Alunah - Strange Machine

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

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

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

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

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

Q3 – How would yourselves describe your sound.

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

Q4 – Which bands influence you on your music.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

---__--___ - Night of Fire

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

Carole King - BBC Live 1971

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

Villagers of Ioannina City - Age of Aquarius

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

Wernyhora - A Ya Sobi Na Horbochku

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Starbelly - Yes, I Love Her Again

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

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

Venus Hum - Honey

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

Secret Colours - Dream Dream

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

Interview with Tommy Evans:

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

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

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

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

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

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

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

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

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

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

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

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

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

Farafi - Sembere

 

 

One of the women in Farafi comes from the US, the other from Britain, with French-Indian roots. Darlini Singh Kaul and Jot Tyson met in Goa in India, started singing together unaccompanied, found their voices and musical ideas clicked and decided to do more with it. Now they both live in Berlin, and after a pair of official bootlegs, this real debut does credit to their mix of percussion and singing, along with ngoni, kashaka, and ghungroos. The duo often sing in languages which aren’t theirs, mostly from Africa, as well as one of their own invention.
So far, so cultural imperialist, right? Well, not really. The music might nod vaguely towards different cultures, but everything here is their own invention. While the heart of it all is just the pair of them, they actually sound at their best and most adventurous when accompanied by a full band, as on the opener, “Desert Sun,” which quickly catches fire. There are plenty of African inflections, yet it still possesses something that’s completely its own – a manifesto for what’s to come on the disc. At times it can get pretty wild, with the electric guitar pushing hard towards the boundaries of atonality, as with the solo on the closer, “Kele.” But it works. The band fires up the women and they respond. Individually together they have excellent voices, but it’s together that they shine, becoming more than the sum of the parts; strong, confident and certain, no matter what tongue they’re using.
Yes, it does get hippy-dippyish at times. But thankfully it’s only for brief moments, then the music is blazing again. There’s real power here, vocally and instrumentally, and in the duo’s songs. For all the cues they take from Africa, they keep the listener’s attention. Farafi really do have a warmth and will that’s all their own.  From: https://www.rootsworld.com/reviews/farafi-20.shtml

Gene Clark - Full Circle Song

"Full Circle Song" (also titled "Full Circle") is a country rock-style song written by Gene Clark. For the lyrics, he used an allegorical wheel of fortune motif to comment on the unpredictable nature of fame and fortune. Recorded in Los Angeles in 1972, the song was originally released on Clark's Roadmaster, which was only issued in the Netherlands in January 1973. Clark, with his former group the Byrds, re-recorded the song as "Full Circle" for the 1973 reunion album, Byrds. According to biographer John Einarson, "Full Circle Song" was written by Clark in early 1972. Critic Matthew Greenwald commented that, although it is hard not to believe that the song is an autobiographical commentary on Clark's own critically lauded, but financially unrewarding solo career, Clark himself always denied that this had been his intention.
Clark first recorded the song in April 1972 at Wally Heider Studios in Los Angeles, as part of the recording sessions for Clark's second solo album for A&M Records. For these sessions, Clark and record producer Chris Hinshaw assembled a top flight crew of L.A. studio musicians, including Sneaky Pete Kleinow, Clarence White, Byron Berline, and Spooner Oldham, but progress on the proposed album was slow.The recording sessions were eventually abandoned due to A&M's frustration at the lack of progress, and consequently the album was shelved. Some months later, Clark's friend and former Byrds manager, Jim Dickson, approached Dave Hubert, the head of A&M's foreign markets division, regarding a possible European release for the eight tracks completed during the abandoned sessions. Despite protests from some A&M executives, these tracks were compiled with three other previously unreleased Clark songs and issued in the Netherlands as the Roadmaster album.
In late 1972, prior to the Dutch release of Roadmaster, Clark decided to re-record "Full Circle Song" for inclusion on the Byrds' reunion album, since, at that time, the song was gathering dust in the A&M tape vaults. During the reunion recording sessions, the song was renamed "Full Circle" and, for a time, it provided the album's working title. Ultimately, the album would be released with the eponymous title Byrds, as Clark was uncomfortable with his song being used as the title track in case the public mistakenly assumed that it had been written specifically for the reunion. Clark confirmed that this was not the case during a 1979 interview with Byrds' biographer, Johnny Rogan: "I'd already recorded that song a couple of years earlier and it wasn't really written about anything specific. It was just an idea I had." The Byrds' recording of the song is similar in feel to the Roadmaster version, with Rogan commenting on the addition of a soaring David Crosby harmony vocal, while Byrds expert Tim Connors described it as "a strong country rocker" highlighted by mandolin playing from the Byrds' bassist, Chris Hillman.  From: https://en.wikipedia.org/wiki/Full_Circle_Song

Ebb - Mary Jane

Ebb (as in ebb and flow) are a 6-piece band based in Scotland. They stormed onto the prog scene in the UK in 2022/23 and have continued their upward trajectory since, becoming a firm favourite at the UK's biggest prog festivals. Their music can vary so much as to be dramatic, eclectic, moody, quite heavy (but not metal), and tuneful. It's often filled out by the classic Hammond organ sound provided by Nikki Francis, who also plays wind instruments. However, despite this nod to the 1970s, their music is fresh, inventive and arty, with poetry and stories occasionally recited by Kitty Biscuits, who also provides backing vocals, and when on stage, glides around in slow motion, dancing with various props, playing percussion, and even blowing bubbles. The lead singer and lead guitarist is the charismatic Erin Bennett, whose voice can range from gentle to powerful but always in tune. The band's sound is completed by the drums of Anna Fraser, the synths of Suna Dasi and the sole guy, Bad Dog on bass. After releasing their first EP in 2019, their debut album Mad and Killing Time was released in late 2022, with an accompanying EP to follow at the beginning of 2024.  From: https://www.progarchives.com/artist.asp?id=12717

For many bands, living communally is part of the rock’n’roll dream – for Ebb it’s simply what they do and an important element of their shared identity. Wintering in their base, an arts collective in rural Scotland, lead singer and guitarist Erin Bennett, Kitty Biscuits (percussion, backing vocals) and producer-bassist Finn McGregor (aka Bad Dog) bask in the warmth of the hugely positive reception for current album, Mad & Killing Time. Its central tale of how love can be found between the most unexpected people in the most bizarre circumstances is told through a winning combination of eclectic storytelling and strong songwriting. “God, we’ve had incredible receptions from various different online and print publications; good, great, really killer reviews,” Bennett enthuses. “People have really listened to it from beginning to end, which is what we wanted. It’s like a film that takes you on a journey,” continues Biscuits. Although Ebb’s official recording career covers barely three years, the band share connections that go back much further.
Initially finding common cause personally and musically after an accidental meeting in the US in 2005, they formed strong bonds as friends and collaborators in various combinations over the next few years. A personal tragedy ultimately forged the present band, when Jo Heeley, Bennett’s civil partner and bandmate in folk rock trio Syren, passed away after a short illness in 2012. “When Jo died it was just appalling and Erin went down like the Titanic,” reflects McGregor. “And we formed the Erin Bennett Band around her to kind of get her going.” Although Bennett continued writing and performing, the evolution into Ebb was marked by 2019’s Death & The Maiden EP and fully bloomed during lockdown. “We completely smashed that backing band model, we were locked down together… and played for 18 months,” says Bennett. “It was very much about live jamming and the prog,” agrees McGregor. That prog derives from the rich and varied influences and experiences of Ebb’s members, which include folk, classical, performance art, shock rock and poetry or “symbiotic twins of American classic music and European innovation and eccentricity,” suggests Biscuits.  From: https://progzilla.com/ebb/

The Seldom Scene - Live at Winterfest 1988

The Seldom Scene were established in 1971, and they would practice in Ben Eldridge's basement. These practice sessions included John Starling on guitar and lead vocals, Mike Auldridge on Dobro and baritone vocals, and former Country Gentlemen member Tom Gray on bass. The mandolinist John Duffey, who had also performed with the Country Gentlemen, was invited to jam sessions at the time when Mike Auldridge arranged for the group to play as a performing band. Another member of the Country Gentlemen, Charlie Waller, is responsible for the band's name. Expressing his doubt that this new band could succeed, Waller reportedly asked Duffey, "What are you going to call yourselves, the seldom seen?" The band had weekly performances at clubs and performed regularly at the Red Fox Inn, a music club in Bethesda, Maryland. The band switched over to the Birchmere music hall in Alexandria, Virginia, which resulted in a residency.
Each of the band members had a job during the week; Duffey repaired musical instruments, Eldridge was a mathematician, Starling a physician, Auldridge a graphic artist, and Gray a cartographer with National Geographic. They agreed to play one night a week at local clubs, perform occasionally at concerts and festivals on weekends, and make records. After playing for six weeks at a small Washington, D.C., club called the Rabbit's Foot, the group found a home at the Red Fox Inn in Bethesda, Maryland. They performed at that venue Friday nights from January 1972 through September 1977 before starting weekly performances at the Birchmere music hall.
The progressive bluegrass style played by the Seldom Scene had become increasingly popular during the 1970s, especially Duffey's high tenor and the vocal blend of Duffey/Starling/Auldridge. Their weekly shows included bluegrass versions of country music, rock, and even classical pop. The band's popularity soon forced them to play more than once a week — but they continued to maintain their image as being seldom seen, and on several of their early album covers were photographed with the stage lights on only their feet, or with their backs to the camera. Though the Scene remained a non-touring band, they were prolific recorders, producing seven albums in their first five years of existence, including one live album (among the first live bluegrass albums).
In 1977, John Starling left the group to focus on his medical career, and was replaced by singer and songwriter Phil Rosenthal, whose song "Muddy Water" had been recorded by the Scene on two earlier albums. Starling and Rosenthal shared their lead vocals on the group's sixth studio album, Baptizing (recorded in 1978). Around the same time, the group switched record labels from Rebel to Sugar Hill. Starling recorded a solo album for Sugar Hill in 1980 called "Long Time Gone" and another in 1982 called "Waitin' On a Southern Train", on both of which Mike Auldridge played.
The lineup of Rosenthal-Duffey-Gray-Auldridge-Eldridge recorded five albums of a comparable popularity to the ones with the founding members, including John Starling. Rosenthal proved to be as good lead singer as Starling and his baritone voice contrasted well with Duffey's high tenor extravaganzas. He also wrote typically two to three songs on each of the albums and also added acoustic guitar solos to the group.  From: https://en.wikipedia.org/wiki/The_Seldom_Scene

The Dresden Dolls - Girl Anachronism

An anachronism is the representation of someone as existing or something as happening in other than chronological, proper, or historical order, or one that is out of its proper or chronological order, especially a person or practice that belongs to an earlier time. The song Girl Anachronism was written by Amanda Palmer, who was half of The Dresden Dolls, and it relates to how she often feels out of place. In our interview with Amanda Palmer, she told us: "My mother had a superstition about numbers, so she wanted me to be born on an even day of an even month. And the surgery was slated for an odd day of an odd month, so she moved it back. Just a couple of days. I think the surgery was slated for May 1st, and she moved it to April 30th. And there was nothing unhealthy about it. The doctor was like, 'Yeah, sure.' Got a couple of days here or there, it really doesn't change anything. But I always thought that was a great poetic excuse for lopsidedness."
Regarding the lyrics, "Accidentally on purpose," Palmer explains: "that was an actual snarky remark that my parents used to make to me when I was a kid any time I hurt myself. Like if I fell down the stairs or if I came home with scrapes and bruises, they would roll their eyes and say, 'Oh, sure that was an accident – accidentally on purpose.' And I would go, 'No, really! I fuckin' ate it on the sidewalk!' And it bent my head in a strange way, because when you're a kid, your intuition is saying, Well, that's not true, that's not right. But then you're constantly second-guessing, because the adults know which way the wind's blowing. So I was really twisted about what my intentions were as I was growing up, and I never trusted myself. I never trusted my own instincts and my own intentions, especially when it came to attention-getting. Because I felt trapped in this strange narcissistic hole where I knew I liked attention, but I was taught that it was a very bad, naughty thing to want it. So I was coming out of a very warped space for a long time before I sorted out my own stuff, which was the better part of my teens and 20s. That line is a reference to all that stuff."  From: https://www.songfacts.com/facts/the-dresden-dolls/girl-anachronism
 

The Monkees - Daily Nightly

After making most of the album Headquarters on their own, the Monkees broadened their outlook for their fourth album, Pisces, Aquarius, Capricorn & Jones Ltd., bringing in select session players to assist them in recording. This album marked several changes for the group, the most immediately noticeable being Mike Nesmith's increased vocal contributions. He sings lead on five of the album's tracks, while Mickey Dolenz, the band's previously dominant lead vocalist, sang only three. But what a trio of tunes! Mickey memorably voiced 'Pleasant Valley Sunday,' another hit from the pens of Goffin & King and one with surprisingly sharp social commentary. Climbing to #3 on the pop charts, it featured a blazing, 'Paperback Writer'-style guitar riff that fit seamlessly alongside the other rock hits of the day. The single's B-side, 'Words,' also with a Dolenz lead vocal, became a hit as well.
Beyond his voice, Dolenz significantly contributed to the sessions by bringing a Moog synthesizer into the studio, one of the first twenty ever produced. This made Pisces one of the first, perhaps THE first, rock album to include the Moog. It was featured to great effect on Mickey's third lead vocal track, 'Daily Nightly.' This adventurous spirit proved contagious, making Pisces one of the most fully-realized albums in the group's career. In addition to recording songs written by their usual songwriters, songs from up and coming pop composers like Harry Nilsson, Michael Martin Murphy and Jeff Barry were also included.
As previously mentioned, Nesmith stepped to the vocal fore on this release, notably on the soaring Mann/Weill composition 'Love is Only Sleeping.' A hypnotic song in trippy 7/4 time, it is one of the Monkees' finest recorded moments. Originally intended to be a single, it remains one of their most admired album cuts and was featured in three separate episodes of the television show. Another Nesmith-led track, the country rock showcase 'What Am I Doing Hangin' Round',' delightfully foreshadowed the direction he would later take on his solo recordings with the First (and Second) National Band. The album's closer, 'Star Collector,' is a decidedly adult take on the subject of groupies and an indication that the band had grown weary of squeaky clean, bubblegummed themes.
The album's title refers to the astrological signs of the four members. Since both Nesmith and Davy Jones were Capricorns (and both share a December 30th birthdate), the '& Jones Ltd.' tag was added to avoid confusion. The album's front cover artwork, an illustration by Bernard Yezsin, features four blank-faced band figures staring out over a sea of colored flowers, with the Monkees' logo half-hidden among the flora. An apparent homage to the cover of Sgt. Pepper's Lonely Hearts Club Band released earlier that year, it was another deliberate signal that the Monkees were a real band, ready to be judged amongst their peers.  From: https://www.bear-family.com/monkees-the-pisces-aquarius-capricorn-jones-ltd.-180g.html?srsltid=AfmBOopsN8K54mZZZ_U2mM3H_xIPoXem28SwMb4aHTvVe6p2kedmzm0z

Two Minutes to Late Night - Foreplay/Long Time (Boston cover)

The ball has dropped on 2020, but as we forge ahead with renewed vigor and a steely resolve, it can be difficult to appreciate the full extent of how this ongoing pandemic upended every aspect of our culture. The music world saw big names succumb to COVID, from the recent passing of country singer Charlie Pride, to Adam Schlesinger of Fountains of Wayne, to the legendary singer-songwriter John Prine. But for every big name that passed, for every megastar that had to cancel globe-spanning tours, there are countless others who grind out a living as touring musicians that were crippled by the closures of smaller clubs, not to mention the millions employed at those venues.
Musicians had to find new ways to stay connected to their audiences. Many livestreamed solo performances from inside their closets over social media, or on Zoom shows organized by promoters of shuttered clubs and even local libraries.  While these shows were far more intimate than watching a full band at a crowded bar, there is only so much one performer can do in front of a webcam. I’m no computer expert (all I know is that the World Wide Web is a series of tubes), but it is mystifying to me that technology can instantly apply a camera filter to your face to make you look like a chicken nugget, but is unable to adequately account for audio lag to allow people to remotely play music together, in real-time, over the interwebs. And some genres of music do not lend themselves to quiet acoustic renditions of songs performed by a single person surrounded by their sweaters.
I listened to a lot of heavy metal in 2020, as Unwinnable’s honcho Stu Horvath and I embarked on an Iron Maiden podcast. It’s the best Iron Maiden podcast (hosted by two longtime friends from Kearny, New Jersey) out there, in my humble opinion, but listening to all that metal made me appreciate that it is a genre that cannot easily thrive in the brave new world of coronavirus living. Thanks to being a long-time fan and social media follower of Brooklyn metal club St. Vitus, though, I discovered, early on in the shutdown, the greatest thing going in heavy metal in the year of our (demon)Lord 2020 – Two Minutes to Late Night’s Bedroom Cover series.
Two Minutes to Late Night (“2M2LN”) is an exuberant heavy metal themed spoof of a late-night talk show that is as DIY and devoted to the artists it showcases as the club where it started, St. Vitus. Hosted by Gwarsenio Hall and featuring Kevin the Sound Guy, a.k.a. comedians and co-creators Jordan Olds and Drew Kaufman, 2M2LN manages to thread the very narrow needle of being fun and silly and metal as fuck all at once. One kickass Bedroom Cover of “Rocket Queen” by Guns N’ Roses finds Gwarsenio being handed a cup of tea mid-song. As he sips from the mug, his pained shrieks at the too hot liquid stand in for Axl’s signature ooohs and yeows. Funny isn’t a word often associated with metal. It’s a genre known as much for being self-serious and dark as it is for the utterly illegible fonts used in the logos of its bands. Yet, 2M2LN reveals that heavy metal has plenty of funny and engaging performers who are eager to laugh at themselves and the over-the-top nature of metal’s image.
When the pandemic hit, both St. Vitus and 2M2LN wasted no time in addressing the challenge head-on. St. Vitus launched a hugely successful Kickstarter to support the bar and its employees, and on March 18th, 2M2LN posted its first Bedroom Cover of “Weird Al” Yankovic’s Devo-inspired masterpiece, “Dare to Be Stupid.” It features 2M2LN co-star Stephen Brodsky of the show’s “house band” Mutoid Man, Nadia Kontogiannis of Dead Temple as a mustachioed Elvira character, Weird Al Vira, and members of Khemmis and Thou playing along with the ludicrously talented Olds. The video displays the strange mix of joyful energy and rippin’ rock that makes the talk show so engaging. Whatever metal mystique is lost by seeing a guitarist shred your face off from a corner of their cramped NYC apartment is more than made up for by the “Metal Stars – They’re Just Like Us” quality of glimpsing into the performers’ very normal looking homes. This allows the well-produced videos to achieve a certain level of intimacy, similar to the solo shows many other, far quieter, musicians have been doing.
Since that first effort, 2M2LN has released a new cover video weekly, totaling 36 installments to date. The song choices cover a broad range of music, from Steely Dan’s “Reelin’ in the Years” to The Misfits’ “Earth A.D.” (with a particularly surprising guest performer). The latest video is a parody of Elton John’s “Step Into Christmas” featuring Gwar entitled “Stab Into Christmas.” It’s as magical as you’d expect. As a bonus, the show has good politics. They released a cover of Rage Against the Machine’s “Killing in the Name” played by all non-white performers in support of defunding the police, and the aforementioned holiday cover features the excellent lyrics, “Stab into Christmas / Let’s kill a landlord / We’ll make him sit on a machine gun bidet!” God bless us everyone, indeed.  From: https://unwinnable.com/2021/01/03/two-minutes-to-late-night-bedroom-covers/

Sarabeth Linden

Primus - Mr. Krinkle

"Mr. Krinkle" is Faith No More drummer Mike Bordin, who used that name as an alias when he checked into hotels. Primus frontman Les Claypool, who wrote the lyric, told Greg Prato: "The thing about Mike, he is one of these guys like Mike Watt - he has a very interesting perspective on things, and he's really good at tossing out these colorful little quips on how he perceives things. So we would have these great conversations on the phone. That's what 'Mr. Krinkle' is all about." The line, "Seems the rumors are about your team might move away" refers to the San Francisco Giants, who were considering a move to Tampa. Mike Bordin ("Mr. Krinkle"), a huge Giants fan, was not happy about it. Primus was at the peak of their popularity when they released this song on their third album, Pork Soda. "Alternative" music was big, but even in that genre, Primus was on the fringe and rarely got airplay on commercial radio. But there was a big market for these strange sounds and a festival to showcase it: Lollapalooza. Primus headlined in 1993 and included "Mr. Krinkle" in their sets. This is a rare rock song with a double bass as lead instrument, played by Les Claypool. To avoid bringing the unwieldy instrument on the road, he would perform the song by using a bow on his electric bass. Mark Kohr, who did most of the Primus videos in the '90s, directed this one, which is quite a feat of film-making. Done in a San Francisco warehouse, it's a one-shot video with acrobats, contortionists, dancers and other oddities that come in and out of the frame as the band plays in the corner. Les Claypool wears a pig-head mask the whole time to jibe with the "pork" theme of the album. Many of the performers were friends of the bands, and others came from the Circus Center school nearby. In a Songfacts interview with Mark Kohr, he said: "It was a lot of fun. And I'll tell you, from a one-shot standpoint, it was a lot of work. I had to do the timing of all of those events - meaning all of those people coming out - and have all that happen at the right time. It was a real challenge. It was a little terrifying. I had all these people and we had a rehearsal the day before. I was like, don't freak out, just keep moving, because it's going to turn out the same in the end whether you worry and crumble or not. But it was one of those times when I felt like my skin was on fire because there was so much riding on the whole situation. But that was a really fun piece to do with a lot of great people."  From: https://www.songfacts.com/facts/primus/mr-krinkle
 

Buke & Gase - Pink Boots

[I have two windows open: in one, my questions for Arone Dyer and Aron Sanchez of Buke & Gase. In the other window, I have the Creation Kit, and I’m building a castle for Skyrim. I’m determined not to use fan-made resources, crafting purely from what shipped with the game. I tell myself it looks more authentic that way, but that’s untrue. It’s because by setting myself limits, blocked creatively into a corner, I have to think my way out. I have to snap those little lego-blocks together in ever more inventive ways, which pushes and stretches me. I can’t rely on things built by other people to let me coast along: either I imagine it, or it doesn’t exist.]

There’s no such thing as a buke. Arone Dyer invented it out of an old baritone ukelele and bits of whatever else they had lying around – I think it had bits of old car in it at some point – because they imagined it and wanted it to exist. Arone needed something lighter than a guitar, but I’m baffled by the ukelele: it’s just not something I associate with indie rock.

Aron: Actually there are a lot more ukeleles in indie rock than Gase’s. We don’t necessarily like ukeleles at all – we wanted to make a small experimental electric guitar and made one from parts of a ukelele. It is now a Buke.

The gass is a guitar-bass hybrid, similarly concocted by Aron Sanchez because he just didn’t want to be just another bass player. Hence, Buke and Gass – or Buke & Gase, as they call themselves for obvious reasons. Just the two of them, with just the two instruments plus their voices and whatever percussion they can strap to their feet. They make a hell of a racket for such a tiny band, but it’s a glorious noise. It’s indie rock, stretched and pushed until it makes something new. Descriptions are amusingly inept – they’re not “folk metal” or “chamber punk”, but I’ll give them “asymmetric congruencies of melodic discordance”. They pretty much sound like this.

Arone Dyer and Aron Sanchez were introduced by a mutual friend.

Aron: Arone was on a swing, I was carrying sheet rock. 
Arone: We were inside, it was bright, like the sun was hanging out with us.

They’d met after Dyer moved to New York City from Minneapolis in 2000, where she joined the noise rock crew Hominid. Sanchez played with another act called Proton Proton before joining Hominid, and he and Dyer became more than bandmates. Then they split up.

I married my former bandmate, but I quit the band as soon as we got together: I couldn’t imagine the fallout from a break-up – the awkwardness, the arguments – it just all seemed too claustrophobic to me. Curious, I ask how their ex-lover status affected their working relationship.

Aron: Not a topic.

Does he mean that it didn’t cause problems, or that it’s none of my damn business? Probably both.

Arone: Non-issue-inducing.

What, aside from each other, have you taken from your old bands Hominid and Proton Proton to put in Buke & Gase?

Aron: The Gase began development in Proton Proton. In Hominid we learned how and how not to work together.

Arone took three years out from her music to race and fix bikes. She still works as a mechanic, which strikes me as an unusual occupation for someone in a busy band. I picture physical exhaustion and long hours, and ask how that fits in with being in Buke & Gase.

Arone: I don’t want to kill anyone, so I have to pay attention to the brakes.

Another answer that could be taken either way. All I know of Aron’s dayjob is that he worked with the Blue Man Group. What was it like being blue?

Aron: I have never been blue, actually: I used to be in the production side of the company. I still build instruments for them when requested.

I’ve never been too kind to Buke & Gase in the past. It didn’t help that my first exposure was the spit-take-inducing Revel In Contempt, which made me think they were the greatest new band on the planet … and then heard an album that to me sounded like half a dozen more versions of Revel In Contempt. That’s not because Riposte was a boring or samey album – most bands don’t even have one song that good in them, let alone an album-full – but it was the same sensation I got the fourth time I saw Cirque du Soleil: once you’ve ooohed-and-ahhed after the most astonishing aerial stuntwork in the world, they have to try so much harder to impress that it’s almost impossible for them to do so. You become immune to the spectacle with frightening speed. That first impression is so breathtaking that you want that feeling again – that sense that you didn’t even know it was achievable – and simply doing it again or even doing it better is just not going to get that reaction. Because you expect it.

General Dome is less like being ambushed in broad daylight and more like being glomped. You know exactly what it is and where it’s going, but that doesn’t stop it surprising you because it is pushing further in all directions. Arone’s voice darts around the scale like a butterfly and the abrupt changes in time signature are as dizzying as its flight, but it’s poppy, too. The choruses are infectious. If it was hard to describe Riposte, then General Dome is even more genre-defying, landing on all points on the noise-rock-indie-rock-math-rock spectrum. I wonder how much they planned that out before they started to write it.

Aron: The only plan was to create more music using the limitations and challenges of our instruments. Most of the compositional elements come from improvisation, we mostly follow where the song tells us to go, and hopefully we are getting better at it.

Is that Autotune I hear?

Aron: We are using a vocal processor to add melodies and harmonies. We use it in a creative way rather than a corrective one. We use the same technology to add harmonic layers to the Gase and Buke as well.

[Still with my level-editor window open, I’m surveying my fairytale castle. It looks beautiful, I admit that much, but it doesn’t quite look right. Why, really, have I imposed those limits on myself? I think I’ve done as much as I can, and it does look good, but if I unshackled myself, I could do better. Because I could take all that I’ve learnt through imposing those constraints and apply it to the new resources and make something better still. Better, perhaps, than anyone has seen before. Instead of just plopping them down in the usual places, I can bend them in new directions and make something that will stop you in your tracks and mutter “wow”.]

Buke & Gase are going to take their self-imposed shackles off, too.

What would you like to achieve with the next recording?

Aron: Perhaps getting more help with production, exploring new sounds. 
Arone: Maybe change the name and the instruments, and therefore change the set of self-induced limitations to continue to be creatively inspired by all things fun.

Who’s on your MP3 player?

Aron: Extra Life, The Knife, Arvo Part and 437 other artists.
Arone: Lizzy Mercier Descloux, Shellac, De La Soul, and most of what Aron’s got.

From: https://reinspired.wordpress.com/2013/01/30/interview-buke-and-gase/