Amy Winehouse - Will You Still Love Me Tomorrow

 

 

 #Amy Winehouse #R&B #jazz #soul #blues #pop rock #1960s-retro #neo-soul #singer-songwriter

 

Amy Winehouse, the British singer who almost single-handedly revived a mass appreciation of soul and R&B, was found dead in her Camden home in London on July 23. Media in every form – blogs, magazines, newspapers – often scrutinized her abuse of drugs and alcohol instead of focusing on her unmistakable talent as a singer and songwriter. While the idea of a young person rising all too quickly to fame and crashing is alarmingly expected, the loss of Winehouse is still incredibly tragic. Fans and fellow musicians have posted their tributes, and here at Cover Me, we look back at a few of her stand-out covers in memoriam.
Winehouse’s career started at an early age after she dropped out of school at the age of 15 and she started performing her own songs at jazz clubs. By 2002 she was signed to EMI and in 2003 her jazz and hip-hop infused debut, Frank, was released in the U.K. The album contained two jazz covers:  Isham Jones’ “There Is No Greater Love” and James Moody’s “Moody’s Mood For Love.” Tracks like this garnered countless Billie Holiday comparisons for the young singer. The album itself did not gather much commercial attention with its initial release, but earned critical accolades and proved a fantastic start to what anyone who heard it was sure would be a long and successful career.
Shortly after Frank’s release, she covered The Shirelles’ “Will You Still Love Me Tomorrow” for the film Bridget Jones: The Edge of Reason. As if the two aforementioned covers did not already paint Winehouse as a painstakingly talented soul singer, this stripped-down version gave us a glimpse of the self-deprecating, honest, and lovesick traits that would make Winehouse’s next album. 2006’s Back to Black solidified her budding star status. The album earned six Grammy nominations and won five, including Best Pop Vocal Album and Best New Artist. She also won a slew of other accolades for the album, making it on nearly every major music publications’ “Best Of” list at year’s end. The first single, “Rehab,” gained massive attention not only for its undeniable catchiness, but also because of what in retrospect seems an early sign of her downfall. Oddly enough, one of the top songs Winehouse is known for is her rendition of The Zutons’ Valerie. The song appeared on Back to Black producer Mark Ronson’s covers album, Version. Rolling Stone called the track the only “notable recording” of Winehouse’s since Back to Black.
In 2008, a deluxe version of Back in Black was released, trying to maintain the hype while the world waited on a new record. Various editions included several covers, including Phil Spector’s “To Know Him Is To Love Him,” performed with his first group the Teddy Bears, and The Specials’ “Hey Little Rich Girl.” Unfortunately for fans, Winehouse’s addictions prevented her from completing another studio album. One of her final projects was a cover of Lesley Gore’s “It’s My Party” for the Quincy Jones tribute album Q Soul Bossa Nostra, which was released last November. The track epitomizes Winehouse’s media-hounded private life and her couldn’t-care-less-attitude about what others thought about her destructive lifestyle choices.
Now, in July 2011, Winehouse joins other musicians who died too soon in the 27 Club. It is easy to ridicule her seemingly-cliched and drug-infused life, but it should be remembered that it was her music that made her a star in the first place, not the addictions. Her songs were steeped with an inherent and genuine ache and punchy self-criticism that few others have been able to emulate.  From: https://www.covermesongs.com/2011/07/remembering-amy-winehouse-through-her-covers.html

The Honey Pot - Light Splinters

 #The Honey Pot #psychedelic rock #classic rock #neo-psychedelia #psychedelic folk rock #retro-1960s

The Honey Pot are a psychedelic/pop 5-piece band, steeped in a musical fantasy time-warp where they groove among their most revered bands, Jefferson Airplane, The Doors and The Small Faces to name a few, but totally modern in every other way. Had they been around back then, they would be riding high with the rest. They are happy, though, to be playing to the crowd who 'were there' and those who groove anew whenever they can.
What is the connection between talented Theremin player and founder member of the Buggles Bruce Woolley and psychedelic pop band The Honey Pot? Well, in the autumn of 2008 Bruce kindly listened to Icarus Peel's newly-completed album "Tea At My Gaffe" and suggested that he should stay on the psychedelic journey. Soon after, Icarus met DJ Marrs Benfire of Bay FM, who featured the album on one of his "Smart Set" shows. The challenge from Marrs was for Icarus to write a "Revolver" style album with shorter songs, and thus "To The Edge" was composed and produced with Wayne Fraquet on drums and Jacqueline Bourne and Iain Crawford on vocals. The album was so well received that a performing band needed to be formed to play the songs live, at which point Tom Brown was welcomed in to play bass. Their first gig was a local festival in 2013. Since then they've played at many groovy festivals and venues with different line-ups, and are looking forward to many more live performances in the future.  From: https://www.thehoneypotcollective.com/newpage


 

 

Twin Temple - Sex Magick

 

#Twin Temple #garage rock #occult rock #rock & roll #satanic doo-wop #retro-1960s #indie rock #music video

"It's safe to say we've turned even further away from the light, and our souls are as damned as ever." Twin Temple vocalist Alexandra James is explaining her and husband/guitarist Zachary James' steadfast devotion to the devil. Given the hatred the self-proclaimed Satanic doo-wop duo has experienced at the hands of a hard-line Christian community since forming the band in 2016, can you blame them? When detractors first targeted Twin Temple a few years ago, zealots started sending stacks of Bibles to their Los Angeles doorstep — perhaps as a warning, or maybe in the misguided hope of "rescuing" the James' souls from eternal hellfire. Less obtusely, Alexandra explains that death threats routinely started coming their way through email and over social media; she adds that online extremists discussed mobilizing at their concerts, armed. This is all to say that rock & roll is still a dangerous game, at least when you're Twin Temple. "Since we started, we've received a lot of relentless moralizing, attempts to save our souls, religious fervor and backlash — even people questioning our sincerity, as far as if we're really who we say we are [as Satanists]," Alexandra explains of the extreme reactions their music has provoked. "As a kid, growing up seeing my heroes really challenge the status quo, I always thought, That's so cool, these pioneers of rock & roll are laying their lives down on the line for this. When we experienced it, it definitely gave me a whole new perspective."
What's sure is early Twin Temple songs like "Lucifer, My Love" and "I Know How to Hex You" — between their lush, orchestral pop presentations and devilish wordplay — have struck a chord across musical and ideological spectrums, for better or for worse. While clearly playing well for folks that vibe with early '60s R&B and the golden age of rock & roll, Twin Temple's love for the dark arts has also made converts out of heavy-metal fanatics — as well as earned them endorsements from famous appreciators of the occult, including Glenn Danzig and Ghost. On the other side of things, haters are literally looking to hurt the band over their beliefs. While some would shrink in the face of such violent, virulent adversity, Christian condemnation has only strengthened Twin Temple's resolve. "We just wanted to make the most brutally blasphemous record that we could," Alexandra says in relation to the group's scintillating, and obviously sacrilegious, sophomore full-length, God Is Dead. "We definitely wanted to up the blasphemy, and give some of the best black-metal records a run for the money, in terms of the themes."
True to their word, God Is Dead doubles down on Twin Temple's established anti-Christian aesthetic. Its album cover finds the couple locking eyes like lovers do — blood dripping out their mouths — as they hover over a burning church. Above some of the sweetest throwback soul sounds imaginable, Alexandra sings of torching scripture ("Burn Your Bible"), going down on demons ("Let's Have a Satanic Orgy") and just generally being "the baddest witch on the block" ("Spellbreaker"); while God Is Dead's title track is likely the most joyous ode to deicide you'll hear this year. That's the thing with Twin Temple: They're fun as hell. Despite the hate they've faced, they're still reveling in their love of Lucifer, and each other. Alexandra notes the band wanted God Is Dead to take a stronger romantic tack than 2019's Twin Temple (Bring You Their Signature Sound… Satanic Doo-Wop). That's clearly the case with "Two Sinners," a cursed bop about happily heading straight to hell with your betrothed. "Doesn't everyone want someone who makes them more depraved than they were before," Alexandra poses, rhetorically. "I think it's really romantic to break holy laws with someone, or to be nailed to a single cross. Like, I want to be buried in the same grave as Zach. So, I was just writing a love song about that." Both Zachary and Alexandra spent time in the California punk scene before linking up, but they're scant on the details of how they met — at least the 21st century incarnations of themselves. Whether playing up the camp or protecting themselves post-doxxing, they do suggest an introduction was made several past lives ago, all the way back in 1666. As if part of a finely honed vaudeville routine, Alexandra starts up that she was "burned on the cross" next to Zachary. "I was a witchfinder, actually," the guitarist clarifies, as Alexandra shoots back: "I thought you were the woman being burned next to me!"
This kind of gallows humor goes a long way to understanding Twin Temple. Sonically, their sound reveals a great reverence for the trailblazers of pop and rock & roll, Alexandra's brimstone-smoky vibrato reverberating against a Wall of Sound-style aesthetic. The band's lively, blood-spilling, ritual dagger-wielding stage show harkens back to the days of Fifties shock-rock pioneer Screamin' Jay Hawkins. Naturally, it's made them thick as thieves with the horns-raising metal community — leading to tours with Ghost, Danzig and others. It's all part of the same rock & roll continuum, Zachary argues, with Twin Temple perhaps acting as a bridge between the subversive-ness of Little Richard and extreme-metal vanguards like recent tourmates Behemoth — whose vocalist, Adam Nergal Darski, is also no stranger to offending the church. "We didn't make our music for anyone other than ourselves, from day one, and we continue to do that," Zachary says. "It just happens that, philosophically, the blasphemy resonates with a lot of metal fans. And obviously the visuals resonate because we're all lovers of horror." The culture jam continues with God Is Dead, a release that includes the Latin-grooved "Let's Have a Satanic Orgy," a song the band had also recorded in Spanish as "Tengamos la Orgía Satánica." Both versions report on a sex party taking place at the Witches' Sabbath, full-moon revelers grinding it out near a "magick circle." Rhythmically, it's a standout number in the Twin Temple catalog; playfully, it caps with a chant of "666," rather than a traditional "cha cha cha." God Is Dead's tour cycle will find the James' debuting new stage attire inspired by the song: baby pink finery embroidered with carnal scenes of demons and succubi getting it on.
Like the single, Alexandra says the stage wear was inspired by "some of the better orgies we've been to in recent memory" — while also paying homage to country great Hank Williams' ornate nudie suits, and the pastel color palette of Hollywood starlet Jayne Mansfield's Pink Palace mansion. But before all that, Twin Temple tell Revolver they have to take care of some business back at home. While wrapping up the call, Alexandra reports that the rest of their afternoon will include blood sacrifices and an exorcising session. "There's a grave I meant to tell you about that looks real ripe for digging," she says to Zachary. Without missing a beat, her partner in holy crime deadpans of the day's proposed desecration, "Just the usual."  From: https://www.revolvermag.com/music/twin-temple-satanic-doo-wop-duo-face-bible-bashers-most-blasphemous-album-yet

Diane Coffee - Soon To Be, Won't To Be

 

#Diane Coffee #Shaun Fleming #ex-Foxygen #retro-1960s #retro-1970s #art rock #pop rock #psychedelic rock #glam rock #animated music video

A ’60s-ish rock-and-roll experience that recalls Phil Spector and doo-wop and leisure suits and even a slew of one-hit-wonder bands from back in the day are somehow updated and given present-day indie-rock treatment in this band that is named after a fictional character. No, I don’t think that Diane Coffee is front man Shaun Fleming’s alter ego, even though he crowds the issue a bit by wearing eye shadow and presenting in a distinctly feminine voice. Adding confusion to the issue is the band’s Wiki page — it states that “Diane Coffee is Shaun Fleming...,” and later, NPR likened Mr. Fleming to both David Bowie and Mick Jagger. Yes, Fleming’s a true Motown-glam show-stopper in that respect.
Diane Coffee’s leader and chief songwriter got his start in showbiz as a child actor by voicing characters in Disney cartoons. Later, he got busy with the drums and joined the band Foxygen, a group that started during high school in the L.A. suburb Fleming grew up in. The Diane Coffee thing came about after he moved to New York. There, he hunkered down with a guitar and wrote songs that would see the light of day via a DIY recording and subsequent release titled My Friend Fish. The pop-music critics at the internet music magazine Pitchfork resonated with the new music Fleming made; they, too, made subtle jokes about the band name, but they posted releases of Coffee’s singles and later gave Diane Coffee a performance slot in their own music festival.
Fleming got tired of New York, lives in Indiana now. He claims the band name is a hybridization combining the singer Diana Ross with a song titled “Mr. Coffee.” He once told a reporter to pick any name — just make good music. Which, at least on its face, appears to be what Fleming is doing.  From: https://www.sandiegoreader.com/news/2016/feb/24/of-note-man-called-diane-coffee/

 

Magick Brother & Mystic Sister - Echoes from the Clouds

 

#Magick Brother & Mystic Sister #psychedelic rock #space rock #psychedelic folk rock #progressive rock #retro-1960s #retro-1970s #Spanish

What’s the concept behind the formation of Magic Brother & Mystic Sister?

Xavier Sandoval: I feel we make music for a utopian lifestyle, perhaps the one we would like to have and although we try, reality and present is what it is. For this album we gathered four musicians with no other purpose than to improvise and play as freely as possible. Personally, I think music must contain something magical and evoke images, sensations, emotions. Trying to capture the atmospheres we imagine as best as possible and to tune in with that inspiration, is to use themes related to magic, or the world of dreams.

How would you describe your sound?

It’s a peculiar sound due to the type of formation we have; bass, keyboard, flute and drums, only with guitars recorded later. Our sound is based mostly on the use of the mellotron and flute, but also the patterns of bass and drums and the dreamy voices. Perhaps this combination creates our sonority? In some themes, the synthesizer, piano or guitar arrangements have shaped each song providing a more cosmic sound in some songs, and more jazz or folk in others.

Would you like to talk a bit about your background?

When I was a child my parents listened to flamenco, and on long car trips they always listened to cassettes of Elvis Presley, Eddie Cochran, Chuck Berry et cetera. I knew them by heart and I loved them. I’m self-taught. I started playing in high school, where I liked Led Zeppelin and Black Sabbath and so I started playing bass with a band of pupils older than me, experimenting with psychedelic rock, playing cover-versions of Hendrix, Cream, Steppenwolf et cetera. Then like everyone else we went through various groups, whether they were garage, pop, rock or psychedelia, until the era of techno and electronic music arrived, and I dedicated myself to studying and experimenting with ambient, cosmic music, krautrock, et cetera. I then spent a long spell collaborating in a music project for yoga and meditation playing the sitar. In the end, we make music whenever possible for each moment in life has its soundtrack. Sometimes it depends on the circumstances and your environment, and in our case it’s always from the underground and against the current.

Are any of you involved in any other bands or do you have any active side-projects going on at this point?

Nowadays there are a lot of musicians who have several projects at the same time and perhaps it’s quite common, but in my case, I do not believe too much in that. Life goes very fast; I have little time and I must make it compatible with my work. For me right now, it is difficult to indulge in multiple projects, and I believe in this one, so Eva and I are focused on it. I really admire other groups that make very interesting music and it would be great to collaborate with them, but it is difficult, who knows maybe in the future. Although I believe that MB & MS could be an “open project” for musicians who want to collaborate, it is a matter of connecting, creativity and energy. The doors will always be open.

Can you share some further details how your latest album was recorded?

The album was conceived by taking music from suggestive images, like an imaginary soundtrack we wanted to convey a cinematic and mysterious atmosphere. Although it’s a long story, each song has its moment, its place and represents something. It was a long process and some songs were left off the record. The album was recorded in our home studio, Cosmik Lodge, but some aspects were recorded in Sol de Sants Studio where Marc was working – utilising a mix of new and vintage gear. Normally we record bass, drums and keyboards at the same time, then we add flute, more keyboards, guitars, percussions etc. The first song we recorded was ‘Les Vampires’ where I made a script from which we recorded the different parts. Some songs were recorded on an inspirational night, and in others there were false-starts and took months to complete. We had several bases on which we had worked for a while, and then we would compose the rest. I think the cover by Bruno Penabranca (which we love) conveys that idea of how other sensory perceptions appear from a main image that arise in a creative feminine way.

How do you usually approach music making?

It depends on the song or the epoch. For this album, some songs have been created from the bass lines that we have tested in rehearsals, finding ideas that appear. Luckily some were recorded and in other sessions they were lost in the smoke of experimentation and the ambience. In our case, improvisation has been very important not only to let ourselves go, but also to get to know each other musically and to see which territories were most favourable for the individual – which patterns did we feel comfortable to investigate, deepen, study etc. Some songs are 7/4, 11/4 beats in which we have become used to building melodies. We have been testing different scales. Although in many of the songs the improvisation or the “magic of the moment” has been the starting point, in others many of the important details are calculated and measured and we try to convey that all the sounds, every note has a reason to be there whilst maintaining a criterion and respecting some patterns, be it folk, progressive rock or the style we were approaching.

How pleased were you with the sound of the album?

I think we have achieved a good sound considering the means we have used, and for my part I would continue to change things and improve to infinity, but in the end, we have to say “enough”. The sensation of the listener matters and there comes a time when the musician himself stops being objective in terms of sound. From this aspect the views of many listeners have helped a lot - the comments have been positive in this regard.

What are some future plans?

The current situation has conditioned so much, since we have not been able to present the album as we would have liked, the situation with the live show, of the venues et cetera. So in some way the impulse of social networks has replaced the accepted style of promoting, and we greatly appreciate all the comments that have come to us from many parts of the world. The album sold very quickly, in the midst of this pandemic, so thanks again to those who have supported us and the positive reception that this album has had at such a difficult time. This month [December] the second edition of the album will be available. As it continues to be difficult to think about concerts, we have focused on continuing to compose, so during confinement Eva and I took up an old project that revolves around Tarot cards where we explore other dimensions – shorter songs but with our same psychedelic vision, to put it simply.

Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?

Obviously, this is the most difficult question of the interview, haha. There would be countless bands and albums that I would list. I will say that obviously, we have a weakness for the music of the late 60s, Electronic music of the early 70’s, British Psychedelia, Canterbury sound groups, Soundtracks, Folk, Hard Rock, classical music, jazz… In each era I have had many transcendent albums that have marked the moment that I was living and among some that I can cite a group that really opened my mind many moons ago would be especially Popol Vuh, ‘Aguirre’ to choose one of their albums. Another album that marked me was ‘Zodiac’ by Mort Garson. Also Gong’s ‘Angel’s Egg’ and Ananda Shankar’s 1970 release. ‘S.F. Sorrow’ by The Pretty Things, as an initiatory album.

From: https://www.psychedelicbabymag.com/2021/02/magic-brother-mystic-sister-interview.html

Dengue Fever - Uku

 #Dengue Fever #Chhom Nimol #psychedelic rock #Cambodian rock #alternative/indie rock #world music #garage rock #surf rock #retro-1960s 

Even when you consider the cultural cross-pollination that goes on in large metropolitan areas, L.A.'s Dengue Fever had perhaps the strangest genesis of any band in recent memory. It's odd enough for a group of white musicians to cover psychedelic rock oldies from Cambodia, but finding a bona fide Cambodian pop star to front the band -- and sing in Khmer, no less -- is the kind of providence that could only touch a select few places on Earth. Formed in L.A.'s hipster-friendly Silver Lake area in 2001, Dengue Fever traced their roots to organist Ethan Holtzman's 1997 trip to Cambodia with a friend. That friend contracted the tropical disease (transmitted via mosquito) that later gave the band its name, and it also introduced Holtzman to the sound of '60s-era Cambodian rock, which still dominated radios and jukeboxes around the country. The standard sound bore a strong resemblance to Nuggets-style garage rock and psychedelia, heavy on the organ and fuzztone guitar, and with the danceable beat of classic rock & roll. It also bore the unmistakable stamp of Bollywood film musicals, and often employed the heavily reverbed guitar lines of surf and spy-soundtrack music. Yet the eerie Khmer-language vocals and Eastern melodies easily distinguished it from its overseas counterpart.
When Holtzman returned to the States, he introduced his brother Zac -- a core member of alt-country eccentrics Dieselhed -- to the cheap cassettes he'd brought back. They started hunting for as much Cambodian rock as they could find, and eventually decided to form a band to spotlight their favorite material, much of which was included on a compilation from Parallel World, Cambodian Rocks. In addition to Ethan Holtzman on Farfisa and Optigan, and Zac on vocals and guitar, the charter membership of Dengue Fever included bassist Senon Williams (also of slowcore outfit the Radar Brothers), drummer Paul Smith, and saxophonist David Ralicke (Beck, Ozomatli, Brazzaville). Ralicke shared Zac Holtzman's interest in Ethiopian jazz, further broadening the group's global mindset. Thus constituted, the band went combing the clubs in the Little Phnom Penh area of Long Beach, searching for a female singer who could replicate the style and language of the recordings they had.
After striking out a few times, the Holtzmans discovered Chhom Nimol, a onetime pop star in Cambodia who came from a highly successful musical family (analogous to the Jacksons). According to the band, Nimol had performed several times for the Cambodian royal family before immigrating to Los Angeles. Initially not understanding the band's motives, she was suspicious at first, but after several rehearsals, everything clicked. Dengue Fever made their live debut in 2002, with the charismatic Nimol in full traditional Cambodian garb, and soon won a following among Hollywood hipsters, not to mention L.A. Weekly's Best New Band award that year. Purely a cover band at first, they started working on original material after putting out a four-song EP locally. The Holtzmans wrote English lyrics and music, then sent the lyrics to a Khmer translator in the state of Washington, after which Nimol would adjust the melody and words to her liking.
Dengue Fever counted among their fans actor Matt Dillon, who included their Khmer-language cover of Joni Mitchell's "Both Sides Now" on the soundtrack of his 2003 directorial debut, City of Ghosts. However, disaster nearly struck when Nimol was arrested in San Diego in accordance with the stringent, post-9/11 INS policy: she'd arrived in the U.S. on a two-week visitor's visa and simply stayed on. She was thrown in jail for three weeks, and it took nearly a year for the band's lawyer to secure her a two-year visa (his fees were paid through benefit concerts). In the meantime, Dengue Fever released their self-titled debut album on Web of Mimicry, a label run by Mr. Bungle guitarist Trey Spruance. Most of the repertoire consisted of Cambodian covers, many originally done by pre-Pol Pot star Ros Sereysothea, but there were several originals and an Ethiopian jazz tune as well.
With Nimol's limited English improving, the band members considered putting some English-language material on their follow-up, but intended to stick with Khmer for the most part, in keeping with the music that inspired them. In 2007, Dengue Fever not only released Escape from Dragon House, but also starred in the documentary Sleeping Through the Mekong, which saw them performing their music in Cambodia for the first time. Venus on Earth debuted on the M80 label the following year; it was eventually picked up by Real World for worldwide distribution. In 2009 they released a CD/DVD entitled Sleepwalking Through the Mekong, which included the documentary and a compilation album.  From: https://www.allmusic.com/artist/dengue-fever-mn0000237528/biography

Black Bonzo - Thorns Upon A Crown

 #Black Bonzo #progressive rock #hard rock #heavy prog #art rock #progressive metal #retro-1970s #Swedish

From the ashes of Swedish hard rockers The Gypsy Sons of Magic, Black Bonzo rose again as an art prog band by adding depth to their sound through the use of mellotron, piano and Hammond organ. The intense drumming, the intricate guitar work, the firm but steady bass lines, the complex song structures, the overall pomp and their vocalist (who sounds like David Byron resurrected) all spell Uriah Heep, big time. Their album, "Lady of the Light" (2004) is filled with 70s pomp reminiscent of A.C.T. mixed in with early Kansas and a bit of Queen. The classy arrangements and harmonies, the heavy organ, the impressive guitar work and the Byron-like vocals may sound all too familiar to Heep fans, but these guys do what they do extremely well, with just enough personal touches to remind you they're not the Heep. A great album in its own right that will grab your attention from start to finish. Powerful stuff and excellent production.  From: https://www.progarchives.com/artist.asp?id=1406

The Story behind the band Black Bonzo began years ago, coming out of the remnants of the psychedelic rock n´roll eight-piece group, Gypsy Sons Of Magic. The members who now form Black Bonzo had a direction in mind that didn't suit the style and form of the previous band, which led to their unavoidable demise, and the beginning of the new band.
As soon as Black Bonzo started rehearsing and writing new material, everyone was stunned, shocked and amazed how powerful the band was sounding. Soon, new sounds were added like the mellotron and piano with the organ as one of the base instruments in the hands of Nicklas Ahlund, giving a whole new depth to the music along with Mike Israel’s intensive drumming, the very thoughtful guitar works of Joachim Karlsson, and Magnus Lundgren’s personal and clever voice backed up by the firm and steady bass lines of Patrick Leandersson.
With new songs rehearsed and with the sound of their minds, a couple of gigs were done to huge positive response. By the summer of 2003 a record deal was landed with B & B Records, and during winter 2003 the band started to work on their first album, leaving no detail behind. In July 2004 the band released their first album in the vein of late 60s/70s progressive rock with influences such as Uriah Heep, Queen, King Crimson and early Camel with lots of Mellotron and impressive hammond Organ work.  From: http://www.rockprog.com/02_Interviews/BlackBonzo.aspx

Haight-Ashbury - She's So Groovy '86

 #Haight-Ashbury #psychedelic rock #psychedelic folk #folk rock #acid folk #neo-psychedelia #flower power #retro-San Francisco sound #sunshine pop #Scottish #music video

Choosing such a loaded name is willful. Scottish trio Haight-Ashbury are going to be identified with psychedelic-era San Francisco whatever they do. Should they wish to extend their musical wings, diversions into drum and bass or metal aren’t going to be easily accommodated. It's just as well then that Haight-Ashbury are top-drawer practitioners of a terrifically attractive dark psychedelia. Their second album (released under the name Haight-Ashbury 2, but they still trade as Haight-Ashbury too) opens with hand percussion, a jangling sitar and a keening, modal vocal line. Rhythm is Mo Tucker simple and repetition hypnotises. The raw production emphasises Haight-Ashbury’s edginess. As does a leaning towards the moodiness of Mazzy Star and their obvious familiarity with The Jesus & Mary Chain and The Incredible String Band. This version of the psychedelic dream will make flowers wilt. Second track “Sophomore” describes giving the kiss of life. Haight-Ashbury are singing of those around them being close to death. Quoting Queen’s “Bohemian Rhapsody” on the jangling and tuneful “Everything is Possible” brings some levity. There’s some hope for peace and love. This extraordinary album hasn't quite come from the blue. Theartsdesk saw Haight-Ashbury at the end of last year at France’s Trans Musicales festival and summed them up as “folk harmonies with a raga guitar and shoegazing dissonance”. The Ashburys does nothing to alter that, but it does confirm that Haight-Ashbury are very special.  From: https://theartsdesk.com/node/35096/view

Of course Haight-Ashbury aren’t actually from San Francisco, but it’d be more than reasonable to assume that their second album opener, ‘Maastricht - A Treaty’, was recorded live amongst the longhairs in Golden Gate Park. Lifting the patchouli oil-drenched essence of far-out musical Hair, the song unfolds as a somewhat directionless exposition of tremulous sitar while, just in the corner of your vision, a kaftan-clad Dennis Hopper does the Watusi with George Harrison. If this whole album were similarly stoned and meandering, we might take umbrage; but mercifully it’s a one-off. In fact, as a lesson in vivid scene setting, it works a treat.
Coming from Scotland rather than California, Haight-Ashbury are Kirsty Reid, Jennifer Thompson and Kirsty’s brother Scott on drums. Haight-Ashbury 2: The Ashburys follows the trio’s 2010 debut, and though it might be heavily indebted to counter-cultural, tie-dyed grooves, this isn’t just a spun-out, swinging 60s tribute from some half-baked merry pranksters. ‘Sophomore’ brings to mind those other harmonising hippies of the moment, Haim; but like those So-Cal sisters, it adds a healthy, brusque dose of a gutsy power-pop into the bargain. Tough like Pat Benatar but heartfelt and absorbed with female experience like Stevie Nicks, its heavy guitars and heavenly vocals also recall graceful grunge virtuosos The Breeders and Veruca Salt. It is, quite frankly, a blinder of a song. These Glaswegians don’t spend the whole record stateside stargazing though. They skip the same, lavender-studded path as Smoke Fairies on the eerie 2nd Hand Rose, looking to British folk of the 1970s, of Fairport Convention, with ring-a-roses, Wicker Man vocals and a stomping glam-goth breakdown.  From: https://www.bbc.co.uk/music/reviews/25pn/

The Soul Motivators - Raise a Glass

 #The Soul Motivators #soul #funk #R&B #psychedelic soul #retro 1970s #Canadian

Canada's The Soul Motivators (TSM) are a premier funk outfit based in Toronto. TSM blend classic 70s funk, soul, and psychedelic grooves to create a modern fresh sound with their strong craft for songwriting. In February 2020, the Motivators released their acclaimed third album 'Do The Damn Thing', featuring powerhouse frontwoman Shahi Teruko. With the accompanying tour derailed due to the pandemic, the band switched to a series of online and drive-thru concerts to keep them going. Now they're back and ready with their fourth studio album, 'Do it Together.'
The 8 track album takes the listener on a cosmic trip filled with groove and optimism guided through aural landscapes. Imagine the Toronto Yonge Street strip in the 70s. Flares, arcades, neon, cinema, record shops - grit and funk. Yet modern beats and rich rhythm infuse each track to lift you up and get you moving - floating into outer space yet deeply rooted on solid ground.
From the first note played on 'Raise a Glass', the band switches on their classic Motivators mode: hard-hitting, clav-heavy harmonic, smooth horn line, a timeless deep funk track. Next up, 'Power' pushes the TSM sound to new celestial limits - Interstellar synths and drum n' bass inspired breakbeats are mediated by Teruko's ethereal vocals with the fire and passion of Bettye Lavette and tight rhythm of The JB's. Other highlights include, 'It is what it is' - a smooth soul groover that would easily blend into any Hitsville playlist!
"It tackles the subject of our collective ups and downs, inspiring us to keep moving through the darkness." With 'Try', TSM channel Muscle Shoals with a deep cut of southern soul, with passionate vocal delivery, evoking Sharon Jones and Charles Bradley, infuses this tune with a heavy Daptone influence. 'Do It Together' is The Soul Motivators at our best - fusing familiar influences with new elements and pushing our musical boundaries to new limits."
Since the release of their explosive 2015 full-length debut Free to Believe (Do Right! Music), TSM tirelessly toured to bring their high-octane live show to the masses. The acclaimed Dirt On the Floor EP, and collaboration with Detroit's Funk Night Records released over two highly sought after 7" singles, saw them dig deep into the funk crates.
The core of the band consists of Teruko (vocals), James Robinson (keys), Marc Shapiro (bass), Voltaire Ramos (guitar), Doug Melville (drums), and Derek Thorne (percussion), with a rotating cast of talented horns and special guests.  From: https://www.broadwayworld.com/bwwmusic/article/The-Soul-Motivators-Share-Power-From-Upcoming-Full-Length-Do-It-Together-20230301

Lykantropi - Wild Flowers

 #Lykantropi #hard rock #blues rock #folk rock #psychedelic rock #retro-1970s #Swedish 

Melody Lane had an interview with Martin Ostlund, singer and guitarist of the Swedish psychedelic folk melancholic rockers Lykantropi. A great band highly recommended to fans of Coven, Blue Oyster Cult and Fleetwod Mac.

Melody Lane: First of all, can you tell us where the name Lykantropi comes from?  

Martin Ostlund: In my opinion it´s the process and transformation in the creation of songs. A song is like chapters in a book that is transforming in a way by its dynamic etc., and also I do love horror movies and you can hear that in the lyrics.

Melody Lane: The line-up of the band is confirmed. Is it the same from the beginning of the band, or have you had changes in the last years? Can you tell us something about the roots of Lykantropi? And where the band was born?

Martin Ostlund: I started the band in about 2013. No one except me was in the band from the beginning. Tomas joined us about 2014-15, Ia and My about the same time. We had just recorded our first album when the drummer decided to drop out, so then came Ola. The latest to join is Elias. He was a stand-in player instead of Pär “Pärry” Nordwall, and became a member about a year ago.

Melody Lane: Can you list us five songs from the Lykantropi discography (including new material), that can define the sound of the band. Five songs that can help our readers to know Lykantropi.

Martin Ostlund: Black Old Stone, Julie and Alexandra on the first album, Vestigia and Sällsammanatt on Spirituosa. Kom ta migut and Coming Your Way on Tales to be told

Melody Lane: Tell us something about the creative process of your music. Is there a main composer or is there team work? The songs come from ideas of a single member and then the band works on these ideas in the studio jamming together, or your songs are written in the studio and all the members compose together? What about messages and subjects of your lyrics?

Martin Ostlund: Oh, it’s different depending on which song, but what’s new for us is that me and Tomas have spit the writing on the new album. I did almost everything on the first two except two songs on Spirituosa. Both me and Tomas come with the skeleton of a song idea, and we work together as a band. Some songs have messages, but you have to read between the lines of fiction and private exposures. Some songs are inspired by old folklore and fairytales, but also we have much fantasy in it with the Northern melancholy touch.

Melody Lane:  Apart from the all the problems and troubles related to the Covid-19 pandemic, any chance for us to see Lykantropi playing live here in Italy/Europe in the next months/years? Maybe summer festivals? Any plans?

Martin Ostlund: We actually had plans for a tour in Italy, Spain, etc. just before the pandemic, so yes, we will come and play when it’s all over.

Melody Lane: Could you tell us two bands, from the actual international scene, you’d like  to tour with? Two bands that would represent a perfect line-up for Lykantropi to play with. And why these bands?

Martin Ostlund: English Purson, and maybe The Blood Ceremony. They have both the groove in their sound, but different in their sound.

Melody Lane: We know that ‘to define is to limit’ but how do you define the Lykantropi sound? Are you a psychedelic rock band? Prog/folk band? Vintage ‘70s rock band?

Martin Ostlund: Well, we define ourselves in all those actually. But the main thing is that we love vintage amps and what we call the warm tube sound, so there you go! Vintage rock it is!

Melody Lane: Which musicians are/have been your main musical inspirations?

Martin Ostlund: I have to say Fleetwood Mac´s “Then Play On”, and Swedish 60s-70s artist Bo Hansson; he played the Hammond organ, and has done instrumental records and is famous for “The Lord of the Rings” made in the 70s.

Melody Lane: Which are your favorite bands nowadays? Are there any musicians you’d really like to collaborate with? And why?

Martin Ostlund: No favorite, but I really like Amanda Werne in Slowgold, and also the Swedish band Amason with amazing Amanda Bergman on vocals. Great musicians and bands with the heart and soul in your face.

Melody Lane: What has been the most important concert for Lykantropi’s career?

Martin Ostlund: Hmm, I don’t know! We have had some great concerts in different places. Geronimos and Debaser in the capitol of Sweden Stockholm are some of them.

Melody Lane: As a musician, what has been your biggest achievement to date and what do you want to achieve in the near future?

Martin Ostlund: I think the latest soon to be released “Tales to be Told” is a really great record, where we as a band work together in the best way. It’s the best so far of our three albums in my opinion. We have plans for making a new album in the near future without revealing too much.

Melody Lane: Are you totally satisfied with your choices about sound and the writing of your previous albums? If you could, would you change anything?

Martin Ostlund: We are satisfied with the sound on all our albums. Even some years later.

Melody Lane: In the end - a message from you to all Melody Lane readers.

Martin Ostlund: Message to the people! Close your eyes in a calm spot in your favorite nature surroundings, and hopefully you hear and listen to mother earth’s prayer for our future existence and how we can take care of this place we call earth. A big kiss from Lykantropi.

From: https://www.melodylane.it/NEWSITO/index.php/818-lykantropi

The Golden Grass - One More Time

 #The Golden Grass #hard rock #heavy psych #blues rock #heavy metal #retro-1970s #music video

The Golden Grass are a rock band from Brooklyn, New York. Following close on the heels of the 7” single “One More Time,” the group’s self-titled debut album is one of refreshing, modern-sounding Blues/Rock in the vein of Led Zeppelin and Cream. “Please Man” opens up to some trippy, distorted guitar effects before giving way to the frantic drum fills that introduce the song’s exuberant main riff. From the wailing solos to its working-class lyrical content and spacey sound-effects, this song is a great introduction to the band, especially in the sense that it showcases the genuineness that permeates throughout “The Golden Grass”. Many groups only imitate the sounds they were inspired by originally, but The Golden Grass manage to channel the upbeat, carefree sounds of 60s/70s electrified Blues while sounding no less up-to-date in the process. Michael Rafalowich’s guitar playing is spot-on, reaching a great balance between technicality and musicality. In addition to his solid vocal performance, Adam Kinrey’s enthusiastic drumming is also noteworthy, maintaining a solid rhythmic foundation while also using the instrument to add to the energy and vibe of each song. “Stuck On A Mountain” is, to me, an even better realization of the band’s musical vision. Relaxing, infectious, and soulful just a few of the words that can be used to describe this sprawling, nearly-seven-minute long track, one of catchiest songs here. Lead single “One More Time,” with its confident, swagger-filled riffing and slower pace, is another winner, rocking with plenty of attitude before ceding to the bluesy behemoth that is “Wheels.” This song, like “Stuck On A Mountain,” is the complete package as far as key Golden Grass elements go, though its sheer length makes it just a bit harder to digest. Still, it is yet another inspired performance, replete with memorable lyrics, riffs and melodies and a great overall feel to it, mixing in psychedelic sounds and acoustic passages to great effect while never sounding pretentious. “The Golden Grass” is a breath of fresh air in this highly commercialized, post-Nirvana musical landscape we exist in today. The music itself is heavy, but the mood is much less so, and the group’s authentic, entertaining brand of feel-good Blues Rock will appeal to lovers of almost all kinds of rock music as well as old-school heavy metal fans.  From: http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/t_2/the-golden-grass-the.htm

The Kentish Spires - You Better Shut Your Mouth

 #The Kentish Spires #progressive rock #retro-Canterbury Scene #progressive folk rock #progressive jazz rock

Lucie Vox has a very English voice, and at times I find myself being reminded of Maggie Bell or Chrissie Hammond. Musically The Kentish Spires have obviously been heavily influenced by the Canterbury scene, and there is just no way that this sounds as if it has been released in 2018. The use of a real sax makes a huge difference in the sound, while the Hammond organ is used to provide wonderful footnotes and trills, and Lucie either sings in a distinctively English accent or can provide 'Great Gig In The Sky" style vocals in the background while the instruments take the lead. Perhaps it isn't surprising, given the pedigree of those involved, that this never comes across as a debut album from a virtually unknown band, as it is incredibly polished yet still contains the exuberance and stylings of bands such as Procol Harum, and it certainly feels as if it was recorded fifty years ago as opposed to now. There is a sense of fun and enjoyment in the album, one can almost feel everyone looking at each other and smiling as the songs are recorded. Numbers such as "Spirit Of The Skies" are bright and full of light, even if again it all sounds very dated indeed. It doesn't take long for the listener to feel that this sense of authenticity and return to the early days of the progressive rock movement is very much part of the overall sound and it is to be welcome and enjoyed for what it is. When the flute and piano are bouncing off each other all the listener can do is close their eyes and just go with the flow, become one with it all. Traditional progressive music, if there is such a thing, is rarely better than this, and it is incredible to realize that this is just the debut.  From: https://www.progarchives.com/artist.asp?id=10638 

Borgo Pass - Burning Breath

 #Borgo Pass #heavy metal #sludge metal #hard rock #doom metal #retro-1970s #music video

An Interview with Borgo Pass

You five have been playing for a long time, since the 90’s right?

Tommy: You are correct. We’ve outlasted most marriages, and we’re catching up to the Rolling Stones.

Joe: Borgo Pass actually started as a Black Sabbath cover band in the 90’s. After several lineup changes and two CDs, this lineup of Borgo released our first CD in 2001. We’ve been going strong ever since.

Bet there have been a lot of ups and downs during the last couple decades. How have you managed to hang tight as a band?

Jimmy: We are all great friends, adults and respect the fact that we have created a Frankenstein that has stood the test of time. We still have fun and play a lot of relevant shows with the occasional national opening slot. It kinda never is a chore.

Paul: Ups and downs definitely sums up the past 20 plus years of Borgo Pass! I prefer to remember the ups, but it’s hard not to remember the downs. The disappointments and mistakes have been learning lessons and we have become a stronger band because of it. I believe that we have survived all of these years because of our love and respect for each other and our universal love of writing, playing and performing music. We literally have music in our veins and bleed Borgo Pass!

Tommy: Hell yea that’s just life in itself, but the ups most definitely outweigh the downs.

You state that Black Sabbath is one of your main influences. What do you think of the relatively recent revival of doom metal and stoner rock on a global scale?

Joe: Black Sabbath was the common denominator that brought the five of us together. We all have different influences, but Sabbath was the one band that we all agree had the strongest effect on us musically.
It’s refreshing to see the stoner-doom scene finally finding it’s place in the U.S. music scene. This scene was already catching on in Europe, but it’s past due to give these bands some recognition over here. In a small way, I kinda miss being able to check out, for example, Weedeater in a small club like CBGB and just chilling with 30 people enjoying the tunes. Now bands like Sleep are selling out every room they play!
With past festivals like the Stoner Hands Of Doom Fest, Emissions Fest, and now Eye Of The Stoned Goat and Psycho California, it’s great to finally see people coming in droves to hear some great bands! Just like Roadburn and DesertFest in Europe, people are supporting the U.S. scene like never before.

Jimmy: Black Sabbath for me is the battery of it all. it just doesn’t get more personal, original, or heavy. It’s almost like it’s magical, listening to Sabbath since I was a child. I think it’s a fresh revival of bands some really good and some trying too hard to play slow with a lack there of vocals and stage presence especially with the singers. That’s just me from what I have seen of the new breed of cadre. I mean, Ozzy was insane and the band looked as angry as a pitbull raging when they played. I like a newer band called Pallbearer from Arkansas, who have a great vibe and sound. I also still love DOWN and Corrosion of Conformity and Crowbar, as well, who have been carrying the baton for many years. I miss Type O Negative a lot.

Tommy: Black Sabbath is THE main reason we ever started this band, there are other reasons but Black Sabbath is number one! I’m happy to see a revival of doom and stoner rock, given all of the forced-fed crap that’s out there. It’s about time the people started thinking for themselves and actually enjoy real music with real emotion and raw feeling. I still like to listen to the heavy local acts.

What has been the biggest challenge in promoting Borgo Pass to new listeners in this brave new world of DIY marketing?

Jimmy: We have a unique, heavy sound with many elements. It’s been tough to sell it to the corporate establishment, as they want something cookie cutter. I call us very original and extremely marketable heavy music that could reach many different sub-genres of fans.

Tommy: God awful pop music is still our biggest enemy. That is our biggest challenge.

Speaking of the new listener, what song and album would you recommend a person start with if they want to get to know the band?

Jimmy: Our Deadwater album, starting with the first track: “Rotted Chain.”

Paul: If someone were to ask me what song or record of ours to listen to first, I would recommend listening to ‘Slightly Damaged’ (2002), our first recording with Jimmy on vocals and them listen to our following recordings, 'Nervosa’ (2005) and then 'Deadwater’ (2011) so that the listener can hear how we’ve grown and matured as song writers over the years.

From: https://doomedandstoned.com/post/119706967253/borgopass

Mouth - Parade

 #Mouth #progressive rock #psychedelic rock #krautrock #hard rock #retro-1970s #German

Mouth were formed in Cologne in 2000 as a trio, comprised of Christian Koller (vocals, guitars, keyboards), Jan Wendeler (bass, bass synth) and Nick Mavridis (drums, backing vocals, keyboards). The band's style is a blend of 'golden era' progressive rock - with influential names such as Yes, Genesis, Gentle Giant, Soft Machine, Hatfield & The North - as well as classic rock/hard rock and prog related names old and new: Led Zeppelin, The Who, David Bowie, T. Rex and Fish. Indeed, this is often cited as a mixture of retro prog, krautrock, hard rock, psych and glam rock - all together it fuses into a unique spleen, often underlined with dystopian themes.
In 2007 they were offered to record an album, and their debut 'Rhizome', released for Bluenoise label, saw the light of the day two years later. Nearly at the same time Nick Mavridis left the band and was substituted by Thomas Ahlers until Mavridis re-entered the crew in 2010. Jan Wendler left in 2012 and Gerald Kirsch joined as the new bass player in 2013. During the next years the band recorded a lot of songs, with the result being the albums 'Vortex' (2016) and 'Floating' (2018), both highly acclaimed productions showing way more kraut and psychedelic rock attitude. After the death of Gerald Kirsch in 2018 the band went on a short hiatus, then announced Thomas Johnen as a new member in March 2019. Their live comeback was at the Krach Am Bach Festival. Containing new and previously unreleased material, a further EP is planned for late Summer 2019.  From: https://www.progarchives.com/artist.asp?id=5194

Wucan - King Korea

 #Wucan #hard rock #folk rock #psychedelic rock #doom metal #stoner rock #progressive metal #retro-1970s #German #music video

Wucan - Retro Rock with Romanticism and Women’s Power

eclipsed is a music magazine based in Aschaffenburg and has been on the German market since 2000. It is aimed at friends of sophisticated rock music who want to go on a new acoustic voyage of discovery month after month.

eclipsed: Tell me the origin of the band.

Francis Tobolsky: Well, I started the band with an ad when I moved to Dresden four years ago to study. In my old hometown Chemnitz I didn't see the chance to find like-minded people. My claim was to make classic blues rock by Free and Rory Gallagher. First of all our drummer Axel Pätzold reported himself on the ad and peu à peu they all came together. About Tim George on guitar and finally Patrick Dröge on bass.

eclipsed: And how did you find your way to this special sound, a mix of classic hard & blues rock with Tull's flute, Krautrock influences and modern retro rock à la Blues Pills?

Tobolsky: Yeah, then the songwriting started. Somehow it came all by itself that we drove this, I say, old-school sound. I think that this is also connected with the fact that none of us really listens to new, current music. Many productions are simply too polished to a high gloss for us, especially in the metal area, of course also in pop/rock. Somehow we didn't like it.

eclipsed: Where'd you learn to play the flute so well? It really reminds you of Ian Anderson.

Tobolsky: (laughs) Funny you should say that. Just a few days ago a metal music magazine said that this was the biggest insult to the majesty I would do on the flute. Jethro Tull wasn't an influence at all, but as a thirteen year old I enjoyed two years of classical flute lessons. Later I concentrated more on the guitar. But then I thought to myself that I could also bring the flute into the band.

eclipsed: Where does your band name come from?

Tobolsky: We were really desperate to find a band name. And Tim sent me an unspectacular music link. This was the music video of the song "Wucan" by psychedelic rocker Black Mountain, which in Chinese means "lunch" in addition to the name for a Chinese city (laughs). We decided that together as a band.

eclipsed: How did you approach your first album?

Tobolsky: So on our first release, an EP, we weren't really happy with the sound. This time we wanted to make it clear from the outset that this was not supposed to sound so modern, but ... yes, "mustier". Also adapted to our music style. We also recorded live and took a little more time to experiment, for example with the Moog synthesizer and the theremin I play.

eclipsed: So how did the long track "Wandersmann" come about, which is out of the ordinary in German? This reminds me of romantic poetry as it used to be with "Leiermann" from Franz Schubert's "Winterreise".

Tobolsky: You, exactly. I used to want to study literature. I was always such a cultural epoch freak, and my absolute favorite time was romanticism and especially the so-called black romanticism. Maybe that had some influence, too.

eclipsed: "Sow The Wind sounds a lot like early seventies. Would you have wanted to live back then?

Tobolsky: (laughs) That's a difficult thing. Somehow you're used to all the comforts of the 21st century. At least then I would have experienced this spirit of the time first hand. So I can only have this told to me by people like my grandparents, who already lived then, or people who were active in student movements.

eclipsed: Young people nowadays tend to hear the charts, hip hop and electro more often. How do you get your obviously so rich musical knowledge about older music at all? Where does this love come from?

Tobolsky: Well, I've asked myself that question many times before. I've been interested in music since I was a kid. I was often with my grandparents, and here in Saxony they had an oldie radio station on the air, from the sixties to the eighties. I must have preferred a certain sound and song structure. When I finally had my own internet access when I was fourteen or fifteen (laughs), I could surf around and was constantly looking for music. You can always get links to other bands and songs on YouTube, which you then like, and you can keep on hanging around like that.

eclipsed: It's nice that the Internet also provides such positive things. What are your musical role models?

Tobolsky: Besides Blues Rock there are many old Krautrock bands like Novalis, Hoelderlin and Birth Control, but also East German bands like Renft and Karat.

eclipsed: How do you see the current retro-rock scene with bands like Siena Root, in whose opening program you will play in the coming months, or especially the Blues Pills, with which you will probably be compared now, simply because there is such an energetic front woman on stage.

Tobolsky: Hm, difficult question ... I almost think that some people in the press are already annoyed about it. But every retro rock band sounds different to me anyway. In Metal, for example, many of the bands sound much more similar. No, it's full of musical diversity, it can be more like blues rock or heavy metal or it can be psychedelic. Yes, or even garage rock of the late sixties, there are so many different ways of playing that you can't even say, so this retro rock, that annoys me. This all sounds so fresh and different. I just think that certain bands are promoted in a very strong way and that can get on people's nerves. I can imagine that, especially what comes from the big labels.

From: https://www.eclipsed.de/en/current-issue/underground/wucan-retro-rock-romanticism-and-womens-power

The Courettes - Misfits & Freaks

 #The Courettes #garage rock #garage punk #wall of sound #garage psych #surf music #lo-fi #1960s retro

Raw and raucous garage rockers the Courettes are an international phenomenon in more ways than one -- not only have they attracted a loyal following in Europe, the United Kingdom, and the Netherlands, their guitarist and singer is from Brazil while the drummer hails from Denmark. United by the universal language of rock & roll, the Courettes play no-frills garage punk with plenty of energy and a melodic sense that makes room for old-school punk, '60s pop, girl group sounds, surf music, and revved-up psychedelia. The Courettes sounded elemental and energetic on their 2015 debut Here Are the Courettes and were tighter and a bit more musically ambitious but still capable of shaking the house on 2018's We Are the Courettes, while 2021's Back in Mono boasted more tough rock & roll captured in the group's own vintage recording facility.
Based in Denmark, the dynamic duo behind the Courettes is lead singer and guitarist Flavia Couri, originally from Brazil, and drummer Martin Couri, a native Dane and Flavia's husband. The two met in Brazil in 2013, when his band played on a bill with hers during a tour of South America. They quickly hit it off musically, and in 2015 Flavia relocated to Denmark, where she and Martin formed the group. The duo went into the studio to lay down some songs, and while they had initially planned to add more musicians to the lineup, they were so happy with the way they sounded with just guitar and drums that they made their duo permanent. They struck a deal with the German label Sounds of Subterrania and quickly cut their debut album, 2015's Here Are the Courettes, a 20-minute blast of rock & roll initially released on 10" vinyl.  From: https://www.allmusic.com/artist/the-courettes-mn0003738730/biography

Squirrel Nut Zippers - Animule Ball

 #Squirrel Nut Zippers #swing revival #retro-jazz #Americana #Harlem jazz #New Orleans jazz #jump blues #gypsy jazz #punk jazz #retro-1930s #retro-1940s #animated music video

The Squirrel Nut Zippers began their musical journey in Chapel Hill, North Carolina, in the mid 1990s, as a musician’s escape from the cookie cutter world of modern rock radio at the time. Jimbo Mathus along with wife Katherine Whalen and drummer Chris Phillips formed the band as a casual musical foray playing for friends and family around town. It wasn’t long before the band (which had grown in size) developed a reputation for pioneering a quirky mix of jazz chords, folk music, and punk rock leanings and attracted a national audience. Outside of the rollicking concerts which were rapidly growing in attendance, NPR was the first significant national media to take notice of the band followed by an appearance on Late Night With Conan O’Brien. With grunge and alternative rock in full swing back in 1995, the Squirrel Nut Zippers debut album ‘The Inevitable’ sounded like nothing happening musically at the time.  From: https://thevogue.com/events/squirrel-nut-zippers-november-8-2022/

Since 1995, the Squirrel Nut Zippers have sacked and plundered old, weird America then sailed off to further distant lands. They have used New Orleans as their hideout and base of operations. Jean-Lafitte-like, they hide on the lee side of Barrier Island, receiving goods and masking dark back channel deals, hiding in cellars or in plain view. On Sept. 25, fans will be able to gaze into the tea leaves that make up their brand new album, ‘Lost Songs of Doc Souchon’, to see if they can discern their own destiny. The first single from the album “Animule Ball” was originally recorded back in 1938 by Jelly Roll Morton.
“This new album was inspired by all of the mysterious characters from the history of New Orleans jazz music,” commented band leader Jimbo Mathus. “It speaks to the hidden roots of where our aesthetic, interests and philosophy comes from. It pulls on the hidden thread.” As mentioned above, the album’s first single is a cover that dates back to 1938. In keeping with that time period, the band turned to Fleischer Studios (home of Betty Boop) to use some of their historic animations for a brand new video for the track. “When I first started the Zippers, the Max and Dave Fleischer cartoons were a huge part of our inspiration. The look, the music, all of it,” Jimbo said. “So to have their blessing to use some of these characters and create something new with it is thrilling to me.”
“Fleischer Studios has a long history of bringing together the best in music and animation, so the opportunity to continue that great tradition with a band like the Squirrel Nut Zippers, nearly 100 years after debuting the first sound cartoon in 1926, is a wonderful honor, and one that would surely put a smile on Max Fleischer’s face,” commented playwright Jeni Mahoney, who serves on the Board of Directors for Fleischer Studios.
From: https://parklifedc.com/2020/08/10/song-of-the-day-animule-ball-by-squirrel-nut-zippers/ 

Turn Me On Dead Man - Cyclops

 #Turn Me On Dead Man #psychedelic rock #heavy metal #psychedelic metal #stoner metal #space rock #retro-1960s #retro-1970s 

Turn Me On Dead Man are a ‘heavydelic’ space rock band from San Francisco. combining heavy metal and psychedelia to forge a music that is both transcending and unforgettable. The songwriting plunges listeners into the heavydelic landscapes of 60’s experimentalism and 70’s bombast, creating a sound that is enthralling, imaginative, hugely entertaining, and incredibly hard rocking! The group have been creating their unique brand of lysergic-soaked rock since their inception in 2000, gigging extensively throughout the San Francisco Bay Area and garnering praise from all over their home turf and the country, spurred on by heavy rotation at the influential WFMU station in New Jersey. Alternative Tentacles founder Jello Biafra was suitably impressed by the band’s spaced-out, glammed-up, turned-up brand of audio mayhem enough to re-release their first epic record, “God Bless the Electric Freak”.
Live, Turn Me On Dead Man is a spectacle of epic proportions; a visceral sonic boom that spans the spectrum from the meanest, most gorgeous anthems of rock to the exotic ragas of modern psych, creating an explosive and diverse stage performance as energetic as it is uncommon. Simply put, Turn Me On Dead Man plays Heavy Crush Bliss Rock breaking the sound barrier on their own private Lear Jet headed straight to Hell! The bands twin guitar harmonization, melodic rhythmic switchbacks and trippy apocalypto-mystical lyricism keep California’s psychedelic rock tradition alive. In their own words: “mind melt music for the sick and twisted, heavydelic super rock for the ultimate freak outs”.  From: https://maximumvolumemusic.com/featured-band-turn-dead-man/

In September 1969, as I began ninth grade, a rumor circulated that the Beatles' Paul McCartney was dead, killed in a 1966 automobile accident and replaced by a look-alike. The clues were there in the albums, if you knew where to look. Sgt. Pepper's Lonely Hearts Club Band's "A Day in the Life," for one, recounts the accident: He blew his mind out in a car / He didn't notice that the lights had changed / A crowd of people stood and stared / They'd seen his face before / Nobody was really sure if he was from the House of Lords. The cover of the Abbey Road album shows the Fab Four walking across a street in what looks like a funeral procession, with John in white as the preacher, Ringo in black as the pallbearer, a barefoot and out-of-step Paul as the corpse, and George in work clothes as the gravedigger. In the background is a Volkswagen Beetle whose license plate reads "28IF" - Paul's supposed age "if" he had not died. Spookiest of all were the clues embedded in songs played backward. On a cheap turntable, I moved the speed switch midway between 331/3 and 45 to disengage the motor drive, then manually turned the record backward and listened in wide-eared wonder. The eeriest is "Revolution 9" from the White Album, in which an ominously deep voice endlessly repeats: number nine ... number nine ... number nine.... Played backward you hear: turn me on, dead man ... turn me on, dead man ... turn me on, dead man.... In time, thousands of clues emerged as the rumor mill cranked up (type "Paul is dead" into Google for examples), despite John Lennon's 1970 statement to Rolling Stone that "the whole thing was made up." But made up by whom? Not the Beatles. Instead this was a fine example of the brain as a pattern-recognition machine that all too often finds nonexistent signals in the background noise of life.  From: https://www.scientificamerican.com/article/turn-me-on-dead-man/

SpaceCream - Pterodactyl Sky

 #SpaceCream #Savannah Pope #progressive rock #glam rock #neo-prog #contemporary rock #theatrical #retro-1970s

If there is a hole in your soul that can only be filled with a large helping of highly imaginative, theatrical, cerebral, glitter-fueled, prog-tinged, sexually charged rock n’ roll, then you may not know it yet but SpaceCream are your new favourite band. Self-described as “an intellectually charged revival of stellar rock n’ roll, told from the point of view of a sex-positive feminist revolutionary,” Pterodactyl Sky is set to challenge every norm you never knew to be holding you back. David Bowie, Leigh Bowery, Rocky Horror; a little Queen, a little Yes and a soupçon of Morrissey: all are clear influences here, and yet Pterodactyl Sky is much more than a homage to a time and styles long since passed. One listen to the album’s title track, or the likes of “Nefarious Lothario” and “Feel The Light”, demonstrate that this is a group of consummate musicians delivering complex, erudite and scholarly, yet wholly accessible songs of existential depth, empowerment and unabashed joy. Where else would you find a lyric referencing the allegory of Plato’s Cave and a hair raising guitar solo in the space of five and a half minutes? As well as weaving tales of fearless warriors riding atop Brontosauruses to defeat invading alien hoards, “Pterodactyl Sky” sees SpaceCream visionary and vocalist Savannah Pope deliver a towering performance worthy of the very best rock singers. And nor is that empty hyperbole. We’re talking Ann Wilson, maybe. Or Cass Elliot. A slightly less gritty Joplin or Jett with the range of Mariah Carey. Maybe that sounds crazy, but damn this music works. In fact every single song here provides more than one Doc Brown-esque “Great Scott!” moment. The heavenly arrangement and celestial choir of the title track; the spine-tingling guitar and slow-burn build of “Feel The Light”; the positively sticky and otherworldly intercourse of “SpaceCream” (both band and, presumably, song being named after THAT scene in the Nicolas Roeg-directed, Bowie-starring The Man Who Fell To Earth, by the way); the electric sparkling funk of lead track “Killer.” This is a shiver-inducing collection in the very best sense of the word. And whilst it is the class and quality of the music that should – and does – make its mark here, SpaceCream’s philosophy of living your weird and embracing your strange permeates everything that they do. Just take a look at those album covers, or track down a video of one of the band’s live shows. These guys are the living and breathing embodiment of artists fiercely and fearlessly living their influences, passions and visions for the future.  From: https://skinbackalley.com/2016/01/20/album-review-spacecream-pterodactyl-sky/

Timechild - And Yet It Moves

 #Timechild #hard rock #heavy metal #heavy prog #progressive metal #retro #Danish

Timechild is massive and organic heavy rock from Copenhagen, Denmark. The band’s soundscape is made up of a powerful and present lead vocal, characteristic twin guitars and atmospheric vocal harmonies, which together create their unique Scandinavian expression. Timechild was formed in 2020 by four seasoned musicians from different corners of Denmark. With extensive past experience in a number of former and existing Danish rock and metal bands, the members had already crossed paths on both Danish and international stages. When the opportunity arose, they decided to unite their musical experiences and visions and created Timechild. The debut album was written and recorded during the worldwide Covid-19 pandemic, which paralysed the Danish and international music industry. However, this silence gave the band time to jointly develop their common sound and expression. The vision from the start was to show how heavy rock can continue to challenge and surprise audiences even in 2021. Although the foundation of the band’s sound universe is clearly laid by the rock giants of the past, Timechild’s inspiration is drawn from across both time and genres. The opportunity to dive into the music history of past decades, and through this define one’s own sound, is one of the greatest privileges that today’s musicians have at their disposal. We can learn from the past without being backward-looking or unoriginal and we can be relevant and innovative without having to define a new genre.  From: https://mightymusic.dk/artists/timechild/