Love - The Forever Changes Concert

 Love - The Forever Changes Concert - Part 1

 

Love - The Forever Changes Concert - Part 2

Can you get copies of music magazines while you’re in prison? I wonder how Arthur Lee found out while he was locked up on a weapons charge that people had rediscovered his music with the seminal 60s psychedelic band, Love. Incarcerated for nearly six years under California’s “Three Strikes and You’re Out” law, Arthur Lee was probably just itching to get out and take advantage of his celebrity status for the second time around.
Released in December of 2001, Lee immediately hired a fantastic group of backing musicians and reformed Love. Touring all over the world, particularly covering Love’s crowning achievement, 1967’s classic Forever Changes, in it’s entirety, Arthur Lee has finally found his admirers. And for now, this seems to be one of the more unique stories of rock and roll with a happy ending.
Love’s The Forever Changes Concert was recorded live in London in early 2003, and fittingly, captures Lee and company playing Forever Changes in it’s glorious, psychedelic entirety. One of the finest collections of songs recorded and played to perfection by an ensemble of expert musicians, including the standout guitar playing of one Mike Randle. This live album deviates little from the original album but sounds fuller and more explosive in several places, such as the rocking “A House Is Not A Hotel” and “Between Clark And Hilldale.” While it might be wiser to recommend catching Love live in concert, The Forever Changes Concert is a quality document that showcases Arthur Lee as an exciting live performer and one of rock and roll’s most formative legends.  From: https://www.tinymixtapes.com/music-review/love-forever-changes-concert

In late 2001, after spending six years in prison on gun charges that were later overturned, Love founder and frontman Arthur Lee was understandably eager to begin performing again, and with members of the band Baby Lemonade backing him up, Lee booked a European tour for early 2003 in which he was joined by a string and horn ensemble to perform the Love masterpiece, their 1967 album Forever Changes, in its entirety. The tour seemed like the sort of thing most fans would at once cherish and dread -- it's hard to imagine anyone who cared about Love not wanting to see Lee free and performing again, but would he have anything left to say, especially tied to the vehicle of an album that was all of 35 years old? The Forever Changes Concert, recorded during one of the tour's early stops at London's Royal Festival Hall, doesn't hold much in the way of surprises, but anyone who imagined Lee would just go through the motions of Forever Changes' eleven songs will be pleasantly surprised. Lee's voice is harsher than it was in 1967, but he sings these songs with genuine passion and an understanding of their emotional gravity that seems to have grown with the passage of time. The arrangements that Lee and his musicians worked up for this material obviously follow the template of the original recording, but there's a fire in the guitar work and a willingness to bounce patterns off bandmates Mike Randle and Rusty Squeezebox that keeps this material sounding fresh and alive, and the small orchestra that accompanies the group go through their paces with charming skill (and without crowding the band). Lee also sings with commendable emotional depth on the two numbers Bryan MacLean wrote for the original album. Some editions of The Forever Changes Concert also feature a second disc in which the band plays a number of other songs from the Love catalog, and it's fun to hear Lee rock out on "Seven and Seven Is" and "My Little Red Book," but what's more impressive is how focused and committed Lee is on lesser known classics like "Signed D.C." and "Orange Skies"; while the Forever Changes gambit probably brought in plenty of fans, disc two suggests that an evening drawn from Love's broader body of work could have been every bit as satisfying. Still, while this package is for committed Love fans (no one who hasn't heard Forever Changes should start with this), it's not so much an exercise in nostalgia as an evening with a vital artist who could still find new wrinkles in his back catalog.  From: https://www.allmusic.com/album/the-forever-changes-live-concert-mw0000740254#review

 

Descartes a Kant - After Destruction

The savvy sound fashioning of Mexico’s Descartes a Kant burst forth with bright magenta shades and imaginative art rock sounds on their brand-new album After Destruction. The timely themes of self-realization in the age of artificial intelligence in a push-button world that creates us as we create it, are artfully presented with tight, melodic musicianship and pleasantly processed guitars, drums, keyboards – and the waifish vocals of Sandrushka Petrova up front, narrating colorful existential tales.
A pleasant female computer voice narrates the album, between songs with a decidedly prog punk edge adding depth to the kitsch presentation. “Graceless” tells the tale of optimistic dreams thwarted by a reality, reluctantly faced. Downbeat, and with stylishly insinuating guitars by Petrova and Ana Cristina Moreno, ethereal synths by Memo Ibarra, and drums by Leo Padua, it’s a bittersweet reflection on idealism disappointed.
“The Mess We’ve Made” is a driving, mid-tempo tune about a secret rendezvous, while the new single “Raindrops Of Poison” poses existential questions about memory and trauma, in an imaginative presentation featuring ear-tricking key changes, and Petrova’s animated, dramatic vocal style. It starts off angular and jagged, only to become reflective and sweet.
“Woman Sobbing” evokes Frank Zappa, Captain Beefheart, Yeah Yeah Yeahs and Jefferson Airplane in a poignant narrative describing those rabbit holes that we often find ourselves in. Guitars on this track are as brilliant as Adrian Belew, while Leo Padua and Memo Ibarra are in perfect sync on drums and bass. Petrova’s vocals excite the imagination with perfect harmony.
The title track “After Destruction” has a driving beat, and a guitar sound that avoids the trap of being too thick or grungy, instead it’s perfectly gritty and melodic. The tune, like the album, has layers and thematic changes, that keep the listener guessing as the melodic narrative progresses. There’s shades of Radiohead here for sure, in the arrangements and also in the care taken to sculpt new guitar and keyboard sounds that have never been heard before.
The album After Destruction is a thematic exploration of a computer guided future, with just the right mix of electronics, visceral guitars and vocal passion. In the world of After Destruction, there’s always an opportunity to rebuild oneself, and for that reason, it’s a guardedly optimistic set from a band that I expect to hear many more amazing sounds from in the future.  From: https://www.punkrockbeat.com/descartes-a-kant-excite-with-artful-prog-punk-future-vision-of-after-destruction/

Toadies - Possum Kingdom

Hello again, fellow watchdogs of the music world. I’d like to thank everybody who has striven to uphold morality in our songs and sent in a horrifying lyric. Together, we’re going to beat this thing. I’ve already had several prominent musicians email me begging me to stop this feature, because they’re DEVILS and they know we’re going to SEND THEM BACK TO THE FLAMES. Okay, that last part isn’t true at all. But it’s amazing to see just how twisted some of these songs are. Today’s submission of “Possum Kingdom” by the Toadies comes from Samantha Smurawa. Thanks, Samantha! If YOU know a profoundly disturbing song that requires immediate analysis, send it in to mailbag@pastemagazine.com. And as always, check out previous installments at the bottom of this post. As per usual, I won’t be looking at any backstory until I’m finished analyzing. Toadies lyrics in bold, my commentary after.

TITLE: Possum Kingdom

Usually I don’t comment too much on the title, because bands are sneaky and call their songs things like “Art Lover” just before chasing little girls around a park. But I want to take a moment to give some credit to the Toadies, because that’s a real weird title. I want no part of a Possum Kingdom, at all. I don’t want to know the king, the queen, the jesters, the serfs or anyone. (Okay, fine, I am kinda curious about the possum jester.) It feels like the kind of place where human beings are brought in strapped to piece of plywood and gnawed to death. Count me out.

(Note: I’ll be saying “the Toadies” even though the band’s name is just “Toadies,” because without “the” it just sounds weird, and all you grammar people can go straight to hell.)

Make up your mind

I ALREADY DID, I DON’T WANT TO GO TO THE POSSUM KINGDOM. Oh wait, the song started…

Decide to walk with me
Around the lake tonight
Around the lake tonight
By my side
By my side

My previous experience has taught me to distrust innocuous beginnings, but hey, maybe I was wrong this time. Maybe it’s just about two lovers strolling around a lake. We need more of that in America. Lake strolls, I mean. When’s the last time you strolled around a lake? When’s the last time you’ve seen a lake? Do we even have lakes anymore? I think lakes have gone extinct. Thanks, Obama.

I’m not gonna lie
I’ll not be a gentleman

There are two ways to take this. One, he’s going to behave like a damnable sexy rogue, which can be exciting and novel. Some people go for that. Some ladies like a bad boy. Two, he’s going to throw her in a possum pit to be chewed to death.

Behind the boathouse
I’ll show you my dark secret

The temperature is warm here in my house, but I just shivered. What is your dark secret, Toadie man? It’s the possum kingdom, isn’t it? Also, a hint: If you want to lure an unsuspecting lady to your boathouse lair, it’s probably better not to lay out your plans in song form beforehand. In real life, I imagine a woman would start to get a little suspicious at the “gentleman” line, and then start running away at “dark secret.” Nobody wants to see anyone’s dark secret. Unless that dark secret is a lake, because WHERE THE FUCK HAVE ALL THE LAKES GONE, OBAMA?!

I’m not gonna lie

And we appreciate that. Again, not great serial killer strategy, necessarily, but it’s refreshing to be warned ahead of time that a bevy of possums is about to consume us bit by bit. Okay, I just looked up the collective name for possums, and it turns out it’s “passel.” A passel of possums. Also, the animal is technically called an “opossum,” but since I already told all the grammar people to go to hell, I can’t really call the Toadies out on this one.

I want you for mine
My blushing bride

Oh good, a weird marriage fetish scenario. No good serial killing is complete without one. I’m no expert, and I’ve never killed anyone, but I strongly believe that if your victim isn’t wearing a bridal gown, you’re not doing it correctly. Either that, or dress her up like your mother. Maybe I’m old-fashioned, but to me, those are the best ways to decorate a victim before setting the passel of opossums loose.

My lover, be my lover, yeah…

I know he says “be my lover,” but I get the feeling there’s no actual sex involved here. The whole situation is a little too bizarre. Wedding dress? Yes. Possums? Definitely. A boathouse filled with screams and terror? You bet. But I’m not seeing sex entering into the equation. And you know what? That’s sort of refreshing. Week after week, we’ve seen songs about dudes being really creepy and secretive and perverse around women (along with one woman taking revenge for her entire gender). It makes you lose faith in humanity. But the Toadies? They’ve got something deeper going on. Mere sexual power dynamics don’t interest them. This is psychological horror on a brand new plane, and THIS WRITER finds it refreshing! (No, I don’t. This is awful. Somebody help me.)

Don’t be afraid
I didn’t mean to scare you

I am finding that difficult to believe, sir! On a positive note, at least there’s no disturbing religious element to this fantasy. That’s the last serial killer trope we’re missing. When you bring God into the mix, it adds that awful ritualistic feeling that really makes me panic. But we’re so far along in the song that surely we’re safe.

So help me, Jesus

Dammit.

I can promise you
You’ll stay as beautiful
With dark hair
And soft skin…forever
Forever

The one thing that always makes me laugh about serial killers is how they think they’re doing you a favor. “You’ll be perfectly preserved to the end of eternity! You should be thanking me!” Nope. I’ll just take a normal life and death without being embalmed in a wedding dress and stuffed into the wall of a boathouse, thanks. I’m not saying I don’t appreciate your aesthetic, but I really feel like this should be my choice to make.

Make up your mind
Make up your mind

Are we still talking about deciding to go for a walk around the lake? I don’t want to speak for all women, but I think that was a flat no like ten lines ago.

And I’ll promise you
I will treat you well
My sweet angel
So help me, Jesus

“Awwww…I don’t know, maybe this guy’s alright. God knows there are some awful men out there, and I can’t seem to keep a boyfriend beyond three dates. Plus, I’d get to see a lake, which God knows is rare in Obama’s America. On the other hand, the possums…”

Give it up to me
Give it up to me
Do you wanna be
My angel?
So help me!

If I have one criticism of this killer, it’s that he seems super unfocused. Is it a religious thing, where he wants to make the woman into an angel for Jesus? Does he want to preserve her eternally so she remains perfect? Does he want to dress her like a bride? And what’s up with the possums? After the title, the possums have never been mentioned again. This is what I mean by keeping it simple. So many serial killers want to complicate things today. And if you do it right, it’s great, but let’s not forget some of the old classics, like Jack the Ripper stabbing prostitutes, or Son of Sam just shooting people with a .44. We need to get back to basics. But I guess that’s not the way things work in the Obamanation, am I right?

Be my angel
Be my angel
Do you wanna die?

Also, there’s never been a serial killer who was so solicitous. “Look, I want to take a walk around a lake with you and then kill you, but hear me out while I tell you the exact plan. In the end, this has to be your choice, and I want you to be as comfortable as possible. On a different note, how do you feel about possums?”

I promise you
I will treat you well
My sweet angel
So help me, Jesus

If you play this song backward, you can hear the bass player whispering “A Passel of Opossums” over and over.

And there it is! Looking at the Wikipedia entry, it turns out that “Possum Kingdom” is the name of a lake in Texas. So all that talk of possums eating people was just a false alarm, unfortunately. I mean fortunately. Whatever. Stop looking at me. An interesting wrinkle is that footage from the music video was found by a local resident, which led to Dallas police questioning video director Thomas Mignone because they thought it was a snuff film. Finally, someone taken to task for their horrifying lyrics!

From: https://www.pastemagazine.com/music/profoundly-horrifying-song-lyrics-possum-kingdom-b

Grandma's Ashes - Cassandra

Grandma’s Ashes are a three piece Stoner Prog band from Paris, France. Their music is a blend of heavy face melting riffs, dark melodies and complex rhythms. Last month they released their debut EP ‘The Fates’ and we were able to have a chat with them about the EP, the band and their influences.

Let’s start with the basics! Tell us about the formation of the band, how did it all come together?

We met four years ago on the internet. Myriam and Eva knew each other for a year or so and were looking for a drummer so Edith came along and Grandma’s Ashes started this way. When we first met we jammed and it felt obvious that we had to play together.

Your sound is colourful and eclectic, you can hear the math rock influences with your use of odd time signatures, along with the filthy desert/stoner rock riffs mixed with some psychedelia. What are your individual influences and musical backgrounds?

Myriam: I began the guitar when I was 13, playing in different rock bands. We were mostly influenced by classic 70s rock such as Led Zeppelin, Sabbath, The Beatles, Bowie etc. I discovered the desert rock scene when I arrived in Paris, by mixing live local bands in underground venues. I was totally fascinated by the heaviness of their sound. Since I grew up in Morocco, I’ve also listened a lot to traditional african music which made me more open to odd time signatures, and I studied jazz for a year at school.

Edith: I’m really influenced by math-rock bands such as Toe, Don Caballero, and Battles for their structures and creativity. Also modern progressive metal bands like Leprous, Night Verses, and Cult of Luna for their massive sound and crazy technique. I’ve been a drummer for 11 years in different bands and I’ve attended different schools including the same jazz school as Myriam.

Eva: I discovered stoner rock with Queens of the Stone Age and Kyuss at the age of 15. It totally blew my mind as I was mostly influenced at the time by 70’s english punk bands (The Strangers, The Damned) with rich, high sound and sharp bass lines. This discovery was a revolution in my way to play bass, more encompassing, more massive (Then, late, I heard about black sabbath and type O negative and I totally loved it!) Later I discovered progressive bands such as Yes, and I switched again for more complex bass lines, keeping the heaviness I learned from stoner rock! This prog band also taught me the way to sing some psychedelic voices while keeping complex rhythms in the background. I was amazed it was possible to do both at the same time, and create such a strange, and poetic universe with dark tones!

I read somewhere that you recorded ‘The Fates’ EP live, which is super refreshing to hear and it gives a real human feel to the way it sounds. Tell us about your experience recording with this approach?

Thank you! It was quite impressive to record live in the beautiful Ferber’s A studio, we felt honored. Playing live together is what we prefer to do, we’re used to working this way, feeling each other's energy in order to create and give the best of ourselves. We tried to do what we do best except that we had amazing gear and a crazy crew guiding us toward the best results. It was a bit stressful but very exciting above all.

The guitar and bass tones are one of the defining characteristics of your music, talk us through your rigs and how you achieve such a massive sound?

Our first idea to sound massive was to tune ourselves a whole tone down and use the heaviest strings gauge we could find. It really adds texture because our strings aren’t flexible at all! Then, Myriam began to play on two Orange amps in a sort of stereo or dry/wet setup which opens up the sound and lets more room for the bass. We are still trying to sound heavier by combining Fuzz pedals and splitting signals on amps, but the main idea is to play loud and low. 

The lyrics to your single ‘Daddy Issues’ casts an interesting narrative and complements the theatrics of the heavy and menacing instrumental. What is the meaning behind the song?

This song is about the separation of Eva’s parents. It was a dark theme she wanted to keep powerful. There’s a lot of musical references in it for her, such as a famous baroque bass line during the bridge (“Music for a while” by Henry Purcell) sang by her parents a few month before their separation. It’s all emotional and we decided to name it by a ridiculous title to decrease the pathetic side of the song, and minimise what was a traumatic event to a reductive expression, to stay prude and make fun of it instead of making everyone cry *laugh*

The cover for the EP is distinctive and has a mythological quality to it, what inspired the artwork?

The artwork was inspired by a guy who came talk to us after a gig in Montreal a few years ago. He compared us to the Parcae, the female personifications of destiny who directed the lives and death of humans and gods. He said that each other had a role on stage: Eva spun the thread with her melody and rhythm foundation, Myriam unwind it with her riff and atmospheric effect, at last Edith cut it with convoluted rhythms. We liked this metaphor a lot because we were already inspired by classical art but suddenly it took a musical dimension and it felt interesting to include it in our visual universe.

Are there any bands in the local Parisian scene that you would recommend?

We would definitely recommend to listen to The Psychotic Monks, Cosse and Liquid Bear! 

Finally, what have you got planned next for Grandma’s Ashes?

We’re focusing on our first album since we don’t have gigs coming, but we hope to play live this summer or at least at the end of 2021. We plan to shoot a new videoclip and a new live session also.

From: https://www.smrgoth.com/post/interview-grandma-s-ashes

Teke-Teke - Garakuta

In order to understand the music of TEKE::TEKE, I first need to explain Eleki. Eleki is a type of Japanese surf rock that, whilst similar to Western surf rock, uses traditional instruments and the pentatonic scale. It popped up in the 1960s and has become a niche over the decades. It wasn’t something I’d come across until I discovered TEKE::TEKE and now I want to discover more.
It’s worth noting that TEKE::TEKE are not strictly an Eleki-only band. They also weave Brazilian surf rock and plenty of psychedelia into their sound. There isn’t anything quite like them out there though. On their new album ‘Hagata’, very much my starting point with the band, I was immediately blown away but the visceral explosion of sounds, cultures and rock symphonies the septet create. Opening with ‘Garakuta’ we have a kabuki dance of flutes, brass, guitars and water-filtered vocals. The guitar and bass sound like a throwback to shamisen riffs, or on tracks like ‘Gotoku Lemon’, like a Bollywood riff. It gives a sly and sensual feel to the music. The woodwind and brass are often playing melodies in unison which give a quirky comedic and secretive spin on things too. Add in some Brazilian-inspired percussion and you have a true melting pot of ideas. Am I in Turkey? Am I in Japan? Am I in India or Brazil? Nope, TEKE::TEKE is based in Montreal.
With such a buffet of sounds to choose from, the band refuses to sit still. ‘Hoppe’ eschews the traditional for a punk rock crunch. The brass arrangement really ups the ante in the bridge and choruses but the rock edge reminds me of Shiina Ringo at times. ‘Onaji Heya’ leans into that comparison more with lots of electronic and baroque elements to the track. Then we break into striving, dramatic guitar solos to break the song into segments like a classic rock tune. The palette-cleansing ethereal harp and flute interlude of ‘Me No Haya’ couldn’t feel or sound a million miles away. Yet as it spins itself into a frenzy, more of TEKE::TEKE’s rock members join in for a whirlpool of ghostly rock nods to something darker.
Taking us fully back to 1960s psychedelic folk is the superb ‘Doppelganger’. Between the sassy brass, the timeless electro-acoustic band sound and some of the cleanest vocals on the album, it is a great place to start if you are new to this style of music. The track is more of TEKE::TEKE’s hippy side rather than the rock side but if the band’s charm is ever going to win you over, it is with this song. Fast forwarding to 70s cop shows, ‘Setagaya Koya’ has guitar whammies that come with giant sideburns. It then switches to a rock interpretation of bossa nova and Latin beats, leaning into the Brazilian side of their sound. Sassy, seductive, dramatic and dangerous sounding, I feel like I’m performing espionage in 1972 Brazil.
‘Kakijyu’ is the longest and perhaps most experimental track. It is a taut and rhythmic drum pattern crammed full of whispered vocals that slowly build and build until the entire band joins in with a euphoric outro. It sounds ceremonial but may be a hard sell to start with. Drums lead the way with the chaotic kraut-rock of ‘Yurei Zanmai’. The track barrels along at huge speed and the vocals literally shatter as the guitars pile in. Hedonistic in it’s setup, this feels tribal and primal as all the instruments zipline between two chords like a ripcord. That leaves the haunting closer ‘Jinzou Maria’ to provide a Brazilian farewell. The South American flavoured ballad starts off like a Latin cowboy theme of vocal and guitar before the rest of the band join to give a psyche-folk outro.
There is a certain diaspora around TEKE::TEKE that I find fascinating. I’m sure I’ve called out incorrect cultures and influences throughout this review but it is such a magical blend of ideas, I’m sure I’ve missed about 25 countries out of the mix too. Sometimes it sounds Mexican, Turkish, Indian, Japanese, Brazilian, American and sometimes all of the above and none at the same time. TEKE::TEKE has a genuinely unique sound and I adore it. This album is a triumph in melting pot sound design that works. Sounds don’t feel isolated or fractured – everything has its place and merges superbly with the other elements. ‘Hagata’ will feature highly on my best of 2023 list.  From: https://higherplainmusic.com/2023/07/17/teketeke-hagata-review/

22 Brides - Visions of You

Libby Johnson is an American singer-songwriter. She co-founded the indie folk band 22 Brides in 1992, and released her debut solo album, Annabella, in 2006. Johnson was born on an army base in Germany. She moved around on the East Coast of the United States and moved to Nairobi, Kenya, when she was 13. She started playing piano at age 7. She and her younger sister, Carrie Johnson, started singing together when they were children. They performed in Kenya, before returning to the United States while in high school. They went to the Berklee College of Music in Boston before moving to New York City in 1983.
In 1992, the sisters formed the indie folk duo 22 Brides, and in 1993 they put out the self-released eight-song CD Selling Fruit in Cairo. The band name 22 Brides comes from an Indian folk tale they heard when they were younger. After being spotted during one of their monthly gigs at CBGB's Gallery in New York, the duo signed with indie label Zero Hour Records in 1994. On June 22, 1994, they released their self-titled debut, consisting of remixed songs from their self-released effort plus four new songs. The album was produced by Daniel Wise, with additional production from Godfrey Diamond, and features Jonathan Mover on drums and Mark Bosch on guitar.
On the year-long tour for 22 Brides, and in advance of their second album, Beaker, 22 Brides expanded into a four-member band with John Skehan (guitar, bass) and Ned Stroh (drums) joining Libby Johnson (bass, keyboards, vocals) and Carrie Johnson (guitar, vocals). Produced by Adam Lasus, the album had a more highly produced feel than the folk influences of the band's debut. Following a Zero Hour distribution deal with Universal Records, Beaker was released on Zero Hour / Universal. On September 9, 1997, Zero Hour released the 22 Brides EP Blazes of Light, which was a sampler of sorts, with songs from their first two albums, "Purified" from their upcoming third album, and a cover of Leonard Cohen's "Hallelujah".
The band's third LP, Demolition Day, was released in 1998, with a return to the more intimate sound of 22 Brides. In an effort to get back to their folk-pop harmonizing roots, the band worked again with Daniel Wise and recorded their vocal tracks live and switched to a trio formation, with Libby Johnson on bass and vocals, Carrie Johnson on guitar and vocals, and Bill Dobrow on drums. The first single from the album "Another Distant Light" debuted on WNNX out of Atlanta.
In October 1995, 22 Brides toured with Dick Dale. 22 Brides played at the 1998 Lilith Fair, and also opened for Ani DiFranco and Freedy Johnston. In 1996, Joe Quesada and Jimmy Palmiotti introduced characters based on Libby and Carrie Johnson in their comic book series Ash. They then created a four-book miniseries, 22 Brides, published by Event Comics, revolving around the characters based on the sisters. Palmiotti later created a spinoff series, Painkiller Jane.  From: https://en.wikipedia.org/wiki/Libby_Johnson

Lovely Little Girls - Shadow Of Bees

Chicago's Lovely Little Girls focus on the details; that bit of flab hanging over a waistband, those ill-fitting shoes that carve deeper with each step and that slight underbite - teetering between the lovely and the repugnant.  Led by visual artist/vocalist Gregory Jacobsen and bassist Alex Perkolup (Cheer-Accident, Flying Luttenabachers, Bobby Conn), Lovely Little Girls is a nine-piece art-prog band that features the cream of the crop of Chicago's avant-rock scene. "Glistening Vivid Splash", the band's second full-length for SKiN GRAFT Records propels the ensemble's darkly humorous vision of absurd sexuality, abject failure, and unceremonious death to new heights by utilizing more space, and employing a strange sense of harmony that will strike a chord with fans of Magma, Cardiacs, Arrigo Barnabe, and early Residents. Produced by Greg Norman and mastered by Todd Rittmann (Dead Rider, US Maple), the music of Lovely Little Girls is permeated by an ominous urgency, ripening and decaying before the ears. 

The drawings and paintings of Chicago artist Gregory Jacobsen aren't exactly easy to look at: his favorite subject is body horror, and he loves to combine bright, kid-friendly colors with beautifully rendered deformities and mutilations and revolting masses of flesh and hair and membrane. Since 2001 Jacobsen has also had a band, Lovely Little Girls, and it's a total package: challenging, dissonant, ever-changing experimental rock, conceptually linked songs, and ambitious themed stage productions that often involve makeup, prosthetics, partial nudity, and large casts of players. His longtime collaborator, bassist Alex Perkolup (also of Cheer-Accident), writes most of the songs; Jacobsen animates their lyrics with his abject, frenzied singing and grotesque, even violent stage presence. - Monica Kendrick, Chicago Reader

The music of the Chicago avant-rock oddballs Lovely Little Girls is inspired by the paintings and drawings of artist/vocalist Gregory Jacobsen. It's the sort of artwork that can inspire lyrics like "Inflammation of the harelip," candy-colored grotesques that seem like carnival art intended to scare children with the threat of STDs. These characters are depicted in the band's Frith/Residents-inspired anarchic outbursts, sideshow skronk in [Henry Darger] Vivian Girls colors. The songs come mostly from the pen of Cheer-Accident bassist Alex Perkolup, who translates Jacobsen's deformed portraiture into an equally deranged sonic palette, a no-wave juggling act by turns horrifying and horrified. - Shaun Brady, Philadelphia City Paper

From: https://skingraftrecords.com/bandhtmlpages/llg.html

Polecat Creek - Midway Road

Polecat Creek features Laurelyn Dossett and Kari Sickenberger, two singer-songwriters from North Carolina who have pooled their talents, ostensibly because their wonderful harmonies bring out more in their songs than each of their own individual voices could. Although the women straddle the fence between bluegrass and old-time (leaning more toward the latter), there are also occasional echoes of Cajun music, honky-tonk, and blues. Their second album was recorded in Louisiana with Dirk Powell producing and Riley Baugus as the main accompanist (mostly on banjo and fiddle). Kevin Wimmer (fiddle), Terry Huval (lap steel and resophonic guitar), Mike Burch (drums) and Powell (a mutli-instrumentalist) make up the rest of the backing crew. The songs, written individually by either Dossett or Sickenberger, are memorable and lyrically sophisticated. “Mama”, has nothing in common with the sappy tributes to motherhood that are prevalent in some country music circles. “The Past Ain’t Over Yet”, the story of a prisoner who is haunted by a murder committed while under the influence, is a jaunty blues that includes some classic lines: “Now I can’t look ahead and I can’t forget / My future’s behind me and the past ain’t over yet.” The title track is a touching song about the collapse of a small-town industry and the inhabitants’ struggle to survive. Strong vocals, tight harmonies, compelling arrangements, and impeccable musicianship all help to bring out the best in the duo’s songs.  From: https://www.nodepression.com/album-reviews/polecat-creek-leaving-eden/

Sons Of Zöku - Sun Shines On Everyone

There is an ethereal mist surrounding Sons Of Zöku that completely sets them apart from their peers in psych pop/rock today. Could it be their Australian roots? The remoteness and the otherworldliness also found in bands like King Gizzard and Tame Impala? Who knows, and also who cares really; the important thing is that they are here, and that we can dive into their wonderful tranquil pool of soothing multi vocals, reverb, and fuzz.
Like other contemporary psychedelic indie colleagues Upupayama, Vampire Weekend or Wolf People, Sons Of Zöku have found a natural way to merge ancient folk vibes from all over the world into their mellow psych songs. From the pastoral flutes of the Irish fields to the Tuareg blues of the African desert, or the sitar song of India, Sons Of Zöku respectfully borrows, forges new connections, and morphs it into their own sound.
Another strong vibe that radiates from Endless is that it is more than just a piece of music, it presents itself as a portal or a shrine through which we might find more than just music. When they chant “meet me on the other side if you will” you feel the willingness to take their hands and transcend to a lighter state of being, leaving troubles behind, clearing the mind of clutter. Mindfulness in indie rock form, just the thing we needed in this hurried bustling world. Sounds vague? Nah, you just need to spin this album a few more times…it will come to you.

I reached out to the band and found Portuguese born Ricardo Da Silva (vocals/guitar) at the helm, willing to provide the answers to my questions. An image unfolds of a strong collective with a unified vision that will very probably take them across many seas and hopefully even to Europe. But let’s meet them first and get to know Sons Of Zöku:

Hi guys, how is Sons Of Zöku doing these days? What is the last thing you did that gave you an energy boost?

Pretty exciting to see our second album Endless getting ready to be released, looking at all the amazing art work on vinyls and things like that, it’s pretty exciting. Also getting invited to play gigs like supporting Minami Deutsch in Perth and in our hometown, things like that always give us an extra boost.

Can you introduce the band to the Weirdo Shrine?

Of course, Ric (me) on vocals, guitar and electric sitar, Ica on flute, keys, vocals and everything percussion, Jordan Buck on Bass and so much more behind the scenes, Hannah Yates on vocals, bongos, congas, electric guitar and keys, Oscar Ellery on electric guitar and sitar and Eddie Hannemann on drums.

What are your musical backgrounds?

I started playing guitar and singing with my friends in Portugal, they had a band and I used to come around and watch them play and thought was the greatest thing ever. Eventually they told me if you can learn a song then I would be in the band, I took it literally and started practicing, I still sucked but eventually they let me join because we were all best friends. When I moved to Australia that was always the idea, to create a musical family. With time and watching each other’s bands and projects the band started taking shape, first me and Ica, then Jordan, then Hannah, Oscar and Eddie. A few different members in between but I won’t bore you with that.     

Where are you based, what is the scene like, and how has it influenced your sound?

We are based in South Australia, Adelaide. The music scene is really diverse, lots of different styles and sounds. It’s a great place to live, has a bit of everything, ocean, hills, countryside, a bit of desert. 

What can you tell me about the new album and its path to enlightenment? How should we listen to it in regard to its message?

To us, Endless represents our path to enlightenment individually and as a band. We are all in our own journeys to find purpose which brings us closer to happiness I guess. This album sings a lot about that, songs like Earth Chant sing lines like ”air is all I got, my god is air” or “when here and now we eternally bound” talk about to truly live is to simple breathe and in the moment so cliché yet so hard to achieve, or a song like Hunters, “we strong enough never to drown at sea, just weak enough never to make it to shore” or “we walked and sailed for days at once to a place where all the clouds were gone, to find nothing we found everything still we try and try and try, but words got in our way” and “ many years gone by but we still try searching for something we can’t be sure”, the struggles of becoming a successful band, to find our shore. Yumi, “here we are all form enlightened, here we are the void in spite of” or simply “the arrow is your guru”, what you aim to do in life is your purpose, guides you. Kuhnoo, ”will we ever bloom to bear our own weight”, Nu Poéme, “say what you feel say what you want for once”… so many examples I could give you but at the end of the day we would like to believe that music transcends all that, and that the listener will find their own meaning out of it.

Endless is your second album, what difference in approach did you guys take when creating it?

Sun was more of a collection of songs over the years as a band, Endless is more a representation of the band at a specific moment in time, a time where we are ever-changing in our personal lives and musically. It was a more calculated effort to say what we feel and less stream of consciousness type of writing.

What can you tell me about the non-music influences that inspired you to make the album?

We truly believe art is life and living, getting ideas in terms of music and sound from other artists is a big part of music, but to turn it into art and something meaningful to us, life and how we feel is the most important thing to us. We have lived, and we are living, that is the biggest catalyst in our songwriting.

Who are some artists that you really hold dear at the moment?

Mdou Moctar, Les Filles de Illighadad, The Perks of being a wallflower soundtrack, North Americans “Going Steady” album, Air, Vashti Bunyan, also I swear I have on repeat Raly Barrionuevo “De Alberdi” song and Nicholas Britell “Little’s Theme” from Moonlight motion picture soundtrack.

What does the future look like for Sons Of Zöku? And when can we expect a European tour?

Right now the plan is to release Endless into the world and then to see how our European fans receive it, but we definitely have them in our sights and we can’t wait to meet them all soon.

What should the Weirdo Shrine reader do immediately after reading this interview?

Follow Sons of Zöku on Spotify then put your headphones, ear pods or whatever, press play on any of our songs and go do something, bike ride, the dishes, cooking, jog, lay down, meditate, whatever, just let us be the soundtrack to whatever is happening in your life. If you like it, privately share it with a friend or loved one, that’s what’s all about.

From: https://weirdoshrine.wordpress.com/2024/01/25/review-qa-sons-of-zoku-endless-2023-copperfeast-records/

Jefferson Airplane - Two Heads

Want two heads on your body
And you've got two mirrors in your hand
Priests are made of brick with gold crosses on a stick
And your nose is too small for this land
Inside your head is your town
Inside your room your jail
Inside your mouth the elephant's trunk and booze
The only key to your bail

Two heads can be put together
And you can fill both your feet with sand
No one will know you've gutted your mind
But what will you do with your bloody hands?
Your lions are fighting with chairs
Your arms are incredibly fat
Your women are tired of dying alive
If you've had any women at that

Wearing your comb like an ax in your head
And listening for signs of life
Children are sucking on stone and lead
And chasing their hoops with a knife
New breasts and jewels for the girl
Keep them polished and shining
Put a lock on her belly at night, sweet life
For no child of mine
Want two heads on your body
And you've got two mirrors in your hand

Jefferson Airplane finally finished their third LP Halloween week after two months of off-and-on recording in Los Angeles. It’s called After Bathing at Baxter’s, has a fold-out cover designed by cartoonist Ron Cobb, and, says lead singer Marty Balin, is "a whole new and different thing for the group." Recorded while the San Franscisco band lived in luxury at a Beverly Hills mansion that the Beatles rented on one American tour, the album’s very tentative release date is November 15.
As of November 1st, seven tracks, besides ‘Ballad of You and Me and Pooneil’ and ‘Two Heads’ previously released as a single, were finished. Three are Paul Kantner compositions: ‘Watch Her Ride,’ ‘Martha,’ and ‘Wild Time.’ The other members, except for Jack Casady, have contributed one track each. Grace Slick’s song is ‘Rejoyce,’ originally called ‘Ulysses,’ whose lyric is snatches of James Joyce’s novel. An oboe plays behind her voice. "It’s too powerful for Top 40," says Balin, "it has the line, ‘I’d rather my country died for me,’ and there’s a character in it named ‘Blazes Crotch’." Spence Dryden did his cut, ‘A Package of Value,’ all by himself, putting three drum tracks, a marimba track, and one on harpsichord into a ‘song sandwich’ that is the joke of the album. Jorma Kaukonen’s number, ‘Last Wall of the Castle,’ is ‘a mind-blower,’ according to the Airplane’s personal manager, Bill Thompson. ‘Young Girl Sunday Blues,’ Balin’s contribution, is over five minutes long, the album’s longest cut.
Answering criticism that the album is way behind schedule, Balin said the group had never set a date for the album’s completion. "We’ve just done it when we could." As the Airplane left the Fillmore a week ago Sunday for their last planned session in RCA’s Los Angeles studios (the same ones used by the Rolling Stones and the Grateful Dead), they had no idea of what songs would complete After Bathing. "We have a few more done," Balin said, "but we don’t like them. There’ll probably be two more and they’ll be things we come up with right at the last minute. We always do that. "Man, we’re the worst people ever in a recording studio. We create our music in the ballrooms. Compared to them a recording studio is so sterile, like a hospital, that it takes us three weeks just to get used to walking through the door." This time, with complete artistic control and without the Grateful Dead’s Jerry Garcia as ‘spiritual and musical advisor,’ the Airplane has been on its own. "No one helps us," said Balin, "I think everyone there is afraid of us. We try crazy things and no one tells us they can’t be done. Our producer is like a school teacher with a real creative class, letting the kids do what they want and just making sure they don’t smash all the erasers."
Bill Thompson says the album cover is as strange as the sounds inside. Cobb’s cartoon is a monster airplane which carries, in tiny detail, symbols of plastic American culture; beer cans, billboards, ticky-tack houses and buildings, some of which are recognizable San Francisco landmarks. The plane trails a banner inscribed with the album’s title, a name suggested by an "underground-underground group called the Night Owls," says Balin. It refers to no known place or event. Inside the fold are six pictures of the Airplane taken by photographer Allan Frappe. Thompson says they are indescribably far out, with strange color and form distortions. Balin is so impressed that he would like to do a whole book with Frappe’s photographs. If hard times in the studio have held up the works, la dolce vita back at the mansion hasn’t helped any either. The mansion, with a giant pool, sauna bath, rifle range, electronically-controlled gate, and a Japanese houseboy (all for $5,000 a month), has been "a giant toy," says Balin for the group who haven’t always had it so good. "Every night something was happening," Balin said with a fond smile. "There were parties, strange parties, and then weird parties. We just sat there and watched the world go by right inside that house."  From: https://www.rocksbackpages.com/Library/Article/jefferson-airplane-after-bathing-at-baxters

Ritual - Sadly Unspoken

Ritual is a relatively new Swedish band with a very unique sound, using acoustic instruments like violin, mandolina, bouzouki, etc.. Melodic complex rhythms reminds of early Yes but with a personal and innovative touch. An excellent folk-prog production with skilled musicians.

Finally the new Ritual album has arrived. Ritual released their debut album, simply called "Ritual", in 1995. Looking back it's quite clear that their debut album was one of the best debut albums in the 90's, so it was with great excitement I started listening to their follow-up "Superb Birth". Although their music has changed a bit since the debut you can still hear the typical Ritual sound and compositions with great musicianship. Their music is a mixture between Anekdoten, The Flower Kings, Folk music, Jethro Tull, Led Zeppelin and Rush. The tracks are the opening "Dinosaur Spaceship", the folky acoustic "Golden Angel", "Coming Home", "Really Something", "Lobby", the oriental "6/8" with cello, violin and viola, "Into The Heat", the Led Zeppelinish "Sadly Unspoken", the single "Did I Go Wrong", the Led Zeppelinish "Mothersong", "A Voice Of Divinity" with only a grand piano and great vocals from Patrik Lundström and the closing "Do You Want To See The Sun". Ritual have managed to record an album that almost equals their debut album, and they have had a great impact on the progressive rock of the 90's. I certainly hope that they will take their music into the new millennium so that we can have many Ritual albums in the future. Highly recommended and a superb album!

From: https://www.progarchives.com/album.asp?id=1174

Nuha Ruby Ra - Rise

A certain degree of gracious humility might be de rigueur for a rising artist talking about their increasing successes, but when Nuha Ruby Ra says that the last twelve months have exceeded her wildest expectations, you can tell she’s not just playing for compliments. Influenced by Nick Cave’s discordant first band The Birthday Party and German experimentalists Einstürzende Neubauten, the London artist makes hypnotic, uncomfortable, hyper-sensory music that’s about as far away from an easily-quantifiable Spotify playlist category as you can get; on stage, she prowls the space performing to a live-recorded backing track, dressed in leather with a painted N slashed where a third eye might sit. An obvious choice for a mainstream audience, Nuha most certainly is not, and yet in recent months, she’s found herself on a steady stream of high-profile tours, handpicked to support the likes of Yard Act, Viagra Boys, Warmduscher and King Gizzard and the Lizard Wizard. This month, she’ll step it up another notch, joining Self Esteem on her sold-out victory lap.
“I really would not have expected in my wildest dreams that people would connect with the music I’m doing on the current scale of things. It’s already exceeded all expectations. I thought if I was lucky I’d be some niche small, small thing, but it’s given me some genuine hope and belief in people seeing things outside of the norm,” she begins, sat next to a rail of outfit choices that include a vast array of red and black cowboy boots and coats, alongside a black bunny mask procured from a Hamburg sex shop. “Something I get from people at shows is, ‘I’ve never seen, heard or experienced anything like this before but it’s inspired me’. I think it’s a new thing for a lot of people but they seem to be into it. I think what helps is that I’m really not putting anything on. I’m very honest when I’m performing and maybe that travels through somehow. It never comes from a place of antagonism.”
Though, on a surface level, the music Nuha makes exists in an uneasy space that refutes ideas of what should be palatable - both musically and lyrically - she baulks at the notion that any part of what she does would be seen as playing a character. Instead, music is a space to let all the shadow parts come to the light, leaning into the angry, sad, sexual sides of herself and pushing them to the fore. “I’ve found a place where I can let out these parts of me and these ways of being. It’s not a persona, it’s kind of the most real me there is,” she says. “When I was younger I was exposed to pop music and bands where everything was quite ‘correct’ in terms of song structures, and people singing ‘well’ in inverted commas. Then when I came across bands [like Neubaten] I just felt like it was giving across a feeling that wasn’t about perfection, and feeling over perfection remains the most important thing to me.
“I’m lucky enough to be able to write songs and go out and perform them, and that helps shed a lot of trapped emotions,” she continues. “I scream on stage in some of the songs and those screams are a fucking godsend. There are so many times when you need to be a bit primal in life but you can’t go and scream in the street or people think you’re crazy. Recently in ‘Run Run’ I’ve started saying to the audience, ‘This is your space to scream if you want to scream’ and some of the shows people have really let rip! It’s like a little help group.”
This month, the group will receive a new text in the form of ‘Machine Like Me’ - six strangely mesmerising, sometimes jarring yet consistently playful tracks unlike anything else around, that push Nuha’s self-sufficient polymath ethos even further. Having pivoted from her punk band roots to perform with nothing on stage aside from a backing track and herself (“I found myself performing in a really different way because the connection is just between me and the people at the gig”), and having directed her own recent videos on top of designing and making her own DIY merch, now Nuha is playing almost every instrument on the record herself too.
“It’s just this massively narcissistic thing where I do everything myself!” she cackles. “No, but with every record it’s just what I feel like doing at the time. On the first EP I wanted to have the role of the singer because I’d never had that before, and then with the new one I wanted to be like, could I basically create what sounds like there’s a good band here but I’m playing everything? It’s all just play to be honest, and seeing what might be fun. So for the one after that, I really don’t know. I just tend to see what I want to do at the time and where that takes me.”  From: https://diymag.com/interview/nuha-ruby-ra-march-2023-interview

Fairport Convention - Sloth

Full House marked the consolidation of Fairport’s transition from West Coast-styled, hallucinogenics-influenced outfit - a British Jefferson Airplane, perhaps – to purveyors of rocked-up, electrified British traditional folk; a courageous move tentatively started with the inclusion of A Sailor’s Life on Unhalfbricking and triumphantly completed on Liege And Lief, perhaps the most influential and important UK rock album to appear since Sergeant Pepper. But Fairport had then lost arguably its two most important contributors, founder and direction-setter Ashley Hutchings and crystal-voiced frontwoman Sandy Denny. New bassist Dave Pegg proved a valuable acquisition with his rocky style, but the other members had to close ranks and take on the vocal chores themselves. They did so, with an initial naivete that retrospectively evinces considerable charm, Richard Thompson and Dave Swarbrick proving to have distinctively different rural vocal deliveries and Simon Nicol reluctantly airing a melodious tenor that would eventually see him become the band’s leading voice.
The other element that newly marks Full House out is the humour and looseness which its illustrious predecessor lacked. With talented but earnest female vocalist Denny no longer having to be accommodated and adulated, the boys were free to have some fun, and it comes across in these grooves, notwithstanding the doomy themes of some of the lyrics: songs about sexual exploitation, sin and death can be funky, as Doctor Of Physick, Sloth and Sir Patrick Spens show. I recall seeing this line-up play the Bath Festival Of Blues And Progressive Music at Shepton Mallet in 1970, and the high jinks on stage would not have been on display a year earlier.
Walk Awhile is a wonderfully swinging opener, with all three lead vocalists taking turns at the verses and fine, fiery harmony and octave work between Thompson’s guitar and Swarbrick’s violin. Sloth is an ominous, downbeat death march that builds to an almost unbearable tension in the lengthy instrumental break as Thompson’s edgy Strat and Swarb’s compressed, wailing fiddle duke it out in opposite stereo channels: perhaps the best instrumental work the band ever produced. The two cheerful jig medleys offer a variety of familiar and little-known traditional tunes, forefronting Swarb’s and Peggy’s dueling mandolins on Flatback Caper and all four string players on Dirty Linen. Spens is a gloriously disrespectful, steady-rollin’ take on that revered Scottish traditional ditty, while Nicol’s amplified dulcimer provides the backbone for that country’s mournful anthem for the dead, Flowers Of The Forest. The Island CD re-release offers a number of bonus tracks, including the unnecessarily lugubrious Poor Will & The Jolly Hangman that had been removed (probably wisely) from the original pressing at the last moment at the insistence of its writer, Thompson, and the brief but excellent non-album single Now Be Thankful, one of the band’s evergreens.
Full House is arguably Fairport’s last really great album, its release being followed by the departure of Thompson for a solo career and his replacement by Jerry Donohue, whose elegant Nashville style prefaced a gentle slide in the direction of country rock. Henceforth Swarbrick would take over the band’s direction as the quality gradually declined until his own departure, when Nicol as the last-standing original member would take the reins. After countless further line-up changes and albums the band remains extant and much-loved to this day, with its annual outdoor reunion at Cropredy in Oxfordshire attracting swarms of the faithful.  From: https://therisingstorm.net/fairport-convention-full-house/

The Dresden Dolls - Live at The Roundhouse, London 2006

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 1

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 2

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 3

The Roundhouse in London was one of the most happening places to be in the 60’s & 70’s as they hosted many well known acts such as the Who, the Stones, Bowie, Hendrix, Pink Floyd, the Doors, Kraftwerk, & the Ramones as well as all forms of nude performance art & avant theater. The Roundhouse closed its doors in the 80’s but reopened in 2006.On November 3rd & 4th of 2006 the Dresden Dolls brought their “Punk Cabaret” show to the Roundhouse & recorded both nights for this DVD release.
The DVD is theatrical, amazing, and intense from the introduction by comedian Margaret Cho all the way through the closing song “Delilah” which lead singer/keyboardist Amanda Palmer sings an amazing & strange duet with new wave icon Lene Lovich. The Dresden Dolls are a duo featuring Amanda Palmer & one of the hardest hitting drummers I’ve ever seen, Brian Viglione. The opening number “Sex Changes” grabs the viewer immediately as Palmer(wearing whiteface, a faded old black “Who” t-shirt, a garter belt with black & white striped stockings & combat boots has the fans singing along shouting ”They always said that sex would change you! ”.The duo launches into “Gravity” from their s/t album and 3 girls appear on the stage. One girl is dressed in black & white stripes, climbs a curtain hanging from the center of the stage & performs some upside down acrobatics while the 2 other girls who are dressed in garters and stockings dance to the demonic rhythm of the song. I could probably write a 4 page review on the performance because there is so much going on during the show but I’ll just stick to the highlights which includes an incredible performance of “Backstabber” from their ‘Yes,Virginia’ CD. ”Coin Operated Boy” has the whole audience singing along with Palmer as she sings about her plastic fantasy. ”Mandy Goes to Med School” features 2 females dressed as pregnant schoolgirls skipping out to the front of the stage and hitting each other in the stomach with hammers. The 2 girls then hold hands and kneel in front of the duo and watch Palmer & Viglione present an intense musical exchange of drums and keyboards. The Dolls launch right into a fast paced punk tune titled “Lonesome Organist Rapes Page Turner”. The tempo is brought down as they perform “Slide” which features a few music box dancers in the center of the crowd. The stage filled with all the performers dressed in various styles and costumes as well as a few girls dressed in bondage while tied to chairs as the band performed “The Jeep Song”. The crowd all waved Sparklers in the air as the group performed their 2006 single “Sing” before leaving the stage for the first time. For the encore Brian came out with his acoustic guitar as Amanda danced around and sang “Mein Herr” from the musical ‘Cabaret’ & ended the song by crowd surfing. Australian under ground band, the Red Paintings’ singer Trash McSweeny performed a duet of “Mad World” and the set ends with the Dresden Dolls revved up psychotic single “Girl Anachronism”.
Bonus features documentary & 2 extra songs: The first is “Missed Me” which probably could’ve fit in nicely on Pink Floyd’s ‘The Wall’. ”Missed Me” is another duet with Palmer singing with Edward Ka Spel (lead singer of the Pink Dots) which is followed by “Delilah” featuring Lene Lovich. Overall this is an entertaining and intense performance with something going on all the time. Palmer says in the liner notes that for every performer you see on the DVD there are a dozen more that don’t make it onto the camera.  From: https://www.classicrockforums.com/threads/dresden-dolls-live-at-the-roundhouse.6663/

The Grip Weeds - The Inner Light (Beatles/George Harrison cover)

The Grip Weeds are a powerhouse pop-psyche band extraordinaire who write insanely gripping melodic nuggets- a gorgeous alchemy of the 60’s and 70’s brought into the 21st century, with ripping guitars, powerful drumming, and golden harmonies. The Powerpopaholic interviewed both lead guitar Kristin Pinell and band leader, Kurt Reil.

Kristin – What made you first want to pick up a guitar and start playing? How did you end up hooking up with Michael Mazzarella and The Rooks prior to joining the Grip Weeds?


KP: I was a music fan since I can remember (about three years old). I had older brothers and sisters who were always playing music. I would sneak into their rooms after school and play their Beatles, Monkees and Byrds records over and over for hours. At twelve, I picked up a friend’s guitar and started to figure out how to play stuff, pulling parts off records and going to shows.  I really got into Jimmy Page- He had a great sense of melody mixed in with this power and raw energy- It made an impression on me as a shy teenager. Years later I met Michael from the Rooks when we both were gigging around Hartford, CT. We would do shows together and hang out. He turned me on to a lot of cool music back then.  I loved the songs he was writing and figured we should form a band. At some point later on we both found ourselves living in NYC and I think originally he had asked some of The Grip Weeds to back him up on a few recordings. I wasn’t in The Grip Weeds yet…but it was all one big scene back then and one thing led to another.

Kurt – Did you play in any other bands prior to The Grip Weeds? How 
did it all begin for you and Rick in Jersey?


KR: Any bands we were in before The Grip Weeds really don’t matter, because none of them  were any good or worth writing about! My Brother Rick and I started playing together as kids, once Rick put the drums down and picked up the guitar, as we were both drummers up to that point. The Grip Weeds formed gradually from there as we searched for our sound. When Rick and I started the group, we were at Rutgers University in New Brunswick, and just wanted to play cool obscure sixties covers from The Who and The Hollies. Eventually, we started writing our own songs and slipped them one by one into our live shows, hoping they would work alongside these great old songs. Our songwriting improved to the point where we wound up with a totally original live set, which we then recorded- that eventually started a whole other career of music production! 

Kurt – How did the relationship with Kristin get started and how 
has it grown over the years?


KR:  We met through playing in the New York City Pop Scene of the nineties- actually, it was at a Smithereens show! I was a young drummer and she was a beautiful guitarist who I thought was way out of my league! But we hit it off in the best way and eventually she joined The Grip Weeds and we got married. We have a dual musical and real-life relationship; sometimes, we’ll be fighting in the studio and go upstairs for dinner and be getting along great! To me, it’s important to maintain that division so that we can have our personal life outside the band and studio, which tends to take over everything.

Kristin – Have you experienced any big challenges in being a female 
lead guitarist for the band?


KP: I wish I had more female role models. I didn’t realize I was such a misfit. I always tried to find other female musicians to form a band with but it was difficult to find the level of dedication and musicianship there.  I did have an all female group for several years when I lived in Boston. We were very driven and I really got my chops playing with them.The biggest challenge is that it’s very physically demanding playing shows and touring. It’s a constant struggle to keep myself healthy and balanced. It ain’t easy. Most women at my age are doing other very important things like raising children and keeping families running.  I have very few female musician friends who go through what I go through.

Kurt – Now that the re-issue of House of Vibes is done, Any plans 
for new material?


KR: We started a new album last year, and were originally going to work on both, but the reissue was difficult to put together and took a lot of time and effort, so we had to stop work on the new one. If we didn’t, House of Vibes Revisited wouldn’t have come out for another year! Also, we’re recording additional tracks for an upcoming "best of" compilation on Little Steven’s label Wicked Cool, and we recently recorded and videotaped a "live in the studio" performance, which will see the light soon as well. Once all this is done, and we’ve adequately promoted HOVRE, we’ll get back to our new stuff. Rick and I are still writing new songs all the time- I have written several this year that we’ll want to record. For once, we have much more material than we can release! But I am very excited- I think this next one will be our best album ever.

Both of you – Is touring in support of House of Vibes still fun? Or 
is it a pain in the butt and you can’t wait to get in the studio?


KP: This summer we played some festivals but right now we are focusing on building the band through our web presence, press and radio. We always love playing live shows but we definitely have a great recording situation right in our house.  Recently Little Steven and his label have taken us under their wing and that may open up the doors to more live work.  Our goal is to get our music out to the most people we can and doing a lot of shows without the right promotion and support doesn’t help us.  Most of our last shows were put on with the help of our record label, Rainbow Quartz.

KR: I love to play and miss it terribly when we’re not, and even though touring is hard I enjoy it. But that said I’m very into getting back into the studio to continue working on our next album, which was started last year and interrupted. We’ll probably do some local shows and then get back to work in the studio this Winter.

Kurt – Any regrets not being on a major label? Or do you feel that 
the smaller labels work harder for you as band?


KR: No- The reality is that major labels don’t nurture artists anymore. If you don’t produce sales right away, you’re out. And now major labels are seen as dinosaurs, as they haven’t yet figured out how to survive in the modern world of digital downloadable music, which is threatening to destroy them. We are in a good place as we’re able to make the music we want to when we want to. Still, it takes a lot of money and effort to promote music, and we’ve been very lucky to have had Rainbow Quartz getting our name and music out there.

From: https://www.powerpopaholic.com/artist-interviews/the-grip-weeds

Sarah Mclachlan & Paula Cole - Elsewhere (Live)

Four years before she founded Lilith Fair—a traveling music festival which prioritized the work of and the collaboration between women musicians—and just before she broke into the upper regions of the American charts with “Building a Mystery,” Sarah McLachlan was alone in the Canadian woods. In order to write and record her third album, 1993’s Fumbling Towards Ecstasy, the Nova Scotian singer-songwriter isolated herself and her two cats in a cabin located in the mountains of southern Quebec. She felt incapable of writing anything for the first three months, faintly aware of something stirring inside her which routinely failed to assemble into words or songs. It was cold. Snow had accumulated on the windows of the cabin in thick columns, and the temperature sank into the negative 30s. Outside were mammoth rock formations and woods and ice and an empty dark that invaded them at night. She felt small and alone.
McLachlan had grown self-conscious about her previous two albums, considering them either too amateurish or rigid in their writing and production. Her debut, Touch, consisted of the first songs she’d ever written; in lieu of any personal experience, she adapted her lyrics largely from the material of her dreams. Her second album, Solace, expressed a confusion and displacement she associated very specifically with her early twenties, a “mourning of [her] lost innocence,” as she told Hot Press in 1994. So she settled herself within the vastness of the mountains of Quebec longing for a kind of self-annihilating perspective—to get close to herself by getting as far away from her life as possible.
In the year before she situated herself in the wilderness, McLachlan had found herself stalked by two of her fans. They followed her from show to show and wrote her letters that progressively warped into disturbing exposures of their inner psyches. One of them moved to Vancouver, where McLachlan lived at the time, and routinely materialized in her neighborhood. “There were instances like running into them a couple of blocks from my house, and saying they’d been there for a couple of days,” she told the Toronto Star in 1993. “It was pretty scary. I stopped answering my mail a long time ago. I had my best friend answering it for a while, and then she had nightmares so she’s not doing it anymore, either.” A court issued a restraining order against the fan, but McLachlan was considerably shaken by the experience. She started looking over her shoulder whenever she left her house, checking her periphery for any menacing, incoming blurs.
While writing the album, McLachlan kept a small journal. Every morning she’d fill three pages of it with free association, circular thoughts about coffee that would barely solidify in her head before disintegrating, but which, halfway through her second page, would evolve into a kind of accidental introspection. She would play Tom Waits records, and she would focus on the slow redistribution of detail on one of her favorite albums, Talk Talk’s Spirit of Eden. On that record, Mark Hollis, the principal member of Talk Talk, abandoned his band’s synth-pop aesthetic and stretched his new compositions out like canvas, applying his voice to them in minimal, liquid strokes that interrupted and gave shape to the yards of silence that surrounded it.
Then spring arrived. The snow evaporated and McLachlan discovered that a river, recently thawed, flowed just behind her cabin. Small blooms unfolded on branches of the trees outside. “The whole world just blew up like I’ve never seen it before,” she said. “Everything became so amplified.” She started writing songs again, and would now routinely walk the two miles from her cabin to the studio with whatever ideas she had gathered over the course of the day. Whether it was a fully-formed song or a flicker of an idea, she and her producer, Pierre Marchand, would add musical ornaments—the scattered pulse of a drum machine, a few pale shimmers of electric guitar—until they sounded like whatever it was that Sarah McLachlan songs were beginning to sound like. The songs were located somewhere between the suggestive adult contemporary gloss of her previous albums and something as boundless and figural as Spirit of Eden, a vast stone temple in which her sourceless voice echoes and decays.
This is the image that Fumbling’s first song and lead single, “Possession,” places in my head, or rather it’s the painterly details of its sound design that submerge my head in that colossal space. “Listen as the wind blows/From across the great divide,” McLachlan sings, her voice drowsy, delayed, unraveling at the same pace as a pale ribbon of smoke, “Voices trapped in yearning/Memories trapped in time.” McLachlan wrote “Possession” about her stalker; the song actually takes place in the tortured, pressurized depths of his perspective. The lyrics reproduce the rhetorical and metaphysical somersaults that appear in devotional religious texts; the narrator of “Possession” conceives of his own desire as an empty tomb where he sits and yearns, consumed by an ancient longing.
For McLachlan, inhabiting this perspective was a way for her to convert her trauma into a kind of investigation of the often porous border between desire and obsession. (Her stalker attempted to sue her for harvesting the details of the song from the content of his letters; before the suit could ascend into any court, he killed himself.) The question that animates “Possession” is the question that animates the majority of her work since, most visible in songs like “Sweet Surrender” and “I Love You”: Why does falling in love feel like lightning forking through the body?  From: https://pitchfork.com/reviews/albums/sarah-mclachlan-fumbling-towards-ecstasy/

R.E.M. - The One I Love

Song of the Week: The One I Love. The song begins with a simple but energetic drum intro by Bill that launches into Peter’s electric riff that to me, makes the whole song. The riff is fairly simple but it’s perfect to me by how catchy it is, and how well it sets up a mood. The riff begins with a couple plucks of the low E string to accent the Em chord in the verse, before it goes to a more melodic part on the B and big E strings. It’s a simple riff because a lot of the notes are just open strings but yet it’s able to create a dark and yet catchy melody that fits perfectly for the rest of the instrumentation and lyrics. And when you get to the verse, you get those wonderful patent pending Peter arpeggios.
Now it’s important to note that this song’s structure is interesting as I know everyone is aware. You have an intro, and then a fair short verse, a pre chorus, a chorus (that only contains backing vocals and Michael yelling “fire!”) and then it just repeats other than a short solo. The lyrics in every verse, pre chorus and chorus, are all almost the same minus a small change in the last pre chorus. I think it’s the simplicity of the structure and lyrics though that makes this song so powerful.
When you hear the verse “this one goes out to the one I love, this one goes out to the one I’ve left behind” you might think this is a love song. Mainly because he sings “the one I love” which is not past tense even though he’s had to leave them behind for some reason. But when we get to the pre chorus, things don’t seem so lovey dovey anymore. “A simple prop to occupy my time” seems like he’s using something to keep himself busy and I think he’s using people to “occupy” his time.
Michael is usually one to leave his songs open to interpretation, but in a interview with Rolling Stone he did say that the song is “incredible violent” and that “It's very clear that it's about using people over and over again". Which makes sense because in the last pre chorus he changes “a simple prop” to “another prop” which I think shows that using people has become a habit or ritual for him. The “prop” is a person and where he actually truly loves them or not is up for debate. What I do know is that I love Mike’s bass playing in the chorus. It’s a fantastic bass melody but it’s not mixed too high in the song where it takes away from the melody or guitar playing.
I’m curious what you guys think “fire!” in the chorus is suppose to represent. Because other than Mike’s backing vocals of “She's coming down on her own now / Coming down on her own" it’s only Michael yelling fire. Either way it’s catchy as hell and I love how it shows off Michael’s vocal abilities. Sure, he sounds great when he’s using his lower register and being reserved, but when his really goes for the high and louder register, it honestly gives me goosebumps.
I also don’t want to forget about Peter’s little solo in the middle of the song. Much like Peter’s playing, it’s not flashy or in your face, but it fits the song so well. It’s one of my favorite parts of the song because how great that melody is. We also can’t forget about Bill’s drumming because not only does it drive the song, but his fills are top notch and help give the song its energy. The song had a music video made for it and as some of you might remember, the director of photography for it was Alton Brown who later went on to host the show Good Eats on the Food Network channel. It was a video that saw heavy rotation on MTV and helped with the popularity of the song.
The song was also a live staple for the band and was definitely a crowd favorite. I especially love the live versions just because you can hear Mike’s backing vocals more clearly in the live version. I didn’t even know he had backing vocals on the song for the longest time because it’s mixed so quietly on the studio version. But live you can really hear them and just like all of Mike’s backing vocals, it includes a great melody and is the glue to Michael’s vocals.  From: https://www.reddit.com/r/rem/comments/s5eqfy/song_of_the_week_the_one_i_love/

Daisy House - Ready To Go

Just stepped out the Tardis, back from a quick trip to San Francisco circa 1967 and I could swear I heard Daisy House blasting out of some greasy spoon on the Castro. They’re that authentic. Welcome to Daisy House. If you love Joni Mitchell, the Mamas and Papas, the Byrds, Buffalo Springfield, or Crosby, Stills, Nash and Young, then you are going to want to stay awhile. I went to their bandcamp site to download just a few choice cuts but ended up buying it all – they’re that good. It’s not just that they emote a particularly addictive blend of 1960s folk rock + killer harmony vocals, the songwriting is also first class. Daisy House are a father and daughter duo, Doug and Tatiana Hammond, with dad writing and playing on nearly all the songs while both provide vocals. Over four albums, they have developed their clear influences into an impressive body of work.
The debut is simply 2013’s Daisy House. The basic formula is here: twelve string acoustic and electric guitars, a celtic twist in the songwriting, with vocals reminiscent of Joni Mitchell (on “Ready to Go” and “Cold Ships”), the Mamas and Papas (on “Two Sisters”), and Richard and Linda Thompson (on “The Bottle’s Red”). The Byrdsian influence is particularly strong with dad’s vocal on “Statue Maker.” 2014’s Beaus and Arrows reproduces the ambience of the debut, with a few new surprises, like a very early solo Paul Simon atmosphere on the Salinger-inspired “Raise the Roof Beam Carpenter.” I agree with Don over at I Don’t Hear a Single, the first two albums draw heavily on 1960s British and American folk idioms.  From: https://poprockrecord.com/2017/06/28/welcome-to-daisy-house/