Hope you all had a good Christmas!

Last post of 2015 and it feels quite an achievement to have posted more posts than there were weeks this year. In a time where all the blogs that I used to call friends have disappeared, well, it kind of feels good that I have managed to find time to write my musings and about my music discoveries.

I haven’t seen any news about the Twee.net poll. Seems this year it won’t happen? Kind of sad as it is one of the few traditions that have been running continually since like forever. The dark times of indiepop are coming…

Or maybe not. We’ll have to see. This coming year at least we know we’ll have a Madrid and NYC Popfests and an Indietracks. That’s not too terrible. But upon so many rumours of being the last year of some of these festivals you never know.

Time then for year end lists. I don’t like making them but lately I enjoy reading them, seeing how eclectic people are or how they define indiepop by the selections they make. I usually never agree with their lists. Also most of the records selected have been released in the last 6 months. Records released in January or February are almost always forgotten. Have you noticed?

Of course, they might have not listened that gem of a record you know. If people do lists, well, it doesn’t mean they had the time to listen to ALL the records you have listened. Perhaps they listened to others, ones you didn’t. That is very true and it’s definitely a good point. But sometimes you wonder for example how someone who loves indiepop would miss some obvious and important releases this year like say The Spook School second album or the latest album by Club 8? You can’t just “skip” those, right?

But aside from that, I still see very little lists when it comes to indiepop. Where are the voices of indiepop fans? They are not on blogs. On Facebook? Possibly, but voices there are barely heard and are lost in time. Websites? No, that costs money. Where then? Nowhere to be found may be the answer. Indiepop this year has become voiceless. We still love the music, we still buy some records, but we’ve become silent. Oh and that’s a shame.

Can we change it next year? I hope so. For a time I thought that Facebook groups could work. There was a bit of excitement about them. But they also fizzled out. Forums? Same thing. Tumblr? Could work, I know Satomi runs a nice Tumblr with music discoveries she makes on bandcamp and soundcloud. But that’s more like a picture book. Don’t we need to express thoughts and ideas? What happened to fanzines? If they were going to be replaced by books then that’s fine. Or by blogs, alright. But they disappeared once again. I see some fanzines coming from the far reaches of indiepop, from Latin America. That’s interesting, but seriously how many people are supporting a Spanish language fanzine. Roughly the locals only.

But I do think there was a very bright light this year though that gave us a voice, and it came from Michael White and his lovingly written book “Popkiss”. Don’t know if the book put indiepop somewhere in the map, not sure about its sales or its reach, but what mattered to me is that it was out there and it is available to anyone. And it is written with passion and also with the smartness of pointing other bands outside the Sarah canon, other labels, other people. Thanks to those connections it makes, anyone who reads the books should become instantly curious search for more information. And that matters a lot. It is not only about the great story behind a great label, but also these small details. And the explanations. And the thrill the author exudes. I just so wish there was more like it out there.

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In the next few weeks I’ll be ripping some tracks from some 7″ records I own. I finally organized my collection last week and noticed there are a lot of records that I think should have a space here in the blog, part of these obscure and forgotten bands I like to showcase.

The record I picked yesterday night to rip was a 7″ by Magik Roundabout. Don’t know nothing about this band really, but last time when I was in Berlin, Uwe told me to get it as I was going to like it. He seemed a bit surprised actually that I didn’t know about it.

The record sounds 1991. It has this happy feel, definitely influenced by the baggy music of the time. No wonder the record was released in so many formats and also with so many remixes. According to Discogs there are 6 versions of the same release:
– 12″ on M & G Records (cat. MAGX8)
– 12″ Remixes on M& G Records (MAGXR 8)
– 12″ Promo on M & G Records (MAGX 8 DJ)
– 7″ on M & G Records (MAGS 8) * this is the one I own
– CD single on WAU! Mr. Modo Recordings (MAGCD 8)
– Cassette on M & G Records and Polydor (MAGCS 8)

Now you ask how many versions of the song there are. And that is a very fair question as the records only include the one song in different versions, there is no other song by this band anywhere else I think. Or did they record any other track?

The song I’m talking about is called Everlasting Day. And it’s a pretty fine song. But did it really need all these versions? As you know I’ve never been a fan of remixes and so on. But I guess it was another decade, other times. So we can find:
– Everlasting Day (Bonfire mix 12″)
– Everlasting Day (Vocal Edit 7″)
– Everlasting Day (Instrumental Mix 7″)
– Everlasting Day (Youth’s Acappella Edit 7″)
– Everlasting Day (Youth’s Dub Mix)
– Everlasting Day (Youth’s Mix 12″)

On the 7″ I have I get the Vocal Mix and the Instrumental Mix. The vocal mix is really nice. But what do we know about this band? Not much really.

On the back sleeve we see that the song was written by J. Chong, P. Van Der Fluis and S. Duncan. The record was produced by Ben Watkins, Magik Roundabout and Youth. Vocal production by Andy Caine. The mixes were done by Marius De Vries and Steve SideInyk. Then Magik Roundabout thanks Helen, Molly, Amanda, Caroline, Dave Stephenson & Wau! Mr Modo.  A cryptic message closes the crdits, “An Everlasting Rainbow over the Designers Republic”.

We know that M & G Records was founded by Lord Michael Levy with backing from Polygram Records in 1990.
Named using forename initials of Michael Levy and his wife Gilda. Sold to Bertelsmann in October 1999. And that WAU! Mr. Modo Recordin was set up in Sheffield, UK by Alex Paterson and Martin Glover (a.k.a. Youth) in 1988. “W·A·U” stands for “What About Us?” and Mr Modo was Adam Morris, Paterson’s manager. Recordings were licensed to Big Life, Gee Street, G-Zone, and M & G Records. Also after leaving 10 Records, System 7 released on Big Life, but the copyright was owned by Weird And Unconventional Records, a subsidiary of WAU! Mr. Modo.

Not familiar with either catalog really.

What about their name? Two theories here, one is:
The Magic Roundabout (known in the original French as Le Manège enchanté) is a Franco-British animated children’s television programme created in France in 1963 by Serge Danot, with the help of Ivor Wood and Wood’s French wife, Josiane. The series was originally broadcast between 1964 and 1971 on ORTF, originally in black-and-white.

The other, that actually has a connection with the first theory:
The Magic Roundabout in Swindon, England was constructed in 1972 and consists of five mini-roundabouts arranged around a sixth central, anti-clockwise roundabout. Located near the County Ground, home of Swindon Town F.C. Its name comes from the popular children’s television series The Magic Roundabout. In 2009 it was voted the fourth scariest junction in Britain, in a poll by Britannia Rescue.

The good news is, if you like the song, it’s pretty cheap on Discogs. But I wonder who were behind this song, and if they recorded anything else? Did they play any songs? Were they based in England? In Swindon perhaps? Would be great to learn a little bit about this very obscure recording!

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Listen
Magik Roundabout – Everlasting Day

Hola! Today I posted the first batch of Don’t Cry Shopgirl records. Also updated the website with The Suncharms information. Time to have a rest and get in the Christmas spirit?

There’s still a lot to do. Have to plan 2016 releases for example. And work on the new fanzine which I haven’t started yet. But new ideas keep coming. I believe it will be a great year for Cloudberry and hopefully for indiepop too. This wasn’t bad at all. I actually think was a bit better than 2014 when it comes to new releases and songs.

This past Saturday I went to see for the first time a band that I’ve been trying to catch for almost a year, the Mercury Girls. Every time they were playing in NYC I was out of town. Seriously. They are soon to release a 7″ on Slumberland and their two songs I heard on their bandcamp ages ago, I couldn’t stop championing on the blog and when I did the podcast. With high hopes I enjoyed their set, though I think it sounded much rawer than in the recordings. Maybe this is because they are a new band, or perhaps they just get like this on stage! Then I think I prefer a bit better the recordings, they are deliciously jangly and naive, but don’t get me wrong, still it was a very enjoyable set and it was a shame that they didn’t have any large size t-shirts. Would have loved to get one. Love the design.

Then the second band was EZTV. Not my cup of tea. Boring for me. I don’t mind derivative bands, you all know that, but at least spice it, add your own seal, a twist, something. Their sound didn’t move me, but then, I saw many people singing along. I wonder what they see in them? I mean, they weren’t bad, they were very proficient and all, it sounded good. But nothing special.

Last band at Cake Shop that night were Baltimore’s Expert Alterations. Ah! This is a fantastic band. Shambolic, fun, and with great melodies. They had Kevin from Mercury Girls join them to play second guitar and it was a great idea. The sound was fuller and even more shambling. Love it. Their fast paced guitars a la George Best era Wedding Present, and their ramshackle that remind me of the McTells, are just a treat. I wonder now if they are the band I’ve seen the most this year. I think they were either 3 or 4 times. Impressive as I think I have been to less gigs this year than ever before!

And that should be the last gig for this year, unless something cool gets announced all of a sudden! Next year I think I will skip Indietracks again, which is a bit sad, but I have NYC Popfest to look forward. And that Lush gig in September. Hopefully some exciting NYC bands will be born too.

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Castellón. 2000. Jabalina releases “Un Plato Pequeño” by Jonipai. Important day.

Castellón de la Plana , Castelló de la Plana, or simply Castellón / Castelló, is the capital city of the province of Castelló, in the Valencian Community, Spain, in the east of the Iberian Peninsula, on the Costa del Azahar by the Mediterranean Sea. The mountain range known as Desert de les Palmes rises inland north of the town.

Important day at least for me. This is one of my favourite Spanish releases all-time. This, and a couple of songs on compilations, will be all that this beauty of a band released in its lifetime.

This EP, or mini-album, included 6 songs. All of them pretty and precious, solid gold. These were “Él es tan Fatal”, “Bungalow”, “El Mar Dibujado”, “Paperclip People”, “Te Prefería Cansado” and “Un Plato Pequeño”. Three of these songs had been already part of their demo, “Paperclip People”, “Te Prefería Cansado” and “Bungalow”. As I have never heard the demo, I can’t say which versions were better or worse. Also I wonder if that demo, that on the Jabalina bandcamp is mentioned to have been red (I assume the cover was red?), included any other songs.

Yes, you can actually listen the whole record on Bandcamp. Though I insist that you try to find the CD. It’s better than streaming, and at the same time you’ll enjoy a piece of Spanish indiepop history. Perhaps a piece of the giant puzzle of that country’s indiepop that is a bit forgotten, but one of their best for sure. The bandcamp has a long text of pretentious metaphors and hyperboles, I guess written to lure people to buy the record. “Melodies as bright as the sun rays reflected on the sea of Castellon”… come on. I never understood that sort of poetry behind record descriptions. I remember Siesta Records also loved writing stuff like that. Elefant still does as well, could be a Spanish thing perhaps. The fact is that I love the records and the music, but never the descriptions these labels wrote. A bit pretentious I think.

What we do learn from these paragraphs is that the record was produced by Juanma Mas en Polka-Waves (Alzamora, Castellón). And that the band was formed by:
María Puig on vocals, guitars and keyboards
Juan Ribes on vocals and guitar
Félix Ribes on bass
Miguel Ribes on drumsLaura Pla on keyboards (who was the last to join the band)

It seems there was hope too that they were going to record and release new material, something it seems never happened. This EP was the fifteenth release on Jabalina.

They did record two more songs that were included in a compilation on the same label on the year 2000. The compilation was called “El Sol Sale Para Todos” and it’s a sampler of bands on the label. On this record they cover the Pixies’ “Havalina” as the opening track. It’s a very different song though. Not very faithful to the original and great in it’s own right (if you ask me, I prefer Joinpai’s!). Of course, it’s clear that they chose this song as a tribute to the label’s name. The other song was “Los Días Que Pasamos”.

They also appear on other compilations like “El 15 De Jabalina… (Teoría Y Práctica Melódica, Vol. RDL)” with the song “Él es Tan Fatal”. The same song was to appear too on “Don Diablo Disco 1” released by El Diablo! Discos in 2000. Then because they were to play the Benicassim festival they appeared on the “Benicassim2000”  4 CD compilation with the song “El Mar Dibujado”, and later in 2003 on “Diez Años de Espíritu Jabalina” with the song “Te Prefería cansado”.

The band was born in 1998 and their first demo is actually not the red one mentioned in the bandcamp, but a blue one. On this demo they were still called Honey Pie (Jonipai is the phonetic way in Spanish to pronounce the English name). The songs on this demo were written in English. It was only on the red demo, the second demo, that they include Spanish songs.

According to a biography I found on Last.fm it seems that after releasing the 6 song CD, the band evolved into a somewhat different sound, one that Jabalina wasn’t keen on supporting. Can’t say if this is true or not, but if it was the case, it might explain why the band just faded away.

I keep googling and I find an interview with the band on the Spanish fanzine El Planeta Amarillo, the one that our good friend Rafa Skam from Vacaciones and The Yellow Melodies still runs I believe. When he asks the band why the name change, if it was because they now only sing in Spanish, the band replies that it has mostly to do that the music is different to the one they made in their earlier days, that there was more use of distortion before.

That they met Laura Pla, the keyboardist, at an Automatics concert, and that they ended up happy with the result of the recordings of the EP, among other things.

The last thing I know was that Félix was part of another Castellón band called Lula which I believe are still around. Much more power pop than the low key, nostalgic and naive Jonipai. Aside from that, I don’t know when Jonipai stopped making music, and what happened to the rest of the band. If they continued in other projects or not.

I wonder too if they had more recordings. And also would love to hear those two early demos, the red and the blue. Would be great. Perhaps many Spanish fans remember them. Maybe some even saw them at the FIB. For me it’s a mystery how a band with such a fantastic debut release just disappeared into oblivion.

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Listen
Jonipai – Él es tan Fatal

I was scared when I saw the boxes on my doorway. It was raining. Not pouring, but raining. How long have they been there? I recognized instantly what they were. These were the boxes for the new Cloudberry release, the Don’t Cry Shopgirl 7″. Why was UPS so irresponsible? Why have they left them there? Wasn’t it raining when they arrived to my place?

I ran and felt the soggy cardboard. I was terrified. What if? What if all the records were ruined? The thought crossed my mind. I immediately opened my door and carried the three heavy boxes into safety, into the warmth of my apartment. I disposed the boxes. Inside there were a bunch of smaller boxes holding the records. I had hoped they were going to be the second defense against the rain. And they luckily were.

I felt relieved. You can’t imagine how. That was yesterday night. I couldn’t even imagine that the records might be ruined. I remembered the story of the famous Episode Four records. That they were mostly lost in a flooding of some sort. That’s why that record is so rare. Happily this time all 300 copies are safe. And I’m happy to let you know I’ll start shipping them right away.

This is definitely an early Christmas gift for me. And I hope it is for you two. I love this record and it did take some time to get it out, but finally it is out there. This will be the last release this year, a year that I think was pretty good all things considered. Better than the last one, even though sales keep dwindling, the label has put out quality music with beautiful artwork. I’m very proud.

I think next year will be as good. The first release for next year will be The Suncharms retrospective compilation, part of the Cloudberry Cake Kitchen series. I will update the website with all the information about this release, and a pre-order button very soon. After that I should be putting out a new fanzine. There will be a couple of 7″s too, looking into making the 50 7″s mark that would be a true milestone! The first 7″ to be released next year will be Pale Spectres. Yes FINALLY.

So that’s the update on my side. It feels so good every time a record arrives home. Don’t you think?

On the day to day, I have to say I started reading the Popkiss book. The story of Sarah Records by Michael White. So far, 3 chapters in, I’m really liking it. Love the introductory chapters, I appreciate when the writer knows what he is writing about, mentioning bands, fanzines, and people, that are really important and that he doesn’t just forget them because they are obscure. That’s something I respect. Also this will create curiosity on readers, so they can discover, google, by themselves.

On the CD player this week, two Scottish bands. The Hermit Crabs and The Spook School new albums. Great stuff by both of them. The Spook School particularly have some indiepop anthems written in their record that if the world was perfect would be radio-hits right away, today.

And with Christmas around the corner I think I finally will get around getting that Creation Records first singles boxset. So tell me, what have you asked Santa for a present?

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In the mood of sticking to Sweden this week. You know, with all this Stockholm thing of Don’t Cry Shopgirl.

One of my biggest regrets in indiepop is that I never got around to release the second volume of The Starke Adolf compilations. And the third and fourth volume. I tried. I really tried. But to be honest it was very complicated convincing 18 Swedish bands for every volume. They either never replied or didn’t care.

Hard to believe. I loved all these bands. They were the introduction for me to indiepop in a way. I’ve written extensively how the scene of Sweden from 2002 to 2006 or so affected me deeply. It was grass-roots, it was all about DIY, from fanzines, photocopies, CDRs, festivals and clubs. Everything done in a small scale, with love, and especially with fantastic music. It was such a prolific time that I look back with fondness.

I wasn’t in Sweden. That’s true. But the internet was a great tool for me to connect thanks to Soulseek. I met many of the people involved. I heard the most obscure bedroom pop, and eventually felt inspired to do my own label. It had a lot to do with the swedes. I wanted to pay back for it, many years after, with my compilations that would document that era.

An era that I feel might be forgotten. That needs to be written about. There’s so little online about many of these bands. Perhaps here in the blog, from time to time, I could try covering some of these bands like Ive done before with Fibi Frap (who were even so kind to release a compilation with me), Gang of One, Crime Time, Sugar Spun Charge and some more.

Today I want to show you one of the least known band from that period: The Déjà Vu Experience.

This was a solo project started by Jenny Westerlund. I assume when she was already living in Stockholm as she was originally from Skellefteå. By the time she released her one and only CDR she had already been playing with two much more known bands from the period: Funday Mornings and The Tidy Ups. Two bands I sincerely love and that maybe deserve a post here, though you could actually find some information about them online.

The CDr that only bore the band name on the cover, wasn’t released by any label. It was 2004 and Jenny had recorded these songs on the summer of that year. On the record she got some help from friends: Terese Nordström (from Crime Time), Frida Danielsson and Patrik Granlund.

I don’t know how many copies were burned of this CDr. The name of the band is hand-written on the disc itself according to Discogs. Also a lyric sheet was included, I like when that happens.

I missed this CDr when it was released. I remember I had little money back then. I was in school and couldn’t afford buying stuff from abroad. I think the only store I bought from abroad was Popolar in Toronto. Do you remember them? They had great prices.

The CDr included four songs. I remember hearing them all back then. They were so pretty. Today I could only track one of the songs, “Shortcut to Satisfaction”. The tracklist was:
1. Time Awake
2. In a Coma
3. Shortcut to Satisfaction
4. Parachute Jumping with Amy Johnson

Amy Johnson, CBE (1 July 1903 – 5 January 1941) was a pioneering English aviator and was the first female pilot to fly alone from Britain to Australia. Flying solo or with her husband, Jim Mollison, she set numerous long-distance records during the 1930s. She flew in the Second World War as a part of the Air Transport Auxiliary and died during a ferry flight.

I lost these songs when my hard drive died. It shows you digital music suck. I learned that physical records are better. But I lost these songs and would love to hear them again. Maybe someone can help me? Or even better if anyone has a spare copy for me? I would love that so much.

I tried contacting Jenny years ago to include this project of hers, but never heard back. But perhaps some of you remember it? Maybe she played live some of these songs? Maybe there were more releases or more songs recorded? I can only remember this CDr. Perhaps you know more.

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Listen
The Déjà Vu Experience – Shortcut to Satisfaction

Another week of little noise in the indiepop world as we approach Christmas. Some year end lists start to appear and I see the same names over and over, Spook School and Chorusgirl. To be honest I haven’t heard the full albums yet, but I’ve heard some of the songs included in them and they are ace. Then I’m not surprised. The other bands people mention, sadly I don’t care about them.

I see some people suggesting good bands, great records. For example Jessica and The Fletchers or The Sun Days debut albums. The Brits and the Americans don’t pick up these suggestions. They disdain them, and keep praising mediocre bands. Is it all about being British these days? If you are not, no one will care about you? Perhaps. I can’t say it’s like this, but seems this way at least.

Previously there was  bit more openness. In a far fetched analogy I could think of the anti-immigrant sentiment in Europe. But that’s not it. Definitely not. But there is a conservative approach in the indiepop scene at the moment. It feels like that. People are forgetting amazing releases this year. I’m not one of making year end lists. I feel they always tend to forget the best records and only praise the ones released in the last quarter of the year. That annoys me. But, then I wonder that possibly it has to do with the time available for people to listen and find new music?

Do we work so much? Or have we gotten old and have less curiosity, or house chores are just eating up our leisure time? There’s a Club 8 album this year. Has it been that horrible that no one mentions them? Or that The Legends record? I mean, they were big names in the indiepop scene for such a long time. To see no mention to them surprises me.

At Popfest we had such a great time with Brideshead. They put out a superb album. But then they are German. Brits are not willing to listen to them? What about Los Bonsáis? Cola Jet Set? Persian Rugs? Sleuth? Tiny Fireflies? Alpaca Sports? Iko Chérie? And more and more and more? Even in the US, Expert Alterations put out a very enjoyable record.

And even from their isles, The School, Horsebeach and Desperate Journalist were putting out great songs. So, what’s the matter? If the Twee.net polls opens up this year, I think one will have a better idea of what’s going on. I’m still in between two answers to the big question, one being that we’ve fallen into lazyness, the other being that we indiepop have lost our rebelious soul and now celebrate the likes of Courtney Barnett and other similar dumb stuff that the hipster crowd love.

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It’s not often that I cover Belgian bands on the blog. So why not do it today?

Have you ever heard of Radio Bangkok? I have, but only recently, thanks to Youtube really. There are two songs uploaded, “Brilliant Books” and “Johnny Jones” and I like them a lot!

What do they remind me of? I’m thinking of The Driscolls perhaps? 80s indiepop for sure, funny lyrics and catchy choruses. Up my street for sure.

What do I know about them? Barely anything. I guess there’s not much written about them online. I don’t own the records, which is a shame. I wonder how easy are they to find. Maybe if I was to go to Belgium I could find them in the discount bins of the record stores. They seem a bit too obscure to be popular and sought after? But maybe I’m wrong? Would love to own them anyway!

Would love to hear all their songs. From what I know, thanks to Discogs, their recorded output are 7 songs. Maybe there are more? Maybe demo tapes? Who knows. But between 1993 and 1994 we know they released 3 singles. Two vinyl, one CD.

The three of them were released on Motorpshycho Records. I’m assuming this was their own label. There are no other releases in their catalog, at least on Discogs. The first release they did was “Brilliant Books” on the A side and “No One in the World” on the B side. This was catalog 93-S-001. This is naive pop at it’s best. The back cover comes with the lyrics for both songs and a photo of the “band”. Well, it’s really three old dudes that definitely aren’t in the band! From the sleeve we know that the band was formed by:
Koen Wostyn on vocals, guitar and bluesharp
Kristof Ysabie on bass and vocals
Marc Lambert on drums, piano and vocals

This first record was produced by Dostoevsky and his Team. The songs were written by Wostyn and we also get the chords for both songs, so anyone can learn and play the songs.

Second single was “Johnny Jones” on the A side and “Liza Liza” on the B side. Catalog number was 93-X-002. This time they give credit for production to the Beat Messiahs. Funny guys.
The Side A was engineered by Staf Verbeek at Umbrella in Ghent whilst the B side was recorded live at The Wostyn Residency. Also in Ghent. Thus we know now that the band was based in this city.

Ghent is a city and a municipality located in the Flemish Region of Belgium. It is the capital and largest city of the East Flanders province. The city started as a settlement at the confluence of the Rivers Scheldt and Leie and in the late Middle Ages became one of the largest and richest cities of northern Europe with some 50,000 people in 1300. Today it is a busy city with a port and a university.

Now on the back cover we find again the lyrics and the chords for the two songs. Also we find a Pop Quiz asking who is on the cover. Very easy answer, it’s Elvis. Of course, on the options we get as answers, we would have to pick C, Someone Else.

Last single was on a CD and it included three songs: “A Hell of a Bullet (Is Gonna Be Shot”, “No One in the World” and ” Revolution N°9″. The last song being a cover of The Beatles. Now we don’t get any chords, just the lyrics for the first song. Again the record has been produced by The Beat Messiahs.

“A Hell of a Bullet (Is Gonna Be Shot)” was recorded and engineered at Umbrella by Staf Verbeek. The other two songs were recorded on a 4-track at Koen Wostyn’s home. Additional noises and heavy breathing on the Beatles cover were done by Lieven Vandewoestyne and Armand Bourgoignie.

That’s all there really is online. Perhaps some of you are better detectives than me and can find out if they put out any other records. Or perhaps if they were involved with any bands before or after Radio Bangkok. And why the name? Googling, I can find it was a popular radio programme in Argentina in the 80s. Would that be a connection with the band? Let me know if you know anything else about this obscure band from Ghent!

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Listen
Radio Bangkok – Brilliant Books

Just came back from a week in Peru. And I’m quite tired to be frank. I got to go to work straight from the red eye flight. That’s how it is. In any case, it was all worth it. I really had a good time.

The day I arrived I was already on top form, attending a gig in the bohemian district of Barranco. It was an early afternoon show where a Spanish band called Beach Beach were headlining. I mainly went to see the two opening bands: Almirante Ackbar and Dan Dan Dero. Sadly I only could catch the last two songs by Almirante. They sounded great, but I was left hoping to hear more by them. Then Dan Dan Dero was on stage in this small venue called Bar Victoria. My old time friend Erik had joined the band months ago as a guitar player and I was very curious about it. I had heard the songs on Bandcamp and liked them. They didn’t disappoint. They have a proper hit in the song called “La chica que gusta de chicas que no gustan de chicas”, and another one in a yet unnamed and unrecorded song. Typical I thought when today I wanted to listen to that song.

Soon I was traveling to Puno, south of Peru, very high in the Andes and on the coast of Lake Titicaca. I wanted a side trip, some sense of adventure, and I’ve always been fascinated by this area of Peru. I wasn’t affected by altitude sickness but ended with a bad sunstroke. I didn’t think about how much the sun burns you in high altitude! I should have bought a hat or some protection.

That first day there I visited the floating islands of the Uros with my friend Jal, the guy who is mainly behind Plastilina Records these days. We learned about their culture and were fascinated by the architecture of their houses, all made out of reed, the crunchy feel of the reed island, their ducks, cats, and their souvenirs for sale. We were shown their kitchens and their rooms. They also owned very cool modern solar panels for electricity. And at the end they gave us a ride on one of their reed boats. It was such a different experience.

Next day we decided to cross the border and go to Bolivia to visit the Tiwanaku ruins. Since school I was always curious about this pre-Incan culture that was such a big influence to all the Andean region. This ended up being quite an adventure as that day there were protests all over Puno, with roads closed with rocks and broken glass. It took us perhaps double the time to get to the border, to a town called Desaguadero that feels so much like the wild west. After doing all the documentation needed to cross to Bolivia, we took another car all the way to the ruins.

It does show that Bolivia is much more of a third world country sadly, the infrastructure for their most famous pre-Columbian ruins are not the best really. It seemed like they cared not too much about their heritage, so different to places of the same importance in Peru. Anyhow, the place had so much beauty that I forgot that it costs 8 times more for a tourist that for a Bolivian (high way robbery!) and enjoyed the amazing Kalasasaya temple, and the super famous “Puerta del Sol”. Then the Bennett Monolith that I wasn’t allowed to take photos of was of such beauty that I was kind of speechless. I didn’t know about the existence of this big slab of carved rock. It was a great surprise. And among alpacas roaming the fields we left the area, all the way back to Puno on a highway that surrounds the Titicaca Lake.

The last day, after traditional guinea pig meals, and after visiting the impressive cathedral, we went to Sillustani. This peninsula on the lake Umayo has such great geographical beauty, something I wasn’t prepared to see. I was loving it. And on top of the hill, surrounded by water, the chullpas awaited for us. Beautiful cylindrical funerary buildings of perfect stone masonry that predate the Inca. Tall and imposing. One felt little next to them. This was definitely my favourite moment, you could just not understand why or how these were built. And the landscape was out-worldly. I totally recommend visiting Sillustani.

And that was that. I wanted to visit many other cool places in the area but time played against us. Maybe one day I return. I hope so. I’m happy now that every time I go visit my family I can allow myself a side trip. On top of it all the dollar is really good in Peru at the moment, and that helps a lot.

I got to DJ a bit last Friday too. I played a selection of Spanish pop from the 80s to today. But that wasn’t important. Seeing friends was the best. And also to see bands place. I saw Dan Dan Dero again and they were ace again, and the Chilean band Planeta No (which I accept they sound ok but they say nothing to me about my life). I had a really good time with the opening band Fiebre Aviar. Their lyrics were great, they sang about football and my favourite game ever, Pro Evolution Soccer (or Winning Eleven as it’s known back home). Fun pop punk that reminded me the days when I had a similar band. And closing the night were Eva & John, my favourite Peruvian band. They only played four songs because the venue decided that it was too late or something and disconnected all the equipment!! So bad. But the four songs they played were received by the crowd with pogo and sing alongs. It was amazing. They were tight and they were having so much fun. Manuel, Muriel, Daniel and Erik were the stars of the night.

The rest of my trip was hanging out with friends, drinking, eating amazing seafood. But now back to reality, back to work in NYC.

But also back to blogging, to listening to music, finding out about new songs, old bands and more. So let’s do that.

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And as I’m all into Peru today, I want to show you a band that I was all very curious about for years. More than a decade: El Sueño de Alí.

It all started when me and my then roommate Jose, while living in Miami, had a band. I had some songs that we wanted to record and so our friend Arturo offered to help. Thing is we went to his house a couple of times but we didn’t record anything. We weren’t that good playing our instruments and it took forever. But the good part of it all was that he showed us many songs by unheard, obscure, Peruvian bands from the late 80s and early 90s. Bands that recorded some demos and that was that.

One of these bands he showed us, because he knew we loved pop music, was El Sueño de Alí. I recall that he told us that in this band were two important people in Peru, Pelo Madueño (who had been in so many bands, two very representative like the punk band Narcosis and the more mainstream pop band La Liga del Sueño) and Johanna San Miguel (who was mostly known for being an actress on TV and on stage). That was a surprise. But even more surprising was how beautiful, how incredible, was the song “Podemos Ir”. I was thrilled.

I wasn’t going to hear this song again for more than 10 years after.

In the meantime, in the Myspace days I remember writing to Pelo Madueño on the social network, asking about this band of his. I remember he was kind to answer and told me that when he returns to Lima he was going to try and find the songs and digitise them. I believe at the time he was living in Spain. I wanted to release this song on Plastilina Records. I told Jal about it and he started his search too.

Years passed. And then this song appears on Youtube. I see the 80s pop aficionado Diego, alias Rockas Vivas, has been also asking around about this band. There is some interest around. Jal finally talks seriously with Pelo and perhaps one day, crossing fingers, the songs by El Sueño de Alí will be released on a CD for a wider audience. I think that’d be a dream come true.

What we know though about this band is very little. So I think if a release of some sort ever happens has to have a good biography of the band. Put it in perspective. They released one tape with 10 songs. The tape was called “En el Valle del Placer” and it’s a lo-fi beauty of guitar and techno pop beats.

The band was formed by Jorge “Pelo” Madueño (guitars, keyboard, programming, lyrics and vocals), Félix Torrealva (keyboards, programming, and vocals) and Johanna (vocals). The tape had on the cover the art of Jean Delville, the Belgian painter. They chose perhaps his most notable work, “Tristan et Yseult”. Arthurian fans perhaps like me?

The record was recorded and mixed in 1990, in the “El Perfil” studio with a Tascam 244, a TR-505 Roland and a 3000 Casio. The songs were written between 1988 and 1989.

The ten songs were:
01. Podemos Ir
02. Sólo una Vez
03. Volando
04. Una Negrita de Buen Corazón
05. Nos Iremos
06. Tu Corazón
07. Everytime (Volví a Sentir)
08. Hasta Mi Lugar
09. Pandemonium
10. Adónde

That’s really all I know. I wasn’t around really in the Peruvian scene back then. I was too young. But I wonder though if they recorded anything else. I also wonder about gigs, if they played any. How many tapes were released by themselves under the label name “Producciones Inyectables”. And why did they break up? I wonder what were they listening at the time, I mean, it’s very different music compared to any Peruvian band of the time. So many questions that I hope one day get answered. And even better, that these songs get re-released.

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Listen
El Sueño de Alí – Podemos Ir

It is still quiet here. I did buy my Lush tickets for a concert that is still a year away. A bit crazy if you ask me. But that’s how it is in the days of modern capitalism. I don’t even book my flights with such anticipation. I did with Lush though. Who knows what will happen in a year time. Perhaps I have to be somewhere else other than NYC and they’ll probably keep my money if I can attend. Or I would have to sell the tickets to someone else for a lesser value. Ah! It makes me a bit annoyed but at the same time I’m really excited to see them!

Now I think I should start fixing my record room. It’s been messy for months and I have records in places they don’t belong. I need to do some sorting. Put the 7″s in alphabetical order at least. The CDs are growing everywhere and there are no shelves left for them. I need to invest in new shelving furniture in IKEA soon. Especially as boxes of Cloudberry stock are piled everywhere. As it’s also my guestroom in my small apartment, and assuming next year friends will come visit at least for NYC Popfest, I should fix this room soon! It’s not very comfy at the moment.

Then on Saturday I fly to Peru for a week. I guess it won’t affect any orders as there hasn’t been any on the past two weeks (!!!!). Cloudberry becoming less and less popular. These are the times we live in! But if you place any order next week, be sure they will be sent on the first week of December to your place.

I have booked a side trip too while in Peru. Can’t be all the time in Lima as I know it so well (though eating there is like paradise, everyday you can eat amazing and delicious dishes). I’ll be flying to Puno, so I can visit Lake Titicaca and the Uros people and their floating islands made of reed. Will also try to cross to Bolivia and see Tiawanaku. And in Puno visit Sillustani and Aramu Muru. Places so mysterious that I’ve always wanted to visit. Hopefully I don’t get any altitude sickness!!

And that’s what’s been happening. Don’t know of many new releases that came out the last week. Have you heard of anything worth getting? I still haven’t got my hands on the Sun Days and I feel it’s taking forever to get this record. It’s never on Jigsaw and not on Discogs either. I probably just need to make up my mind and order it all the way from Sweden. I think it’s the only record that has came out this year that I really want that I haven’t got.

Though perhaps that is not 100% true and now that December is coming and everyone starts doing their year end lists I will see what I’ve been missing.

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Mystery in indiepop is synonymous to Nomad Pop.

I heard this band for the first time on my Japanese “nemesis” PomPomTakashi’s myspace. I thought it sounds so fresh and fun. Trumpets here and there.

A nomad (Greek: νομάς, nomas, plural νομάδες, nomades; meaning one roaming about for pasture, pastoral tribe) is a member of a community of people who live in different locations, moving from one place to another. Among the various ways Nomads relate to their environment, one can distinguish the hunter-gatherer, the pastoral nomad owning livestock, or the “modern” peripatetic nomad. As of 1995, there were an estimated 30–40 million nomads in the world.

Of course I don’t have any contact with Takashi. He hates everything about Cloudberry as he wants to keep his bands and discoveries secret or at least he needs to be credited as the great discoverer, the Columbus of indiepop. Bit childish. But it’s been a long time, perhaps he has changed, I don’t know. To be honest though, many indiepop collectors know about this record and I would love to own to have a copy.

The problem with this 7″ is that there is absolutely no clues on their sleeve to know who were Nomad Pop. We do know that they liked art. Their sleeve has two nice modern art paintings. One on the front, and one on the back. The one on the back is signed by a Caroline Hepburn. I looked for her, but no luck. There seems to be an actress that appeared on a movie called “One Night Stand” in 1997 alongside Dennis Quaid. But I assume that’s not her.

We do know that the record was released in 1986. The label was Redhouse Records (catalog RHR 1). And it included two songs. They were both A sides. The A one was “Dignity”, which I have never listened before, and “Best Man” as AA, double A side.

That’s really all there is for this band. I assume they were British. But that’s all I dare to guess. Does anyone remember them? Did they play many gigs? Did they record any other songs? Would love to know more about Nomad Pop!

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Listen
Nomad Pop – Best Man

This past week has been a very quiet week for the label. Not so much for indiepop as the Sarah Records book and DVD are out now. I have ordered the DVD and waiting for the book to be out in the US so I can order it from Amazon probably. But as I don’t have them with me yet, can’t really give an honest review! So I’ll wait for them first before rambling!

Then there has been some interesting releases that I’ve picked this last week. One was the Saint Marie Records reissue of Secret Shine’s “Untouched” album (the CD version, vinyl was already sold out). Another was the new and second album from De Montevert (titled “De Montevert”) on Nomethod Records. And last but not least The Stems’ “1984 • 1987” book and CD on High Voltage. On top of it all I manage to get the “Only Ugly People Smoke” album by Nixon at last. I think it was a good shopping spree as I didn’t even put a food in any record store in Italy while on vacation.

In two weeks I’m off again for a small vacation, a week in Peru. Mostly visiting Lima but also doing a side trip to lake Titicaca. Very excited about that trip as I always wanted to go there. Hopefully upon my return the Don’t Cry Shopgirl will be arriving home. That would make me super happy!

So this post will be short then, as I want to write questions for a couple of bands I plan interviewing. I’ve sent a bunch of questions in the last months to different bands, but many haven’t send them back. Which is a shame. But I keep trying in finding out the whole story, the full picture, of the bands, the scenes, indiepop in general. Maybe one day, as Jessel always asks me, this will become a proper book.

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I was looking onto some bands I have on a long list. A list of bands I want to know more about them, that they are obscure and have so little written about them on the web. Mostly from the 80s and mostly from the UK. One of them was The Lovehearts.

As far as I know they only released 2 songs. Both of them appearing on a compilation called “The New Bowery” that was released by Tees Beat Records  (TBLP 1) in 1984.

The Bowery  is a street and neighborhood in the southern portion of the New York City borough of Manhattan. The street runs from Chatham Square at Park Row, Worth Street, and Mott Street in the south to Cooper Square at 4th Street in the north,[1] while the neighborhood’s boundaries are roughly East 4th Street and the East Village to the north; Canal Street and Chinatown to the south; Allen Street and the Lower East Side to the east; and Little Italy to the west.

I’m quite familiar with the Bowery. Why a label in the UK called the compilation like that, and even included a photo of the Empire State building on the back baffles me. I have no clue. I don’t own the record, but there’s a very blurry photo of the back sleeve on Discogs. I can read something about the Bowery during prohibition. It seems they are relating the Bowery art and creative scene with that of Teeside. Teeside being the New Bowery.

Teesside is the name given to the conurbation in the north east of England made up of the towns of Billingham, Middlesbrough, Redcar, Skelton-in-Cleveland, Stockton-on-Tees, Thornaby and surrounding settlements near the River Tees. It was also the name of a local government district between 1968 and 1974—the County Borough of Teesside. Teesside remains an important centre for heavy industry, although the number of people employed has declined. Traditional industries, primarily steelmaking (‘British Steel’) and chemical manufacture (‘Imperial Chemical Industries’ or ‘ICI’), have been replaced to a large extent by high technology activities, science development and service sector roles.

Interesting, right? On this LP, we also find other bands like Flower Drum People, Gunboat Johnny, Tec, Must Valk and Dogflesh. It’s really a post punk record.

The best song on the record, I think, without a doubt is The Lovehearts’ “Love Holds Out”. It’s great! Guitar pop, with male vocals and those girl choruses that I love. A true lost classic.

The other song that they included was “It Doesn’t Matter at All”, a pretty but much mellow song.

All songs on the record were produced by Dimmer Blackwell and they were recorded at Teesbeat Recording Studio between May and June of 84.

As I couldn’t find information on the band I went into digging about this label. On a forum I found this:
Boro_Calling: Dimmer’s Teesbeat studio. (not to be confused with Teesbeat Records wot I ran – Dimmer kindly asked my permission to use the name as I had wound up the label)
The studio grew out of the ad hoc set up that Dimmer had on the family farm in Norton, he moved to a room above Pharoes night club opposite Maxwells Corner in Stockton, where he stayed for several years. He released 3 or 4 compilation LP’s featuring local bands with titles like “All Friends In The Bath” and “The New Bowery”. Later he moved to new premises by the Riverside in Stockton (near where that old boat is moored), and then to the old Radio Tees building in Dovecot Street.
He stayed there until around 1994, releasing a compilation CD of local bands called Whispers and Screams. He also recorded Tony Christie (Amarillo) and did the live sound for Roy Chubby Brown.
Of course he did much more but I’m just picking out stuff from my memory.
The studio closed down and Dimmer worked at TFm as a sound engineer, editing broadcasts and jingles etc.
I haven’t seen or heard from Dimmer for a few years now, I understand he got married again and is living in Norton.

And that’s when I hit a wall. Nothing more about the label or the band. I wonder if anyone knows anything else about The Lovehearts? If they recorded any other songs? Did they participate in any other compilations? And if maybe they released anything on their own? Would be great to learn a bit about this long lost band.

Edit: Kevin McGrother, our good friend, just emailed me and told me some interesting facts: “I actually played violin on the two tracks on The New Bowery. The band had a brilliant front man – Sean Brockbank”

Edit Aug. 1 2021: Found a Soundcloud page with many songs by The Lovehearts: “It Doesn’t Matter at All”, “Love Holds Out”, “Coming Home”, “Flicking Through a Lifetime”, “So Fine”, “Roll back Those Years” and “Fall Down”.

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Listen
The Lovehearts – Love Holds Out

Now we start November. Almost done with 2015 and it looks like it was a good year afterall, with more releases than I expected. I thought I’d be putting something like around 3 records out this year, as things have been slower than usual but in the end there are going to be around 5 to 6 releases (if you count Parcel Post) out this year, with Suncharms to be released in January very early next year. So it’s kind of like 7! That’s a good amount! I’m happy and proud!

This past week, after my vacations, indiepop came back to my life. On Thursday I met with my friend William Jones, the great songwriter, vocalist, guitarist, you name it, behind one of my favourite bands ever, Friends. We had some Mexican dinner and some beers. He was here in the city for the marathon. Yup. He was going to run yesterday, on Sunday. It was quite interesting for me as I didn’t know all the logistics, and the process, and even the organization that goes behind the most important marathon in the world.

Among the most amazing facts that surprised me was that the runners have to be at 6am at the NYC Public Library, at the main building in Manhattan, so they can take free buses to Staten Island. Then after arriving there, they just wait. Wait until it’s time to start the race. Seems like so much pain! It’s so early! Couldn’t they just get the bus at 8am? How can someone go running if they wake up at 5am or 4am to be ready to catch the bus? A cool thing though was that your bag that you take with yourself to Staten Island, then you can pick it up after the race in Central Park. That seems organized.

On Friday I went to see Joanna Gruesome at Rough Trade. Expert Alterations were playing much earlier, at 7pm, at the same venue their release gig. Sadly because of work I missed them, but got to see the guys after at the Joanna Gruesome gig and secured their new release, and their back catalog that I was missing. On top of that, some posters too. With Joanna Gruesome, well, I already have all their releases, minus the Trust Fund split one (I dont like Trust Fund, but I should have bought it, I know), so I bought a t-shirt. A black t-shirt of course. Then talked a bit with one of the new vocalists and she was nice, was telling me she wasn’t Welsh, as I assumed, but from the north, from Manchester. Cool beans. The gig was very nice and shouty as expected, but it seemed a bit short to my friends. I thought it was fine. Oddly there was no encore.

And then on Sunday I went to see the marathon around Queensboro Plaza. There was very loud music, songs like “We Will Rock You” or “Eye of the Tiger” were pounding on the streets. A huge crowd was cheering the runners. And me, with this new app William had told me about, was tracking him. That was really cool. I couldn’t take a photo of him, and I regret that. Thing is, I started shouting “William!, William!” as soon as I saw him sporting his Torino FC kit and keeping his pace. He didn’t hear me the first time around, so instead of taking a pic I kept shouting until he noticed me and waved back! Then he kept running towards the bridge, towards Manhattan. That was really cool.

I loved the atmosphere at the marathon. It seemed like a party! Even I thought of the Rio carnival when I saw the runners. They were all so happy, some were dancing, waving or singing so loudly. They were having so much fun. Some of course were focused, some others very tired and walking a bit. They all dressed whatever they wanted. I saw a psychadelic skirt, Sweden jerseys, Denmark socks, German flags and so on. Some even carried video cameras. Others were Facebooking. It was so much fun that I would love to participate if not next year, then the next. I guess I need a lot of training but, it looked like a great experience.

And that was it. It was a good weekend. How was yours? Did indiepop came back to your life as well?

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So because of the week’s visit, I thought checking out a band from the Summerhouse stable that I barely know anything: Quinn the Eskimo. When I asked about them to William on an interview we did he told me:

Quinn The Eskimo were from Newcastle and were recommended to us by Red Rhino, who gave me a tape of their album, which was fully recorded but unreleased as they had no label. It was acoustic indiepop/rock, and if you want a comparison I’d relate it to Miracle Legion who I thought were great. I liked it and thought it was just right for the label. Again it got caught up in the Red Rhino debacle, and we never got back the unsold copies to remarket. We didn’t keep in touch and I don’t know what happened to them. No, there won’t be any CD.

I still don’t own their LP. I believe that’s all they released.

They took their name from a Bob Dylan song it seems:
“Quinn the Eskimo (The Mighty Quinn)” is a folk-rock song written by Bob Dylan and first recorded during The Basement Tapes sessions in 1967. The song was first released in January 1968 as “Mighty Quinn” by the British band Manfred Mann and became a great success. It has been recorded by a number of performers, often under the “Mighty Quinn” title.

The LP “The Mountain is a Dandy” (Summershine 002) was released in 1988. It included 10 songs: “Samantha Rain”, “Breathing”, “Big Hedge”, “The Haymaker”, “Like a Flame” on the A side, and “Eternity”, “Once Upon a Day”, “The Wreck”, “Eastwood” and “The Importance of Being Honest” on the B side.

The artwork is credited to Dawn Main, the photography to David Lyons and Event Horizons. The producer was Quinn the Eskimo (with some tracks produced by John Steel who produced some stuff for Martin Stephenson and the Daintees). The engineer for most of the tracks was Ian McKie while for A1 and B2 was Martin Holle.

The band members were:
Dave Cook on vocals
Richard Scott on guitar, vocals and mandolin
Graeme Cooper on bass guitar
Ken Goodinson on drums

Strange thing is that lyrics are credited to Andrew Wilkie as he doesn’t appear to be part of the band. There was also some piano played by Martin Holle and John Steel. The record was produced at Cluny Studio in Newcastle and also at Desert Sounds in Felling. On the back sleeve there are photos of all the members but Richard Scott. There’s a drawing of his face instead.

On the Summerhouse page there’s a small press note about the record that says:
Quinn The Eskimo’s only recording on Summerhouse was a classic set of acoustic guitar-based pop songs, drawing on the English folk tradition and American guitar rock to produce a refreshingly original sound that is hard to locate in any particular era. Ranging from the upbeat pop of Samantha Rain and Once Upon A Day, through the dreamscape of The Haymaker to the folky barnstorm of The Wreck, the album is a one-off gem which was never to be followed up.

Also there we find a bunch of reviews of the record on this page.

Aside from that I couldn’t find much more online. So I wonder if anyone know whatever happened to them? If they ended up releasing any other songs? Or if they went to form another band? Were they involved in bands before Quinn the Eskimo? Or if anyone has a spare copy that would like to find a home in NYC?

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Listen
Quinn the Eskimo – Samantha Rain

Back from vacations. A bit of a shame they last so little, but I had such a good time in Italy that I can just wait another month until I get my last vacation week this year. In the meantime it’s time to work, to get things done and keep discovering new music.

This week I received the final master for the Suncharms release. I’ll get the details on the website pretty soon and will send the CD compilation to press too. Together with Don’t Cry Shopgirl, these will be our last offerings this year. The Pale Spectres 7″ should come out shortly though, most possibly around January.

On my vacations I was totally out of the loop and didn’t listen to any indiepop songs and I didn’t even check if there was any indiepop news. So this post is a bit short because of that. I need to recoup and check what’s been cooking the past few weeks. I know there are some interesting releases that I need to get a hold and I will definitely recommend them to you the next week. I just need to organize a list of which are the ones worth checking out.

The only interesting bit of contact with indiepop was a tweet I received while I was away. Brucey from the 1,2,3 Alright blog was asking if anyone could help him find any information about the band Daisycutters that appears on the Hoopla compilation. I remembered that long time ago I wanted to write about them on my blog (and I don’t know really why I forgot to do that). So I said, I’ll take on the investigation.

Today while looking for clues about this band I felt so empty-handed that it’s a bit of a shame to write this post. I wanted to help find something but I really found nothing! The only information really that exists about them is that they appeared on the Hoopla tape released in 1988 by La Di Da, that amazing label that I’ve mention a ton of times here in the blog, and also on the LP version of this compilation released by Accident Records in 2000.

On the tape compilation they only contributed one song, “Friends”. On the LP reissue, because of the unavailability of the original masters of some of the songs, they included one more song “The Sea”. So that’s more or less what I know about them. That they at least recorded 2 songs.

Another safe bet is to assume they were from Brighton. Most bands on the La Di Da compilations and releases were based there, and they even recorded in the famed Grant’s Kitchen. That’s Grant Lyons, La Di Da’s brain, place. The credits though just say that the songs were recorded by Daisycutters. No other names. That makes it even more difficult to track them.

I googled and looked under every rock. There were other Daisycutters bands. They were not very good. I learned that a daisycutter is a actually a bomb, an immensely powerful aerial bomb that derives its destructive power from the mixture of ammonium nitrate and aluminum powder with air.

But that’s really all I could find. The thing is, I’m pretty sure some of you might be able to help me. If Accident Records, in 2000 was able to find them and get in touch, when there was no social media, and get another song from them to be included in their reissue of sorts of the Hoopla tape (just making sure you know that the tape and the LP are not the same, they have a different tracklist!), well, I think we might be able to get in touch and learn more about them.

Why do we want to get in touch? Well, their two songs are just pure indiepop bliss. They have the girl vocas, the chiming guitars, and the catchy melodies, all of that that remind me of Nine Steps to Ugly or The Fat Tulips. The kind of indiepop I love.

So if you can help Bruce, me, and the whole indiepop community to find out more about this band that be great. Anything you remember is good, gigs they played, demo tapes they released, any other song name you remember, their band members, where they were based exactly, what year did they split, if they were involved with other bands, anything will do!

Edit: Uwe from Firestation sent me a message saying: I think Daisycutters were pre Fabulous Friends. If I remember right, they changed their name after the Hoopla-tape was released and then released that split flexi with Jason Smart soon after.

Edit #2: Ben from Did Not Chart blog shared a scan from the Hoopla fanzine. With it we confirm they were based in Brighton and we get to know the first names of the band members and what they played (Jill sang and played tambourine, Tom played guitar and 12 string, Grant played the bass, Jason played his guitar and Billy played the drums).

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Listen
Daisycutters – Friends

Hello there, heads up that next week there won’t be any posts and I’ll return on the week after. I’m off on vacations and so all orders placed starting Wednesday will be posted upon my return. I really need some time off.

I noticed last week, just after I finished writing the post, that the blog had reached it’s seventh anniversary. I remember when I started the blog one afternoon, unwillingly really, moved by a friend who asked me to do it. I always tell the story of how my previous blog was hacked and lost all the posts and content. It was the worst feeling. I honestly never thought I was going to spend much time writing about bands again. Perhaps on my fanzine and that would be enough I thought. In the end, thanks to my dear friend Emma, I ended up writing for seven years straight.

I never looked at the stats for the blog. I don’t know how many readers it usually has on a day to day basis. I assume it would be something around 25 to 50. I get a couple of comments a week, and that’s when I get the happiest. I think that has been perhaps the highlight, getting in touch with many bands and people involved in music, and making friends. Few things are better than that.

The blog did change during the years. I think at some point I used to write a lot of “memoirs”, small fragments of my experiences in indiepop. I liked doing that a lot, but because of time constraints, I do that less frequently. I require a lot of time, and especially I need to be in a particular mood, to be able to remember and as vividly as possible, tell these stories. I also used to rant much more and make strong opinions about diverse topics. This also happens less and less because of indiepop being so quiet, so sleepy, that there are really  few topics to discuss. In that sense, the format I’ve been keeping, a post a week, divided in two, an intro of some current topic plus an obscure band, has worked pretty well. I get to cover two important aspects of indiepop that I care the most.

On top of that I’ve continued doing interviews. I started doing them since day one, and until today I’ve done so many that I’ve lost count. Learning and hearing the story from the bands that kind of disappeared into oblivion, and many times helping them notice that people’s interest, is also a big highlight for me. When I see these bands having small reunions, or even setting up a bandcamp, is really heartwarming. Their songs can’t just be forgotten, or only remembered by a few collectors. Indiepop is alive, and it’s history is being rewritten every second.

Not sure if there will be any changes in the year to come. At least there are no planned. If you have any suggestions I’m always open to hear them. So far it’s been a lot of fun, and I’m not bored at all. So I think the Cloudberry blog will continue posting and unearthing treasures for the time being.

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Rewing to 1987. To Perth, Australia. Land of amazing indiepop. From The Palisades to Charlotte’s Web, and more. That’s exactly where the band I Hear an Army hailed from.

They only released a 7″ in that year. It came out on a label called Wreckless Records (WRECK 01). I don’t know of any other releases on this label. The single was recorded and mixed at Northlake Productions in January of 87. Two songs were included, on the A side “Second Time Around” and on the B side “Into View”.

On the back sleeve we also learn that the engineer for the record was James Hewgill. That both songs were written by Ian Young. That the single was produced by the band with Phil Dean, who also was their manager. The cover art was also done by Ian Young and then we get the members:
– Nick Dilena on drums
– Laurie Mansell on guitars
– David Richardson  on bass
– Ian Young on guitar and vocals

This info I was lucky to find again on the From a Northern Place blog. I still haven’t found a copy of this record for myself. I hope to be lucky soon.

A funny message appears on the labels of the 7″. It says: “Copyright Control. Unauthorised copying, lending and broadcasting is very naughty.”

What else is there on the web about them? Little really. On a blog called Something Gold, Something New. I find that Ian Young was previously in a band called Scant Regarde (1982-84). They released a 4 track 7″ with “Cabbage Hat” as it’s lead song. I found this song on Soundcloud and although it’s less indiepop and more post-punk I’m actually enjoying it! There I also find that there will be a book series called “Way Out West”, written by George Matzkov, that will cover the lost history of bands from Western Australia from 1960 thru the 1980s!! I really need those books!! Especially the 80s part!

Then I search for David Richardson. I found a website for him on StarNow. There’s a small bio for him that says: “Actor, Model, Musician. Currently Acting in ABSENT and Bass Playing in Foos Gold both in Perth. I am available for acting, voice over , modelling, jingle and/or song writing Australia wide”. Foos Gold being a Foo Fighters tribute band.
On this page it’s mentioned that the song “The Second Time Around” from I Hear an Army was a no.1 single on the Perth independent charts for 6 weeks. He also was part of the bands Blizzard, The Beavers, Manic D, The Lung Brothers and also on the final Scant Regard show.

The other member one could find info, is Laurie Mansell. She joined a favourite band of mine in 1988: Charlotte’s Web. It’s said that she auditioned as a bass player but replaced Craig Chisholm on lead and rhythm guitar duties.

That’s all I could dig online for I Hear an Army. But just knowing that there is that series of books coming up, and the beauty of this song is already very rewarding! I haven’t hear the B side though, so any help would be appreciated! If you remember them, or know of any other recordings, or anything really, us that comment link below! Would be great to know what happened to them!

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Listen
I Hear an Army – The Second Time Around