was just love, peace, joy and pancakes. Instant Flight are the musical rebirth of all these things and feelings. On "Endless Journey" there are Beatles-esque harmonies, dreamy psychedelic sounds, beat-soaked rock'n'roll and also a bit of rhythmically complicated proto-prog. Very pretty and everything sounds like a lost album from the late 60s, well, maybe a bit too perfect in terms of sound, more garage sound would have been better so as not to spoil the authenticity. But what the heck, Instant Flight from London take the listener on a trip into the past and float on cloud nine. They are so lively, light-hearted and melodic that anyone who is somewhat receptive to it will probably enjoy following them, even if some of the melodies seem quite familiar or everything is a bit sweet. Nevertheless, there is still some good rock'n'roll and "Celebrate" and "Universe in a Verse" have that irresistible Beatles sound, including Sgt. Peppers trumpets, sweet! So you can certainly enjoy listening to Instant Flight, indulge a bit in hippie-like thoughts (which is good in these sober times).  Translated from: https://www.babyblaue-seiten.de/index.php?content=review&left=genre&albumId=9648&genre=28


Alunah - Strange Machine


Today on Sludgelord I am interviewing Soph Day from brilliant UK Doom/Psych/Stoner Metallers – Alunah – who have got quite the reputation for their intense blend of Doom/Stoner Metal Music mixed with Psych and Occult Rock through out their music. Alunah have just released their superb new album White Hoarhound which is receiving praise all over the place. This is a must have album which I reviewed very recently. Soph (Lead Vocalist and Guitarist) kindly agreed to talk to me.

Q1 – Hi Soph. Firstly, thanks for doing this and taking the time to talk to us at Sludgelord. We really appreciate it.

No worries! Thanks for the support – anyone who knows me will tell you I love to talk.

Q2 – For People not in the know – Can you tell them how the band came about, When you formed etc...

We started in 2006 by accident really. Dave (who's also my husband) used to play in a band called Sonic Lord and we always used to see this couple at their shows. During one of my drunken episodes I started chatting to them and kind of signed Dave up to have a jam with the guy who is now our drummer Jake. I went along with him, tried some vocals out and the band was born. Gaz replaced our previous bass player in 2009, and we met him from playing gigs with his other band General.

Q3 – How would yourselves describe your sound.

We used to call ourselves "psych, blues, doom" but you tend to get pigeon holed then and people turn up expecting a psychedelic band or a blues band. We have doom, blues, stoner, rock 'n' roll and psychedelic elements to our sound but when it comes down to it, we're just a straight up heavy rock band.

Q4 – Which bands influence you on your music.

We each have many different influences, and we don't always agree with each other's view of what makes a great band haha. Between us we're influenced by a broad spectrum of music including Alice in Chains, Acid King, Soundgarden, Goatsnake, 13th Floor Elevators, Sabbath, Zeppelin, Iron Maiden, Pink Floyd, Bottom, Cream, Sleep... I could go on forever. For me personally, vocalists that inspire me include Janis Joplin, Lori S, Grace Slick, Tairrie B and Joni Mitchell.

Q5 – Is the band a full time project or do you have full time jobs to contend with.

Unfortunately we have full time jobs as well; without them we couldn't do the band but they also get in the way of doing the band - it's a vicious circle. Between us we work in marketing, electronics, design and printing, so some great skills for being in a band haha. I'm chuffed that Orange Goblin have recently announced that after 17 years they are finally giving their jobs up to go full time with the band, that's the dream right there!

Q6 – What is the song-writing process like in the band. Is it a whole band collective or individuals that write the music.

Generally the whole band write the songs. We each have our own sections but it usually starts with the riff which Dave usually comes up with - then we build the song around that. Melody and lyrics come last, and that's my job. Having Gaz (who is primarily a guitarist), in the band really helps as he's an awesome song writer and comes up with great riff and song ideas. For example, White Hoarhound was Gaz's riff and you can really tell the difference from Dave's more doomier and more bluesy riffs. It's cool to have that variety.

Q7 – You have received a whole load of great praise for your first two albums that most of  which took you by surprise. Are you happy with the response you have gotten so far.

So happy - like you say we did well from reviews for Call of Avernus, and have done so far for White Hoarhound. The second album is so important, especially when your debut was so well received, and I hope that people can see how Alunah have grown and even more importantly, like the album. To be honest, even if it was poorly received, we made it for ourselves and we're happy with it, anyone else enjoying it is a bonus. The most nervous we've been was when Mark at PsycheDOOMelic Records listened for the first time, he's the one investing in it and he loved it... phew!

Q8 – Can you tell us a bit more about White Hoarhound. What it's about as it's got a lot of creepy vibes going on.

I think there's a lot of melancholy on this album, probably a lot of it subconscious. This is the first time I've explained the idea behind the name and title track, the name was originally conceived in Llandudno in North Wales. Dave (our lead guitarist and my husband) and I were there on holiday and my Dad had recently been diagnosed with lung cancer.
We went up the Great Orme which is a huge, beautiful headland which I've been going to since I was in the womb! We were reading some info about the plants which were natural to the area. White Hoarhound (normally spelt White Horehound) was one of them and was used by the monks to treat coughs and general lung conditions. In my head there and then I wrote the song.
It seemed so apt to my current situation fueled by my interest in mother nature, and was just a great name. After chatting to the guys we decided that was the name of the album. That's the only personal song on the album, and perhaps the most emotional. The rest of the songs are about moments in English pagan history and just generally about witchcraft, sacrifice, myth and magic. I love reading about those subjects, I can escape into a different world and it helps explain things to me - I suppose, in a way, what other religions do to other people.

Q9 – Now your partner Dave is in the band. Is that a hard dynamic to contend with having your partner being in the same band as yourself. Does it cause any extra stress at times.

No its totally cool, no stress or dramas at all. Dave's my husband of almost a year and we've been together for 14 years. I love being in a band with him, when we're doing band stuff we're just band mates. He's my rock and best mate, he was the one to encourage me in the first place to have the confidence to be in a band. He gives me guidance on the best equipment to buy as he's a complete music geek, and indulges my interest in paganism and the occult (and pretends to look interested when I explain my lyrics).
As I said earlier, my Dad has been very poorly recently, and we've gone through a very tough time of late. I couldn't have got through it without Dave - as well as Jake and Gaz. Dave went through the same with his Dad when we recorded our Fall to Earth EP, and we were all there for each other then. Jake was our best man, his girlfriend Liv was one of my bridesmaids, Gaz and his girlfriend Michelle (and the lady who recently tattooed some Alunah artwork onto me) were also at the wedding. This is going to sound cheesy, but we're all extended family - we know when to be there for each other, and when to back off.

Q10 – What has been the reception like to your live gigs. Has it all been good responses. Any major live highlights so far.

We have a great response from most of our live shows, of course any band will tell you that there are amazing gigs and shit gigs, but generally we have a great time. Our early shows were a bit hit and miss but we were all trying to find our feet and a lot of people in the 'scene' didn't get what we were about. Our 3rd gig was supporting doom legends Trouble, and we were quite frankly shit! That didn't do much to raise our profile amongst fans, but the venue asked us back to support Paradise Lost so not too bad overall!
My personal highlights have been supporting Acid King and Fu Manchu as well as our numerous tours including my favourite with Italy's Doomraiser. That tour should have been Solace headlining but because of Visa issues they couldn't make it and Doomraiser stepped up from main support - such an awesome band! We've also played with Witchcraft, Karma 2 Burn, Graveyard, Nebula, Firebird, Orange Goblin... amongst many other awesome heavyweights! We've worked very hard and have had some amazing opportunities.

Q11 – Do you get many gigs in your home town, or do you have to travel around a lot.

Not so much our home town as between us we live in Solihull, Coventry and Brownhills, so the closest place to all of us is Birmingham. Bearing that in mind, we do play Birmingham a lot - especially our home away from home, Scruffy Murphys. We do also travel around a lot, but so far only in England. In 2013 we have plans to get out of England, and are currently planning for a couple of tours.

Q12 – When you started the band what were your original hopes and dreams for the band. And have they been met yet.

When we started we just wanted to make great music that we enjoyed, then as you develop you have fresh hopes and dreams such as playing with certain bands, getting a record deal, having an album in the shops etc. We've achieved the majority of what we originally set out to do, and have met so many amazing people along the way whilst doing it. The next step is to give up our day jobs and go on tour with Black Sabbath!

Q13 – Now I know Gaz is involved with the brilliant Sludge/Stoner Rock Band General. Are any other members involved with any other projects of any kind we should know about.

Yeah, General are awesome and that's how we met Gaz initially. Jake and I aren't involved with any other musical projects. Dave used to play guitar in Sonic Lord and bass in Godsize. Unfortunately, both bands have now split up but when Alunah started he was busy with all 3 bands.

Q14 – What are your favourite bands around at the moment. Do you listen to modern day rock/metal or do you just listen to the classic era of Stoner Rock/Hard Rock

I tend to mainly listen to classic bands and artists such as The Doors, Big Brother and the Holding Company, Joni Mitchell, Jeff Buckley and Led Zeppelin. I also love more modern bands such as Red Fang, Jucifer, The Black Keys, Blood Ceremony, Big Elf and Ghost. We're lucky to be part of a great scene in England which is busily bubbling away under the surface, getting ready to blow up and hopefully make a massive mark. We're lucky to have friends in awesome bands such as Gringo, General, Dead Existence, Trippy Wicked, Gurt, Grifter, Desert Storm, Burden of the Noose, Bastard of the Skies, Selfless, Berserkewitz, Sally and Undersmile! That's a very small list amongst some top bands, we're very lucky to play amongst these guys.

Q15 – What are the most and least rewarding aspects of participating with the band.

For me the most rewarding aspect is seeing people bang their heads at our live shows, and see them get into the music. It's also really lovely to meet new people all the time, especially those who we finally meet after chatting on the net. I'd say the least rewarding is that shitty moment at 4am when you've played a long sweaty gig, driven back for hours and unloaded the equipment, only to have 2 hours sleep before getting up for work. You've got to love being in a band to constantly put up with that.

Q16 – What is your view of bands and blogs giving away music for free. Lot of bands and people have different perspectives.

If the person who has paid for the recording and pressing, whether it be the band or the label, has agreed to the giveaway then why not. If it helps to get a band’s music out to a wider audience then fair play. However, when I don't always agree with free music is when someone else decides to leak the music. We had that with White Hoarhound when a press contact leaked the album to torrent sites, a month before the release date. Saying that however, it did actually help us out in the end, our website visits went through the roof and we had tons of pre-orders. The opposite could have happened though - we actually benefited from it. I have no issue with a band making the decision to give their own music away for free, it's another form of promotion and in this day and age it needs to be considered as part of the wider picture.

Q17 – I think it's great that female vocalists like yourself, Mlny (Royal Thunder), Hel and Taz (Undersmile), Stevie from Dark Castle and Sara from Bezoar are making a name for yourselves and bringing a fresh perspective to a male orientated genre. You must be proud of doing something different and unique.

Yeah I suppose so haha, I don't like to concentrate on the female vocal thing too much. We used to sell ourselves using the "female fronted doom" angle, but really there shouldn't be a separation of genders, we're just all making heavy music. I'd rather us be known for doing something different regarding how we put melodies and songs together, rather than the fact that I'm a woman. It is nice for people to recognise us for doing something different, but I'd rather it be down to all of our efforts rather than just my gender.

Q18 – What advice or words of wisdom would you give to upcoming bands and musicians who are about to start a Sludge/Doom/Stoner Rock Band.

Write music for yourself and don't listen to, or follow trends. If we listened to what people said about us in the early days, we wouldn't be here now. It's very satisfying to read comments or reviews from people now, who I know for a fact detested us 2 years ago. That's why I'm in love with Jucifer - you can't pigeonhole those guys, every song you listen to is different. They're doing what they want to do without giving a shit what's fashionable. Very few music fans like bands who try to do new things - it challenges them and if they don't instantly understand it they presume they hate it. If what you're doing is of a decent quality, these people will eventually get on board (not always, but sometimes), but until then, don't let their shitty comments ruin what is a truly awesome experience. You'll meet plenty of amazing people who are moved by the music you write.

Q19 – What are your views of blogs such as the Sludgelord reviewing your records, as opposed to mainstream music magazines? Has your music reached the mainstream mags, at home or around the world?

Awesome! I don't care which publication writes about Alunah - big or small, or even what they say, I'm just happy anyone takes the time and effort to write about us. I've told this story so many times but it's how I see things. The artist Salvador Dali never read his press, instead he weighed it regularly and if it got heavier, he knew more publications were writing about him - job done, happy Salvador! I now have the same outlook, I do read all of our press but I don't beat myself up anymore if it's shit.
We have had the likes of Terrorizer, Kerrang, Zero Tolerance, Rock Sound and Metal Hammer take notice which is cool. In fact, we were recently MSN Entertainments album of the week, and featured in Terrorizer's Doom issue where we were amongst Undersmile and Trippy Wicked as the "Future of Doom" which was very flattering. We're equally as happy with the more underground publications such as Sludgelord, Doomantia, Soggy Bog, The Obelisk, Metal Kaoz, Planet Mosh, Soda Shop, Ninehertz and Fast 'n' Bulbous write about us. Support is support and were very blessed to have recently received a lot of it.

From: http://thesludgelord.blogspot.com/2012/09/interview-with-soph-from-alunah.html


 

---__--___ - Night of Fire


The Heart Pumps Kool-Aid, a new album by Seth Graham (co-founder of the experimentally minded Ohio label Orange Milk) and More Eaze (a.k.a. Mari Maurice, the Austin-based artist who’s recently collaborated with claire rousay and Dntel) working together as ---__--___, plays with a similar reframing. The music’s frequent rests and lacunae lend its jazz-tinged electroacoustic mesh a stony, severe quality. What’s not there holds impossible weight. This music is not so much about emptiness as it is about the point at which emptiness becomes substance—where, in an inverted transubstantiation, blood thins out into chemically dyed sugar water.
Voices like the ones that streak Kool-Aid tend to appear more often among busier sound environments. The hard, crystallizing Auto-Tune, the pitch-shifting, the distortion—these mutations usually spew from a pressure cooker of sensory overload made from hyper-compressed guitars, sawtooth synthesizers, breakbeats, and other chaos. It’s rarer for them to hover over environments as unpopulated as the ones dreamed here, to unfurl unhurriedly into expansive, drained space.
Severing these voices from their usual anxious churn exposes their fragility. The processing effects used here render the voice brittle and oblique; lyrics break off into largely unintelligible shards that only cohere at key moments. On “Sadness, infinite America ... shit,” More Eaze’s garbled syllables dance against bleats of saxophone and slashes of cello, instruments whose warm acoustic resonance amplifies the lostness of an Auto-Tuned voice set adrift. The arrangement also reveals the beauty in treating voices this way, how an artificial crack in a voice can trigger the same sympathetic response as a voice that cracks purely in the throat. The ear believes the feeling behind the quaver in each gesture; it might even believe the digitized break more.
At the album’s emotional crux, “In Memory of Simon Kingston,” an elegy for the 21-year-old musician who died in New York last November, three different voices glance off of each other. The track features the Ohio-based artist Recovery Girl as a guest vocalist, but it’s not always clear which voice belongs to which name, a confusion that deepens the album’s melancholic bewilderment. There is a high, concatenating chirp that flickers electric over the song’s largely acoustic base of piano, celesta, and violin; there are occasional bursts of enraged growls that sound like they’ve been shaved off a metal song and abandoned here; and there is More Eaze’s wistful, languid voice, the one that winds through much of the album as a whole. At a few points in the song, the voices converge as if holding each other in the emptiness, the friction between them softening. “I just wanted to be close to you,” More Eaze sings, her voice fracturing in its machinery but holding together just enough to preserve the language it carries.
A spoken-word sequence from the Ohio artist proxy.exe grounds the album in narrative near its midway point. With direct, unprocessed vocals set against washes of organ, “rock bottom ohio” offers a meditation on failure and resurgence, on splintering apart and then finding a way to love yourself enough to haul the fragments you can salvage into the days ahead. Even if those days are shrouded in absence so thick it suffocates, even if grief splits them open like a chasm, you pull the loose threads of mercy you can find from them. You gather yourself and go on.  From: https://pitchfork.com/reviews/albums/more-eaze-seth-graham-the-heart-pumps-kool-aid/


Carole King - BBC Live 1971


Carole King's album "In Concert (Live At The BBC, 1971)" is a delightful snapshot of a pivotal moment in music history, capturing the essence of a live performance by one of the most influential singer-songwriters of the 20th century. Released in 2023, this album offers a rare glimpse into a live performance that took place during the height of King's career, shortly after the release of her groundbreaking album "Tapestry." The concert was recorded at the BBC studios in 1971, a year that marked a significant turning point for Carole King. "Tapestry," released earlier that year, had catapulted her to international fame, earning her four Grammy Awards, including Album of the Year. The live performance at the BBC captures King in her element, performing with a raw and intimate energy that showcases her incredible talent as both a performer and a songwriter.
Listening to "In Concert (Live At The BBC, 1971)," one can feel the warmth and sincerity that Carole King brings to her music. The album features live renditions of some of her most beloved songs, including "It's Too Late," "So Far Away," and "You've Got a Friend." These tracks, already classics in their studio versions, take on a new life in the live setting, with King's emotive piano playing and soulful vocals resonating with the audience. One of the standout aspects of this live album is the way it captures the interaction between King and her audience. Her rapport with the crowd is palpable, and you can hear the genuine appreciation and enthusiasm from the listeners. This connection is a testament to King's ability to transcend the stage and create a shared experience through her music.
The production quality of the album is impressive, considering the era in which it was recorded. The sound engineers at the BBC did a remarkable job of capturing the nuances of King's performance, ensuring that the clarity and warmth of her voice and piano are preserved. This attention to detail allows listeners to feel as though they are right there in the audience, experiencing the magic of the concert firsthand.
Critically, "In Concert (Live At The BBC, 1971)" has been well-received, with many reviewers praising the album for its historical significance and the quality of the performance. It serves as a time capsule, transporting listeners back to a moment when Carole King was redefining the landscape of popular music. Publications like Rolling Stone and Pitchfork have highlighted the album's ability to capture the essence of King's artistry and the timeless nature of her songs. In addition to the music itself, the album offers a fascinating glimpse into the cultural context of the early 1970s. This was a time when singer-songwriters were gaining prominence, and Carole King was at the forefront of this movement. Her ability to convey deep emotion and personal storytelling through her music resonated with audiences around the world, and this live performance is a testament to her enduring legacy.
Overall, "In Concert (Live At The BBC, 1971)" is a must-listen for fans of Carole King and anyone interested in the history of popular music. It captures a moment of pure musical brilliance and offers a window into the soul of an artist who has touched the hearts of millions. Whether you're a longtime fan or new to her music, this album is sure to leave a lasting impression.  From: https://funkyduckvinyl.com/new-vinyl/blues-country-folk/carole-king-in-concert-live-at-the-bbc-1971-lp-limited-edition-vinyl/?srsltid=AfmBOopad9kpybiOq_uYWN98Rlq_JxbkRYALnn4Ud90x9fF40tl1Mwlt


Villagers of Ioannina City - Age of Aquarius


Villagers of Ioannina City (VIC) was formed in 2007 by a group of friends who grew up in the city of Ioannina on the western shore of Lake Pamvotis in the mountains of Epirus, Greece, and had been playing music together since they were very young. The band claim to gather their strengths from Greek nature and cosmic spirits, and play a unique brand of heavy post, stoner and psychedelic rock which utilises various folk instruments such as bagpipe, clarinet and kaval (a type of flute), their music being liberally infused with the style of Greek folk music typical of the Epirus region of the country. The music from that area of Greece is characterized by polyphony and specific rhythms, and this brand of traditional folk music is combined with modern psychedelic styles to create a sound where the clarinet is often one of the most dominant instruments. Villagers of Ioannina City have played at several major rock festivals and European cities (including Berlin, Amsterdam, Barcelona & London) and performed sold-out shows at some of the biggest live venues in Greece. In the early days the band consisted of Akis Zois on bass, Konstantis Pistiolis on clarinet, kaval & backing vocals, Aris Giannopoulos on drums, Alex Karametis on guitar & vocals and Achilleas Radis on keyboards - with Giannis Haldoupis contributing additional clarinet and backing vocals on selected songs. Later releases did not feature Giannis Haldoupis on clarinet, but added Konstantinos Lazos on bagpipes and wind instruments and Kostas Zois on additional guitar.
When the band was first formed they were essentially a heavy rock band utilising the standard guitar bass and drums instrumentation. They subsequently began experimenting with rhythms and melodies from Greek traditional music, and the music of the Epirus region in particular, and soon felt the need to diversify the instrumentation that they were using. Despite this, the band is always careful not to overfill their studio albums with lots of extra instruments to the extent that the music cannot be faithfully reproduced live, the intention being that the sound of a live show will always be very close to that which was originally recorded in the studio. Their influences are stated as King Buffalo, All Them Witches, Elephant Tree and King Gizzard & the Lizard Wizard. The band released their debut album, 'Riza' in 2014, and followed it up with 'Age of Aquarius' in 2019. Their first live album 'Through Space & Time', recorded at a concert they gave in Athens in 2020, was released digitally on May 21, 2021, and as a CD and Vinyl LP via Napalm Records on March 3, 2023. The performance was largely based around the band's most recent studio album, 'Age of Aquarius' (2019), the tracks from which the band plays in sequence, though some additional songs from their debut album are spliced in at various points during the concert.  From: https://www.progarchives.com/artist.asp?id=12860

Wernyhora - A Ya Sobi Na Horbochku


I discovered the Polish trio Wernyhora after their participation in the first Upbeat Talent Award, when I was hired to mentor some of the finalists. The Polish trio Wernyhora was assigned to me, and I must say that it was a fortunate occurrence. This allowed me to delve deeper into a part of 20th-century history that is not well-known, through the lens of the musical legacy of one of the threatened minorities in Europe. As they explain in their biography, Wernyhora was a legendary hurdy-gurdy player and Cossack bard who lived in the 18th century in the lands of the Polish–Lithuanian Commonwealth. It was said that he possessed the gift of predicting the future. In his prophecies, he foretold both the downfall and the eventual rebirth of Poland, emphasizing a future marked by brotherly cooperation with Ukraine. They chose the name ‘Wernyhora’ because they are inspired by the musical traditions of the Polish-Ukrainian borderland, which is where they reside in southeastern Poland. Additionally, the name ‘Wernyhora’ resonates with the unique background of the singer, Daria, who is a descendant of the Boykos. The band has released two albums: Bojkowski głos Bieszczadu (2021) and Toloka (2022). The members of Wernyhora are Daria Kosiek (singer), Anna Oklejewicz (vielle and viola da gamba), and Maciej Harna (hurdy-gurdy, arrangements).

Araceli Tzigane: I have some obsessions, one is the language and the culture of the minorities, so I will ask you some questions about this. In the work of Wernyhora, the cultural legacy of the Boykos is essential. They were forcibly expelled from the geographical region where you currently live. Which is their current situation? Is there any place where we can walk by the street and hear the language? If not, is there at least any moment of the year in which there is any celebration, festivity or ritual still remaining from their culture?

Wernyhora: These questions cannot be answered in a single sentence, yet I will endeavour to describe the situation of the Boykos as succinctly as possible. In my view, it’s essential to start with the fact that, around the latter half of the 19th century, when research by various folklorists and ethnographers gained popularity in Central and Eastern Europe, the Boykos began to be identified as highlanders residing in a section of the Eastern Carpathians – roughly from the Solinka River to the Limnyzja River. This area was then part of the Kingdom of Galicia and Lodomeria, itself a part of the Austro-Hungarian Empire.  Over time, some ethnographers also started referring to the people living on the southern slopes of the Eastern Carpathians within the then Kingdom of Hungary as the Boykos. This was logical, as the main Carpathian ridge was merely an administrative boundary within the Austro-Hungarian state, allowing highlanders on both sides of the Carpathians to maintain contact, form families, and visit each other.  After World War I, the northern part of the area defined by ethnographers as Boykivshchyna became part of the Second Polish Republic. Following World War II, the area was divided by a new border between Poland and the Soviet Union. Most of the region inhabited by the Boykos fell within the borders of the Soviet state.  A few dozen villages inhabited by the Boykos became part of Poland. Before the war ended, the communist governments of post-war Poland and Moscow agreed on a mutual population transfer. This transfer, which took place between 1945 and 1946, included the Polish population within the post-war borders of the USSR and the Ukrainian population, including the Boykos, within the borders of post-war Poland.
Approximately 600,000 individuals were displaced from Poland alone in these forced deportations. During this period, many people fled from the forces organizing the deportations, seeking refuge in forests, among other places. Unfortunately, those who managed to avoid exile to the USSR were subjected to another round of deportations in 1947. This time, the communists were more thorough and almost the entire population, about 140,000 people, were displaced, but in this instance, the Ukrainian population, including the Boykos, were relocated to the north and west of Poland. Today, those who identify as and are referred to as the Boykos live in Ukraine, in the Eastern Carpathians in the Lviv, Ivano-Frankivsk, and Zakarpattia oblasts, although a portion of them, those displaced after World War II, also reside in areas now occupied by Russia. The Boykos are considered a regional cultural group (referred to as an ethnographic group in Poland and Ukraine) with distinctive characteristics of material and social culture, and they use the Boyko ethnolect, which most linguists consider a dialect of the Ukrainian language. In the villages they inhabit, their language can still be heard.  In places like Turka and Sambir, towns in the Lviv oblast, you can visit museums showcasing Boyko culture. It’s fair to say that Boyko culture still thrives in Ukraine, with many traditional rituals still observed in the villages, including family-related rituals. Moreover, the culture is experiencing a revival; recently, it has even become fashionable.  Traditional Boyko ornaments are being revived and incorporated into contemporary design. Restaurants featuring Boyko-inspired cuisine are emerging. Numerous cultural, documentary, and festival activities are also taking place.  The Boykos are becoming more prominent. In contemporary Poland, however, the Boykos, as a group, virtually no longer exist. Some, like myself, descendants of those displaced in 1947, retain memories of our Boyko heritage, but it is now virtually impossible to hear Boyko spoken or see Boyko customs practiced here in Poland.

Araceli Tzigane: Apart from Wernyhora, are there more music groups making music of the Rusyn peoples?

Wernyhora: On the Polish folk scene, numerous bands draw inspiration from and incorporate Ukrainian traditional music. This trend has been prevalent for several years. Recently, there’s been a surge in polyphonic singing that mirrors the vocal traditions of northern and central Ukraine.  A couple of decades ago, the music of the Ukrainian (Ruthenian) Carpathian highlanders –namely the Lemkos, Boykos, and Hutsuls –gained popularity. It’s worth noting that some Lemkos do not consider themselves Ukrainian.  Songs from the Carpathian Mountains are frequently performed by the Orkiestra św. Mikołaja (Orchestra of St. Nicholas) (active since the 1990s), as well as by groups such as Tołhaje, Krajka, Drewutnia and Widymo. In Widymo, our vocalist has previously performed.  During the 1960s and 70s, there was a Boyko band called Susidojki in northern Poland, consisting of Boykos who had been relocated from the south of the country.

Araceli Tzigane: What is the knowledge of the Polish and Ukrainian people nowadays about the Rusyn peoples? Is there any interest from the institutions and/or the public in the culture of the minorities?

Wernyhora: Regarding the music of the Ruthenian-Ukrainian communities in the Carpathians, such as the Lemkos, Boykos, and Hutsuls, awareness of these groups is somewhat limited. In Ukraine, these communities are recognised for their cultural uniqueness, yet they are considered part of the Ukrainian nation. There is some awareness of their locations, their historical backgrounds, and their cultural characteristics. Naturally, this general knowledge does include some stereotypes, but there is still a reasonable level of understanding.  In Poland, however, the awareness of these groups is quite minimal. During the interwar period, Polish policy aimed to cultivate strong regional identities among the Lemkos, Boykos, and Hutsuls to ‘shield’ them from Ukrainian nationalist influences. However, the war, subsequent deportations, and assimilation efforts followed.  It seems that the average Pole has scant knowledge about these groups. They might have encountered some references, but their understanding largely relies on stereotypes rather than factual information. Conversely, among mountain enthusiasts in the Carpathians and some scholars, knowledge is undoubtedly more extensive, though it is not entirely free from stereotypes and exoticisation.

Araceli Tzigane: Have you ever performed in Ukraine? If so, how was it? Do the Ukrainians recognize the music of Wernyhora as related to their culture?

Wernyhora: Unfortunately, Wernyhora has not yet had the opportunity to perform in Ukraine. Primarily, this is due to the ongoing brutal Russian assault. Our manager is making efforts to arrange performances there, but naturally, it is quite challenging. Nonetheless, Ukrainian listeners have had the chance to become acquainted with our music. On one hand, some of our songs have been played on Radio Kultura in Kyiv. On the other, many of our concerts in Poland are attended by Ukrainians who are either migrants or war refugees. It is not unusual for them to approach us after a performance to express their gratitude for what we contribute to Ukrainian culture. They recognise our music as a part of their cultural heritage, yet many of our songs are entirely new to them; they have never heard them before. This is likely because many of our tracks are based on ancient folklore recordings, and our Maciej, who handles the arrangements, adds a unique sound to them.

Araceli Tzigane: I am used to dealing with minority cultures. I am already very thrilled with artists that work in this, like Wernyhora. I think it can be an added challenge. What would you say to colleagues in the music scene, who are trying to develop an artistic project related to another minority culture?

Wernyhora: In our field, which encompasses folk and world music, it’s inevitable to encounter the music of various minority groups, some of whom may not always have the freedom to express their culture openly.  Artists who delve into the musical traditions of these groups present a compelling case. Nonetheless, it poses a significant challenge, particularly for those who are exploring a heritage that isn’t their own. Engaging with such music demands considerable energy, commitment, and a deep understanding of the cultural context in which the music originated.  For artists who belong to the minority groups they represent, immersing themselves in their own traditions might not seem as challenging. However, they shoulder a great responsibility; their singing, their music, and their storytelling become integral to the culture they represent. They essentially become its ambassadors, a role that, as we know, carries serious responsibilities. Take our Daria, for example, who encouraged our group to explore the musical heritage of her own background, a community that once lived in our region. She has become not only our guide to the Boyko heritage but also an ambassador for the Boyko cause in Poland.

Araceli Tzigane: This question is specifically for Daria. How have you learned the way of singing you perform?

Wernyhora: That’s a challenging question. Certainly, it was a gradual process. Firstly, I must mention that although I grew up surrounded by mainly Ukrainian music from a young age, I never attended a formal music school. However, I’ve always had a passion for singing.  During my youth, I sang in a school band and a church choir, which were more aligned with classical, almost academic singing styles. Singing was a constant presence at gatherings of the Ukrainian youth in my community. Songs, often with traditional roots, featured prominently at almost every gathering.  Singing has always been, and continues to be, a unifying and community-building activity for the Ukrainian community in Poland. As I grew older, I encountered music performed in a more raw style by groups like Drevo, which was a revelation to my generation and set the gold standard for Ukrainian vocal art. Eventually, I had the opportunity to participate in workshops run by members of this band, focusing on polyphonic singing. However, I soon realised that while polyphony is a significant part of the Ukrainian musical heritage, it wasn’t as prevalent in the Carpathian region, where my roots are. This led me to diverge slightly from polyphony to explore my own path and listen to the singing styles from my home region.  Have I succeeded? I’m not sure, but I’ve been told that I have developed a unique singing style. If asked to teach it, I doubt I could, as my singing style – how it emerges and sounds – is not something I learned in a traditional sense. It is deeply rooted in my emotions and heritage. Singing in Ukrainian, especially songs from the Boyko tradition, allows me to connect deeply with my ancestors’ world. I wouldn’t know how to teach this; it’s a personal journey.  Sometimes people ask why I don’t sing much in Polish. It’s not out of preference; rather, I find it more challenging to connect with and convey the emotional depth of Polish-language songs – they don’t feel entirely mine. Ukrainian songs resonate with me on a much deeper level.

From: https://worldmusiccentral.org/2024/07/13/a-conversation-with-polish-trio-wernyhora-keepers-of-the-boykos-musical-legacy/

Starbelly - Yes, I Love Her Again


Like many power pop icons from the ‘90s, Starbelly has finally released their long-awaited reunion Four. Anchored by the duo of Cliff Hillis and Dennis Schocket, they are joined by Bryan Ewald (guitar) and Greg Schroeder (drums). And like similar mature artists (Matthew Sweet, David Myhr) they look back on life a little mellower, but the melodies are as sharp as ever. It opens with a low key “The Boy Who Learned How to Cry” about a father’s passing and moving on from the past on “Lay Low.” Good tunes, but greatness starts out on the subtle ballad “Sleep” with its rich ear-worm chorus and Ewald’s George Harrison-like slide guitar. With “The Stars of Constantine” it sounds like the glorious Starbelly of old, with dense guitars and harmonies. The upbeat “Strange Constellations” and Posies-like “Yes I Love Her Again” are also great songs. But the amazing thing is the music all get progressively better as the album continues. The five-minute-plus “Danny Opus” is a musical suite similar to Abbey Road, with distinctive melody lines that tell the tale of a rock star’s obsession and it is simply awesome. The songs after this put it over the top as “Emily Says,” “Jesus Freak” and “Don’t Wake Up” are also excellent. No filler and this does make my top ten for 2018. Super Highly Recommended.  From: https://www.powerpopaholic.com/2018/06/starbelly-and-roger-j-manning-jr.html

Back in 1998, three guys put out a limited release, eleven track CD of Rubber Soul/Big Star-oriented chiming guitar pop on Not Lame Recordings called Lemonfresh to great acclaim. The CD sold out, and disappeared. Not Lame reissued the CD in 2009 with twelve bonus tracks and a CR-R of a live show. Not Lame went out-of-business in 2010. You can buy the CD re-issue of Lemonfresh used for about $60 — if you can find it. But nothing really dies in the age of the internet. So enter Futureman Records. Futureman, though, does not merely issue “records.” It also re-issues lost Power Pop classics, exclusively by digital download, from its perch on Bandcamp. The twenty-three track reissue of Lemonfresh is available now for the princely sum of $10, in virtually any digital format you desire.
Lemonfresh is as fresh today as it was fourteen years ago. The “record” is seventy-plus minutes of non-stop hooks, melodies, chiming jangly guitars, occasional big beats and consistently clean production. It has all of the stuff to be a massive hit in a different world. But in our world, we can just drink down its poppy goodness.
The opening track, “This Time,” sets the tone for all that comes afterward. It’s a one-minute forty-three second look at romantic disentanglement — attempted, imagined or achieved — set amid perfect vocal harmonies, concise guitars and driving beat: “She’s So Real” is the kind of song that will play in your head for hours after listening, with its direct statement of lyrical and musical purpose, and the tasty interplay between the lead vocals and background harmonies. “What You Will” might very well have the blueprint for half of everything Wilco has done since 1999’s Summerteeth. It’s all about personal illusion, or delusion — “Look under your bed/it’s all in your head” — punctuated by strings and those pitch perfect harmonies, once again:
Indeed, Lemonfresh features just about the consistently best vocals you will hear on any rock record this year, even though it was recorded in the late-1990s. Guitarist Cliff Hillis and bassist Dennis Schocket trade lead vocals over the course of the twenty-three tracks, lending the songs a distinct yin-and-yang feel that keeps the proceedings all the more interesting over the course of an hour-and-change. And, as is required in this genre, Lemonfresh features a song about a particular girl. “Letters To Mary” closed the original 1998 release, and would have felt at home on Abbey Road. There truly is not a weak track on the expanded version of Lemonfresh. That’s quite an achievement over twenty-three songs. Play it in your car and it will keep your head bopping throughout that long, boring commute.  From: https://popthatgoescrunch.com/tag/starbelly/

Venus Hum - Honey


Nashville, TN, might not be the first place for a dream pop band to come together, but the birthplace of American music was a nice fit for Venus Hum. Comprised of vocalist Annette Strean and multi-instrumentalists Kip Kubin and Tony Miracle, the trio formed in 1999. Strean, who grew up with a logger father in Whitefish, MT, found Nashville to be her cultural calling. She grew up singing show tunes for fun, but her fondness for the Cure and Kate Bush pushed her creatively. Strean fell for kitschy films from the 50s, too. Later, she designed her own clothing from vintage apparel. Miracle had a similar upbringing. He was locked into typical family suburbia in Cincinnati, OH, and sought comfort in England's new wave reign. Depeche Mode and the Cure allowed him to explore various electronic dance acts of the '80s. Kubin was a Jersey kid. A friend of his had a dad who made his own keyboards, so Kubin naturally picked up the instrument. From there, Strean, Miracle, and Kubin connected. Miracle set up Chessington Synth Labs Studio in his basement, and Venus Hum created a lush, dynamic pop sound. Their self-titled debut appeared on Mono-Fi in spring 2001.
Shows in and around Nashville were successful for Venus Hum. Lucky for them, electroclash producer/scenester Larry Tee took Venus Hum under his wing. The band appeared at Tee's Electroclash Festival in New York City during summer 2002, and Stereolab asked Venus Hum to open for them in Nashville. The Hummingbirds EP coincided with a joint U.S. tour with Sing-Sing that October. Six months later, their proper full-length album Big Beautiful Sky was released. After a series of problems that included issues with their label and nodes on Strean's vocal chords, Venus Hum went on a two-year hiatus. During that time, Strean underwent physical and vocal therapy, Kubin became a filmmaker, and Miracle recorded an album under the name Satellite City. In 2005, the trio reconvened and began recording together and individually; the results were the acoustic/electronic manipulations of their second album, The Colors in the Wheel, which arrived in summer 2006.  From: https://www.allmusic.com/artist/venus-hum-mn0000315218#biography 

Secret Colours - Dream Dream


I have a thing for psychedelic music, but if I really wanted to hear a band that sounded like 13th Floor Elevators, I’d probably just listen to Roky wailing, ‘You’re Gonna Miss Me’ – especially since today is his 69th birthday. At the moment, however, I’m actually listening to ‘Who You Gonna Run To,’ a Britpop – Blur/Stone Roses style cut from Chicago’s own Psychedelic scenesters, ‘Secret Colours.’ The song is off the band’s 2013 release, ‘Peach.’ I’ll admit it. I’ve been secretly following ‘Secret Colours’ since their self-titled debut in 2010. Six years and four albums later, with a series of sold-out shows appearing alongside such Psych heavyweights as Spindrift, Asteroid #4, The Raveonettes and The Warlocks among others, the secret’s out – These guys are clever enough to know that ‘inspired by’ is only a starting point. Listen closely and you might hear shades of ‘Lush’ ‘Charlatans’ or ‘Ultra Vivid Scene,’ morph unexpectedly into early 70’s T-Rex or the jangly harmonies of Glasgow’s Belle and Sebastian, proving ‘inspired’ doesn’t have to mean stifled. Core members Tommy Evans and Justin Frederick not only craft songs that refuse to be pigeonholed into any particular genre or time frame, they don’t really care whether it’s not ‘cool’ to pay homage to The Beatles or The Kinks, because nothing goes out of style quicker than ‘cool,’ whereas the best things don’t have an expiration date. Released in two parts, ‘Positive Distractions’ is the band’s fourth and most cohesive release to date. Describing the making of the record and his new line-up, Tommy explains: “We recorded 12 songs in 11 days. We worked fast. We didn’t think about much. When you have something that feels right, it’s definitely not going to last forever, so you’ve got to do the most you can with it before it goes away.” As with music – as with art…Sometimes you don’t need to over think it – you just need to feel it.

Interview with Tommy Evans:

Q: When I first heard Secret Colours, I was hearing bits of Stone Roses, Blur, Tame Impala and a little Brian Jonestown Massacre (and I realize I’m treading on holy ground when I make that last comparison), but I also detected some T-Rex and maybe even the Beatles. Basically Psych to Garage to Britpop and five decades all coexisting in a wonderfully strange new way. In your own words, how would you define your sound?

A: You pretty much nailed it on the head. We love all those groups and we seem to take bits of those groups and put them together to paint our own picture. When creating something new it’s always good to start with something familiar, put it in a blender and see what new flavors you can make.

Q: You’ve gone through some line-up changes recently. Can you tell us about the band’s evolution from your first album ‘Peach,’ which I understand you collaborated with producer Brian Deck (Modest Mouse), to your latest ‘Positive Distractions?’

A: Peach is actually our second record. Brian is awesome to work with. He really pushes good musicianship, rather than snapping amateurs to grid in Pro Tools and auto-tuning the fuck out of everything like many young producers are doing these days. He makes sure the music stays organic. Positive Distractions was recorded down in Dripping Springs, Texas and Dandysounds Ranch, home to the group, Cross Record, who are friends of ours. We basically had a fresh lineup, so I felt we needed a newer approach to making a record than we did with Peach – isolating ourselves from city life, drawing inspiration from nature and not doing anything other than drinking heavily and making a rock record. We also just went back down there to record our follow-up with a similar approach. That should be out sometime in the fall.

Q:: The term ‘polychromatic’ has been used to describe your sound, but the word also applies to colours – What is the significance of your name?

A: We always try to make our sound colourful – that makes for the most interesting music. We want our listeners to put on headphones and drift to wherever it takes them. As far as where the secret comes from, listen to the lyrics and decide for yourself.

Q: What was it like being a midwest band playing SXSW and recording in Austin? Were you influenced by any of the Austin psych bands like the Black Angels… not to mention 13th Floor Elevators were from Texas?

A: All of them. We love the city and the vibe. The Angels were kind to us. We played what is now Levitation in 2012 and 2014. It definitely inspired our musical direction and made us fall in love with Austin. Whenever we have the chance to go back there, we will without hesitation.

Q: So there’s this thing about Chicago and ‘stripes’ – I actually paid homage to Chi Town in a previous post and noticed Patti Smith, Billy Corgan and Mario Cuomo of The Orwells all photographed wearing stripes. As well, you are all wearing striped shirts in a photo from the Chicago Tribune. Is there something I should know about this?

A: Ha! I’m not sure - strange coincidence. If there is an underground society of rockers with striped shirts I’d like to know about it.

Q: Last but not least, this question is for all of you: If you could have one album to listen to until the end of time, what’s it going to be?

A: Collectively, I think if we were all stranded somewhere we’d be hoping to have a copy of the White Album. That album has a diversity of styles and is double-sided, so we’d get a few more songs to get sick of rather than a lot of 8 or 9 song records that are coming out today.

From: https://americannoirpaintings.com/blog/secret-colours-painting-with-sound/