Saturday, August 9, 2025

The Orange Drop - Julia Dream (Pink Floyd cover)


Forming in 2007 in the City of Brotherly Love, neo-psych band The Orange Drop has been releasing their special blend of mind altering music on Bandcamp since 2011. On November 4, 2016, Mega Dodo Records releases The Orange Drop’s fourth album, Stoned in Love, as both a CD and a limited edition lysergic orange vinyl LP of 250 copies. The Orange Drop is not exactly a retro band, instead they have re-invented 60s/70s psychedelia, slipping in 21st century ideas. Picture, if you will, taking a bit of Julee Cruise (Twin Peaks), The Doors, early Pink Floyd, The Byrds, and a dash of Wooden Shjips, swirling them into a kaleidoscopic aural experience and you may get an idea of Stoned in Love. Searing drone guitar, tons of reverb, melodic vocals, and experimentation abound. The Orange Drop is definitely not a party band. Instead they lock you into a groove, while you sit and sway, as they take you on a magical journey, ultimately having to scrape you off the floor. They also deliver an impeccable cover of Pink Floyd’s “Julia Dream,” rivaling Dave Gilmour’s vocals. But caveat emptor — the abstract and experimental 1:16 instrumental “Substance D” can be very disturbing if you are under the influence.  From: http://expose.org/index.php/articles/display/the-orange-drop-stoned-in-love-6.html


Lola Colt - At War


Adored by fellow musicians, critics and music fans alike, London six-piece Lola Colt have a rare ratio of male to female members. It's a balance which could explain why their sound is so spellbinding and seductive. With roots in psych, influences in vintage film and cinematic sound, and the use of unusual instrumentation such as Shahi-Baaja, Darbuka and Harmonium, there’s a depth and atmosphere in their music akin to a film noir soundtrack. Frontwoman Gun Overbye’s lyrics add another spiritual dimension, formed as standalone pieces of poetry on themes of hypnotism and heartache and merged later with the band’s enveloping soundscapes.  From: https://www.hannahgould.co.uk/?q=roster/lola-colt

Lola Colt don't hold back. Live, the band are all poise and precision, channeling their energy towards a joint cause with expert care. On record, Lola Colt knew when to strike hard. The band's songwriting melded post-punk influences to the rather more deranged side of Nick Cave and the Bad Seeds, resulting in a potent, black-as-hell, blend. New album 'Twist Through The Fire' will be released on July 1st, and it's a coruscating, inspired return. Perhaps the band's broadest statement yet, it moves from bad trip psychedelia to lush sonics, punk attitude, and Israeli folk songs.
At War: A railway runs along the arches at the back of my house, and at night the heavy goods trains rumble past slowly as they creep into the city. I wrote the riff to what would become In War late one night to the rhythm and sound they made. To me it’s therapeutic, but Gun must have found it somehow deeply unnerving because she went on to write one of the most raw and emotional/personal songs on the album from it. I love the contrast she created by doing that.  From: https://www.clashmusic.com/features/album-track-by-track-lola-colt/


Himmelrum - Sølvflod


On their new album, Vand, Død & Ensomhed (in English Water, Death & Solitude), the Danish experimental dream pop band Himmelrum create a narrative of exquisite isolation, punctuated by the enveloping forces of the natural environment. The album carries the listener from the endlessness of the ether in songs like Sølvflod and Kære Blå, Sender Sonar!, down onto the shifting earth in Blodbøg I, II, and III, and finally to an ephemeral interiority in Nerve, as Eigil Pock-Steen Jørgensen’s vocals function like a lonely instrument humming out to an empty, silent night.
Himmelrum is a quartet with Casper Ørum Munns (vocals, guitar, bass, and BAHA), Eigil Pock-Steen Jørgensen (vocals, drums, synthesizer, and percussion), Carlo Janusz Becker Lauritsen (vocals, trumpet, flugel horn, and organ), and Mathias Uttenthal Milling (vocals, guitar, synthesizer, rhodes, and fidget spinner). Vand, død & ensomhed is their third album. Although the band have been playing together for six years, Vand, Død & Ensomhed is their first collection of lyric-based songs. I had a chance to chat with Eigil, Carlo, and Mathias about the release of the new album. Carlo described their use of lyrics as a method of “coming closer to something like human sound, a directly relatable human emotion.” As the band conceived the lyrics, they “improvised with the voice and used it as an instrument,” with “some lyrics written to the sounds of Caspar singing melodies, mumbling.”
The band’s improvisational roots speak through the synth and horn sounds engaged in a beautifully strange call-and-response dialogue across the album. As the band told me, “Our history is one of improvisation—that’s where it all started.” On their new album, electronic sounds conjure Kraftwerk and Neu! while guitar distortion reveals influences like My Bloody Valentine and Ride. Yet Himmelrum’s third album is also distinctively the band’s own. It was created almost entirely on the island of Sejerø, where the band spent days under skyglow making music. The island is just 11km long, 2km wide, Carlo told me, “so you’re always so close to the ocean.” The band’s time on Sejerø took place largely in winter, although they stayed in a summer house on an island that’s populated only during warmer months. On Sejerø, the band explains, “we manage to switch between day and night when we’re there . . . That’s why the music sounds like it sounds.” The songs that arise out of their oceanside isolation are strikingly unnerving works that sound like the image of a salted night sky, interrupted by streaks of indigo light. (“Before Covid, of course, isolation meant something very different,” the band recall.) The synesthetic elements of Himmelrum’s music shouldn’t come as a surprise given their process for writing songs that appear on Vand, død & ensomhed:
“We all sat down and wrote letters to the color blue. Out of that session, we thought about what the color blue means to us – in terms of water and sky. Then we had a huge bank of sentences we all wrote together, and we let it go. We picked up the song again one year later, and by that time, the lyrics were from all of us.“  From: https://louderthanwar.com/himmelrum-vand-dod-ensomhed-album-review/#:~:text=On%20their%20new%20album%2C%20Vand%2C%20D%C3%B8d%20&,experimental%20dream%20pop%20band%20Himmelrum%20create%20a

Derwana - Dziady


Derwana is a mythological goddess whose cult was associated with the forest and music. According to legends, she was a beautiful woman with long, fair hair, dressed in robes of leather and leaves, and her head was adorned with doe horns. Her face was calm and gentle and her eyes shone like golden stars. Derwana is an original music band founded by Magda Przychodzka, who from the very beginning has been the main vocalist, composer and author of most of the lyrics. The band is inspired by rich Slavic mythology and ancient rituals.  From: https://goout.net/en/velesar%2Bderwana%2Bdiabol-boruta/szirikx/

The Last Tavern: Summer is the event season. Fantastic events take place basically every weekend. The beginning of July will be very laborious in your case. Concerts in small clubs are different from those organized during themed events. Which form do you prefer?

Magdalena Przychodzka: Each concert is different for us. Everyone is unique in their own way. It does not matter if it is a great festival with a huge audience or a small chamber concert. We take great joy from sharing our music with everyone. It often happens that these concerts, which do not seem to be some great events, outweigh those festivals where we could count on wider interest, popularity or atmosphere. So there is no clear answer here. We just love to play.

Nowadays, the folk metal and folk rock scene is developing a lot and there is a lot of variety. Some bands only play traditional instruments, while others treat the folk atmosphere as an addition. You sometimes say in interviews that you think about adding elements from electronic music. Does all this mean that listeners of this genre are flexible and open to experiments?

I cannot talk about the preferences of the listeners, everyone finds what they are looking for in music. I believe that limiting oneself to some kind of stylistics or instruments is very harmful for a musician who wants to develop. Derwana is just such a line-up that has a specific style and specificity, but at the same time continues to look for new solutions to develop and move forward. Someone once said that there was everything in music. We do not agree with this. We create something that flows from us, we create, we search, we find and connect. This is what musical maturity is all about, this is what the future of music is about. On a search.

Slavic culture is very rich. Each region has something to offer. Any of them especially inspire you? Or maybe there is one that does not appeal to your imagination?

This is an interesting issue. There is no specific Slavic direction we would be hitting on. Our melodies and songs are a mix of various folk styles. We are open to various forms of early and folk music. We weave these canons with each other, creating something in its own way, different, with a hint of freshness. Many of the themes are based on early music, but they are also combined with modern sound, a well-developed rhythm section, melodic guitars and ethnic instruments. Otherwise. Everything that inspires us, no matter what style it is, can be interpreted in our own way. Give it its own language, its own style.

Over the years, Slavic culture has tried to break into the mainstream several times. Słowianki Donatana, “Koko, Euro Spoko” and now the performance of the Tulia band at the Eurovision festival. Some became a meme, a viral. How important is the serious approach to culture and where does the lack of tact begin?

Each musician has complete freedom in what he does. There are no diagrams or guidelines here. For some, some performances will be perceived as kitsch, while for others they will be a masterpiece. There is no definition here. Music is like art. Subjective. It’s not a sport where someone won or lost. Here you can perform the best song in the world and there will always be someone who doesn’t like it. It’s normal. Therefore, I am of the opinion that every artist creates music that comes out of him. Often, if it does not do it from the heart, it becomes an artificial creation devoid of authenticity. It is up to the recipient how he or she interprets it.

Do you conduct research when creating new material? Do you study the roots of legends from a given region?

No. The songs that are written are mostly stories of their own. These are stories about a non-existent world. At times, they may refer to legends or myths, such as Topielica or Południca. Many times, however, they are songs about life dressed in our own style. The song Nie Płacz Dziewko or A Tomorrow is a song that tells about mundane situations that can affect all of us. Told in a slightly different way. We want our texts not to be limited to myths or legends. We want to talk about what surrounds us, hurts and delights us. The message is very important.

Have you ever played in a location associated with the song you are performing? If so, what were the reactions?

We recently played such a concert in Węgrów. My adventure with folk began in Liw, 5 km from Węgrów. For me, this place is magical for many reasons. This is where my family’s roots go, many songs were written here, and finally here we shot the clips for our songs. So I can safely say that if it weren’t for Liw and the knightly tournaments organized there, maybe I would never have become fascinated with early music.

Your album “Czary Modły” may be a milestone. How was it created? Did you know immediately what the soundtrack would look like? Does the order of the tracks matter?

Czary Modły is a collection of songs that form one stylistic story. Each is different, but each has common features. We tried to choose the order of the songs so that it was varied and delicious. The album also includes graphics made by me, which refer to the plot of the songs, color and bind the material together.

In the information about you, you can find the words: “Slavic rock – full of secrets, undiscovered lands, fairy tales and yet unknown stories.” How much else is there to be discovered in this music genre? What are your goals in the near future? Do you have a specific plan for the next concerts, music videos, albums?

Our goal is to play, make people happy and keep creating. There are still so many undiscovered places that exist in our heads. We would like to be able to introduce them soon with a new album and concerts. There are many ideas. Willing too. Everything is a matter of time.

When it comes to inspirations besides musical – what fantastic universe is the most interesting for you? Do you have similar tastes or are everyone interested in something different?

Interestingly, each of us listens to completely different music. Maybe that’s why Derwana is so diverse. As a singer, I weave white chants there, but also strong rock vocals, Majkel is fascinated by the sounds of the past, she experiments with electronics, analog sounds, Tonic focuses on selectivity, strong support, rock flair. Grzesiek is fascinated by melodic and progressive metal with elements of symphonic metal. Radomir plays early music and shanties. However, no species is alien to each of us. We are happy to improvise during rehearsals in various styles. Music is also great fun.

From: https://ostatniatawerna.pl/en/interview-magdalena-przychodzka-vocalist-of-the-band-derwana-about-music-and-more/



Cheeto's Magazine - Chili Guillermo


Modern prog in the vein of metal has always been somewhat of an issue to me, with so many bands either sounding like Dream Theater or Animals As Leaders/Periphery clones, either uneccesarily dramatic, or simply very similar to all the other dark, gloomy, highly technical bands out there, doing little to separate themselves from the crowd. To this, there are of course exceptions. Enter Cheetos Magazine, a band that if nothing else, is wonderfully refreshing, but oh boy is it something else. While remaining firmly in prog territory, with longer songs with many shifts and solos throughout, I haven't heard such upbeat, fun music in absolutely ages. The best way I can think of to describe this band's aesthetic is that of some sort of twisted children's entertainment, further accentuated by the brightly coloured album art and goofy vocals. There's a very defined 80s feel that everything has, with over the top synths and a very cheery, almost glam rock vibe in places.
Chili Guillermo is an amazingly energetic piece with sweeping keyboard and synth lines that simply explode right from the get go, the song barely letting up as quirky vocal lines are belted out, backed up by a bouncy melody from the backing vocals. Of all the songs on the album, this one is definitely the one that I've had the strongest urge to just start singing whenever I listen to it, especially with the short, yet absolutely wonderful chorus, such a short melodic line beng so perfectly catchy. This song never fails to put a smile on my face, as it's just the perfect blend of melody, power, and an incredibly happy tone.  From: https://www.progarchives.com/album.asp?id=60806

Buffalo Daughter - Mirror Ball


From the 1990s onward, Buffalo Daughter have been a consistently inventive force in Japanese music. Though they've been associated with the Shibuya-kei scene -- which was at its peak when the band emerged -- their vibrant mix of funk, dub, no wave, electronic music, and noise is more eclectic and overtly experimental, with roots in the work of acts like Neu! and Kraftwerk. Buffalo Daughter's genre-mashing style first made an international splash with 1996's EP compilation Captain Vapour Athletes, which was released by Grand Royal, the Beastie Boys' tastemaking label. From there, the group leaned into the different sides of their sound, honing their sleek motorik rhythms on 1998's New Rock and adding orchestral and acoustic touches to 2002's I. Though their output slowed in the 2010s, Buffalo Daughter proved they were as musically restless as ever with albums including 2010's hip-hop-influenced The Weapons of Math Destruction and 2021's kinetic and politically charged We Are the Times.
Prior to forming Buffalo Daughter, guitarist/vocalist SuGar Yoshinaga and bassist/vocalist Yumiko Ohno were members of the band Havana Exotica. Playing an electronically enhanced mix of dub and funk, the group released two albums on the Japanese indie label MIDI: 1991's Yann Tomita-produced Odotte Bakari No Kun and the following year's Hello! Martian!, which featured production by Pizzicato Five's Yasuharu Konishi. After Havana Exotica disbanded, Yoshinada, Ohno, and turntablist/graphic designer MoOog Yamamoto formed Buffalo Daughter in 1993, choosing the name because of its association with strength as well as the project's all-female lineup. The trio expanded on Havana Exotica's eclectic approach, combining analog synth experiments with sampling and mixing. Buffalo Daughter's debut EP, Shaggy Head Dressers, appeared on Japan's Cardinal Records in 1994; another EP, Amoebae Sound System, followed on the label in 1995. That year, Luscious Jackson heard Buffalo Daughter while they were on tour in Japan, and sent copies of the EPs to their label Grand Royal, the imprint founded by Beastie Boys' Mike D.
 Buffalo Daughter soon signed a deal with Grand Royal and made their debut with the 1996 7" Legend of the Yellow Buffalo. Later in the year, the collection Captain Vapour Athletes gathered the band's EPs. Another EP, 1997's Socks, Drugs, and Rock and Roll, preceded March 1998's full-length New Rock. Recorded with a digital multi-track recorder instead of the analog tapes the band used for their previous releases, the album boasted a more streamlined sound and reached number 77 on Japan's Oricon albums chart. Also in 1998, the trio collaborated with Delaware on the soundtrack to the video game Jungle Park. The remix EP WXBD, which featured contributions from Cornelius, Nardone, and Kut Masta Kurt appeared in 1999, but before Buffalo Daughter could ready another album, Grand Royal closed down. The trio moved to Emperor Norton for February 2002's I, which featured more acoustic instrumentation and a greater focus on the music's lyrics. Later that year, the Japan-only EP A Long Life Story of Miss Cro-Magnon collected remixes and covers of I's songs.  From: https://www.allmusic.com/artist/buffalo-daughter-mn0000627258#biography

Albaluna - Gargull


While Albaluna hail from Portugal, and Els Berros de la Cort from Catalonia in northeastern Spain, both bands share a similar philosophy towards music-making. Albaluna began a decade ago, with research into medieval instruments, tunes and songs from Portugal; in essence, the group were initiates into historical re-enactment. Fifteen years ago, Els Berros de la Cort also rooted themselves in arcane musical instrumentation and medieval street theater. Both bands have evolved in remarkable ways.
Which brings us to ‘metal’/rock music. I would not describe either band as a ‘metal’ band (although, in this latest iteration of Albaluna, the band leans on a lot of electricity), but rather as groups informed by how rock dynamics can be applied to acoustic, medieval instrumentation. We are faced with two paths…First, the brand of folk-rock that has seen ethnic instruments express a form of nationalism by drinking at the wellspring of folk song (i.e., Finland’s Korpiklaani, Japan’s Wagakki Band, Estonia’s Metsatöll), or fantasy (Switzerland’s Celtic/Gaulish influenced Eluveitie). A hint of approaching or impending battle licks around the heels of many such bands. The second path is that of a group such as Germany’s Corvus Corax, or In Extremo: a sound built around medieval music, particularly bagpipes and other wind instruments, undergird with percussion. While Corvus Corax often takes a mostly acoustic approach and the racks of percussion instruments can rival Japan’s Kodo drummers, they have also dipped into rock, metal music and electronica; In Extremo, on the other hand, are mostly a metal band with medieval trimmings. Albaluna and Els Berros de la Cort remind me very much of the DiY ethos of the German medieval metal scene – with Els Berros de la Cort’s sound especially being a direct descendent of Corvus Corax’s experimentation.
Albaluna's Amor, Ira & Desgosta (Love, Wrath & Grief) immediately impresses with its album cover – thin statues foregrounded against a stark landscape. The artwork brings to mind a form of paganism, tinged with modernism. In fact, the title track of the album wears its metal influence clearly – brief spoken-word; a bottom-heavy groove; crashing percussion. But something different is also clearly afoot, as while the vocals occasionally veer towards screaming (thankfully, not the ‘cookie monster’ vocals of black metal), the song itself is very melodic. And the percussive foundation is based on ethnic rhythms as well as rock; a break emerges in the song, whereby the hurdy-gurdy and the percussion take center stage, before returning to some growling bass work. One way to characterize Albaluna’s direction on this album would be a form of prog-rock-folk fusion, with a metal/gothic sensibility.
What is really striking about Amor, Ira & Desgosta are the several strong instrumental tracks that grace the program. “Cascata Trofica” once again lets the hurdy-gurdy take the lead. And there are plenty of nods towards Turkish and Mediterranean music: “Kizim Icin,” “Udan,” Hajduk,” and “Katabasis Zeybek” show a band ready to wield its world music chops and, again, progressive rock metal inspiration.
The lovely “Chiaroscuro” and “Penedo da Saudade” nod more explicitly towards the band’s Portuguese heritage, the ‘light and dark’ of the Italian term ‘chiaroscuro’ fitting the element of the Portuguese culture infatuated with fado music. Altogether, Albaluna have crafted a surprising album that does not need a single electric guitar to make its metal-plated soul heard.  From: https://www.rootsworld.com/reviews/alba-berros-20.shtml