10
Nov

Shine on and keep the faith, were the last words my friend Andreas Hering wrote to me about a month ago. I learned this past week that he passed away a couple of Mondays ago due to a car crash on a country road. I still can’t believe it. I’m so sad and shocked by it that I’ve taken some time to even grasp what this means to me. 

About the time I started writing on my blog I wrote about Andreas. I dedicated a post to him called “Andreas von Hamburg“. At that time I didn’t know him that much but made a big impression. His kindness and indiepop knowledge was hard to compare.

During the years I would see him at different music festivals and concerts. Indietracks was definitely a time when we used to hang out the most. I remember him with a glass of wine whereas everyone else had their warm beer.

I would also visit him in Hamburg, where he moved in 1999 I believe, drinking Jever or Astra and always having the best of conversations. And then the last time I saw him in 2014. That year I saw him in two different cities, first in Berlin when we both went to the Throw That Beat in the Garbagecan! reunion gig and later when I visited Hamburg. I tried the labskaus for the first time at a restaurant he picked for me.

And since I know him we’ve emailed. Even in the last 10 years when we didn’t see each other in person we kept in touch, emailing, talking about music and life. He was always interested and curious, asking the questions of someone who cares. Also I must say that in the last couple of years he was the only person I continued talking about indiepop. He was still very much connected to what was going on. I was the opposite, the last few years I have very little time to find new bands, buy new records. I’ve lost a bit of that drive. Andreas kept me updated, with links and his incombustible excitement.

I have lost that. And I have lost a friend. And I feel very sad about not having seen him last time I was in Hamburg in 2023, which was a last minute trip and for a few hours. It was a badly planned trip, all last minute. So didn’t get the chance to organize anything. I always thought I was going to return any day, my mum lives an hour northeast of Hamburg, and see Andreas. I can’t believe I won’t. That this is not happening.

I remember lazy afternoons at his place. Always with friends and drinks. The music that was being played was always exquisite. He had the best records. Records I wish I had like those rare Sea Urchins records on Sarah. He also had a great C86 era cassette compilations collection. He even made one of them, the great “Everlasting Happiness” tape (one that introduced me to the fantastic Shine! who I would later release).

Speaking of releases, he was always suggesting me to do this and that. He had great ideas. How I wish I could have made any of those happen like The James Dean Driving Experience of The Pumpkin Fairies. He supported Cloudberry and always enjoyed very much the retrospective releases.

But yeah, those lazy afternoons at his place, usually the day after a gig. The cases of beer by the entrance door. The bedroom on the 2nd floor where he let me crash. And all the friends, a perfect sense of camaraderie.

He was always a champion for indiepop. I wish he organized more festivals. The one he did, the Hamburg Pop Weekender, I couldn’t attend. But it was a flawless lineup. And from what I learned, it was a success. I still have many posters of that festival and other gigs under the names of Three Cheers for Our Side or Adventure Playground that he organized in his city.

I read on a little piece our friend Marco wrote about him something that rings very true. That if you were to see Andreas at the gig you knew the band was good. He had excellent taste and his mere presence was some sort of thermometer of any band, old or up-and-coming was one to not miss. He had excellent music taste.

He was always kind as I said. He was always sharing his music discoveries, and even the rare music he owned. I have CDRs here and there with amazing tracks by Grab Grab the Haddock and even a live gig of Nine Steps To Ugly. He had friends everywhere, and I’m sure his passing touches so many of us. He was particularly fond of his Glasgow days when he was younger and hanged out with the Belle & Sebastian gang, he would always reminisce about that time. He was also very close to the Liechtenstein/Fraction Discs gang in Gothenburg, who he had booked for gigs and made a fantastic friendship that lasts. And so on, and on. He was a bright light in the scene. Always being able to make us all comfortable and happy.

At Indietracks he would rent a car. That was quite unheard for me. Of course it was mainly to get from London to Alfreton, get snacks and drink at Tescos, maybe have lunch around the area, and get to the hotel. Still having a car for me was rare, all of us traveling on a train. A few years ago he got himself a car, not a brand new one, but a vintage, collectible car. He was so proud of it. I first thought he had rented it too. But no, it was his, and it looked wonderful. Out of a classic movie in technicolor.

I’m sorry if my ideas are all over the place and I jump back and forward. I struggle to understand what’s happened. And I miss Andreas. His last email also offered a longer reply to our last communication. That is not going to happen. He asked me to get in touch with Dave Musker from the TVPs and offer him an interview for the blog. He also did that, I was forgetting, he put me in touch with many of his friends in the indiepop world. He was an avid reader of this blog, and now and then left me a comment. It made me happy.

I have assumed that non of my friends read this blog. For me Andreas was the exception. He made it cleared he cared.

Originally from Worms, a town I told him many times I was to visit someday, Andreas was a lawyer for environmental law, his offices in downtown Hamburg. Before that was even cool. He wanted to help all the time. I remember once he even wanted to figure out with Sarah Records if it was possible releasing The Rosaries, The Golden Dawn or Christine’s Cat. So far only the latter has had a reissue not too long ago.

His emails full of references were always a delight to read. Songs and phrases from songs were intermingled with his messages. Examples? I like this one “Have I mentioned that I can’t stand “Pop Star Prat[s]” (Thrilled Skinny)?” And indiepop erudite for sure. And that translated when we met and chatted. Those long nights at the table at the Travelodge in Alfreton after a full day at Indietracks. Everyone chatting and drinking and always him calm, with the right joke at the right moment.

He became a father 10 years ago, I became one 4 years ago. We chatted about this too. We shared recommendations on how to bring up a kid. We shared photos. It was always good to know the new things his son was learning and liking. I was truly impressed with the music taste, he really seem to enjoy good music! Earlier this year Andreas was telling me his son’s favourite album was “Loveless” by My Bloody Valentine. Can you believe it? I’m sure he was so proud of it.

I am not sure how to go forward with this post. I’m going in circles. The fact is that I can’t understand what has happened and my friend is not around. Our love for music made us know each other, but we shared more stuff through the years than music, even with this big distance that divide two continents. I know a funeral will happen sometime soon and Nannette Römer, my good friend, is the person to get in touch with if you want to find more and how to attend.

I will always remember you my friend.

The rain it raineth on the just
And also on the unjust fella
But more upon the just because
The unjust steals the just’s umbrella
(Charles Baron Bowen)

06
Nov

Thanks so much to Magnus for the interview! I wrote about his band The Paper Merchants back in February looking to learn more about the band. Luckily Magnus got in touch not too long ago and was keen in answering my long list of questions and now we know a little bit more about this great Swedish band! Enjoy!

++ Hi Magnus! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Hi! I reached out so I’m super happy to participate! You have a great blog, it’s fun to read about all this obscure music one might have missed.
I’m fine, I’m in the middle of family life with two kids and work so there is not that much time to dedicate to music as I would like. My own music has been somewhat dormant for the past 10 years. But I have a band called Uvberget that is pretty active, we’re releasing music on a Swedish label called Septembernatt. It’s in Swedish and kind of folksy. Check it out!

++ Let’s go back in time. What are your first music memories? Do you remember what your first instrument was? How did you learn to play it? What sort of music did you listen to at home while growing up?

An old ABBA record and a Roland Cedermark (Sweden’s most famous accordion player) that I listened to when I was little. Oh and a Baccara record my parents had. I bought a guitar when I was about 13 or so. But I always liked making sounds from when I was very young.

++ Had you been in other bands before Paper Merchants? I know about Little Big Adventure and Penny Century?  What about other bands? Are there any songs recorded by these other bands?

I had the occasional band when I grew up, with friends. But it was only for the rehearsal space.
I had a Swedish singing band called Supertuff for a while. It was fun to play guitar and sing in swedish.
And my current band is called Uvberget.

++ I’d love to do an interview about your other bands too, I am very interested in them. But I would like to ask you how you would compare The Paper Merchants to them? What is different about The Paper Merchants?

LBA and Penny Century are the same band. I had to change my name because of another band that also called themselves Penny Century started. LBA is kind of lofi and electronic and I wanted to make guitar music with a lot of distortion which is why I began making TPM-songs.

++ One thing I was confused about was by this alias Magnus Lindroos, you are Magnus Sätterström, right? What’s the story behind that?

When I was married, I took my wife’s last name, Lindroos. Before, and after, it’s Sätterström.

++ Where were you from originally?

Smack dab in the middle of Sweden, from a town called Sundsvall. Home of Kjell Lönnå, a famous christian choir leader.

++ How was your town at the time of The Paper Merchants? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

I had moved to Stockholm at the time of TPM, but I listened a lot to the bands that were playing the same clubs that I was playing.

++ Were there any other good bands in your area?

Dinosaurs Are Still Alive, Tada Tata, De Montevert, Bobby Pinrocker, Stars in Coma, The Baseball Field. All great Swedish lo fi bands!

++ How did the project start? It was just yourself, right?

Yeah, it was just me in my student apartment. I wanted to make guitar songs so I just started I guess.

++ Did you have help from any friends in the recordings? What about when playing live? If so, who were there? Were they in other indie bands?

Nope, I did everything on my own. When playing live I had help from my friends who played drums, guitar, bass and sang. I played guitar.

++ What instruments did you play in the band?

All of them when I recorded it but only guitar when we played live.

++ How was the creative process for you? Where did you usually practice?

At home. I often play guitar and come up with a song and then I start playing different things and record them into the computer.

++ What’s the story behind the band’s name?

The name comes from the big paper manufacturer that is the heart of the industrial economy in Sundsvall. We made up a story that we all met while working at the paper plant, but that was obviously untrue.

++ The one song I first heard was the one the blog Eardrums released called “The Lovers (In the Face On)”. I remember those years, when that particular blog was very active doing mp3 compilations. How did this collaboration start? Did you record the song especially for this compilation or you shared a recording you already had?

No, I don’t really remember how that came about. I think we emailed back and forth a few times. I didn’t record the song for the compilation, it was for the album A Friend of Mine.

++ Then a friend mentioned to me that there was a proper album that the band released that was called “A Friend of Mine”. I haven’t found much information about it. What year did it come out? How many copies were made? Was it a proper CD or a CDR? And where was it sold at the time?

Um it probably came out around 2009, it was self released, it was a CDR. I think I made 250 copies of which I probably have 200 left at home. I sold it when I met people, during shows and stuff like that. It was published on Spotify but now its not on there anymore, I don’t know why. I don’t think I have the original files anymore so it’s probably lost forever. Aside from the songs that are published on youtube.

++ It was released by a label called Den Manskliga Motsvarigheten. I believe that means The Human Equivalent, right? Was this your own label? And if yes, how did you enjoy doing label stuff like selling, promoting, etc?

Yup, it was our own label, but I was really bad at all the promotion stuff and everything around that, so it didn’t work out that great.

++ The album had 9 songs. I am wondering where they were recorded? Did you work with a producer? Were there any other musicians involved in it?

They were recorded in my apartment by me and I played all the instruments. I think my girlfriend at the time sang background vocals on some songs.

++ Then there is another song on Soundcloud called “So Don’t”. Is that one an outtake from the album? What was the reason it wasn’t included?

It’s called Do Don’t and I made it after the album was released. I had this grand plan that I was going to record a bunch of new songs and make another album and this song was the first one that I thought was kind of good.

++ Why weren’t there more releases by the band? Was there any interest from labels?

There was some interest from different labels but nothing that really came to fruition. I had a lot of plans on releasing more music but I was busy with other things and didn’t feel that great about the songs I actually had recorded. I wanted to sound more like Dinosaur Jr but it just ended up sounding like crap.

++ And are there more songs recorded by the band? Unreleased ones?

Yup, I think I have maybe 10 more songs recorded on my computer that is perhaps 90% done that I recorded sometimes during 2010-2012. But as I said, I wanted it to sound like J Mascis and Munki by the JAMC but instead it sounded like Chumbawamba or something and that made me depressed so I couldn’t finish the songs.

++ My favourite song of yours is “The Lovers (In the Face Of)”, wondering if you could tell me what inspired this song? What’s the story behind it?

Hmm, I don’t really remember what the inspiration was. I think I was fed up with my relationship at the time and I wanted to write a love song from a serial killer’s perspective. In retrospect, kind of silly, but I still like it. 🙂

++ If you were to choose your favorite The Paper Merchants song, which one would that be and why?

Probably “The Lovers” or a song called “I Can’t Walk With You Into Doom.”

++ What about gigs? Did you play many?

No, not very many at all, perhaps five gigs, ten? It was difficult to manage playing live because I had to teach all my friends how to play the songs and a few of them how to play the instruments. So it took a lot of time, and we didn’t really feel that comfortable playing live. But we had super fun rehearsing and around the shows. It was a great time and I remember it with joy.

++ And what were the best gigs that you remember? Any anecdotes you can share?

It was a show we played at an outdoor venue in Stockholm called Lasse i Parken. I remember there were alot of people around, sitting in the grass and we played and people came up to us afterwards and told us how they liked us and our band. It was great.

++ I was told you played at the Cosy Den festival. I wished many times to attend but at the time it was quite difficult to afford for me to go to Sweden for the festival. It seemed really cool, with great bands and a good sense of community. What are your recollections of that festival? 

It was a recurring festival and it was great. Alot of my friends were there and we hung out and played in bands and listened to bands and it was just a great time.

++ And were there any bad ones?

We played a gig at a place in Stockholm called Sjöhästen at a club called Club King Kong and there was this other band from Gothenburg there that was kind of “cool” and they started heckling us while we were playing. We weren’t that confident and felt really awkward anyway, so when they started heckling us it was really traumatic.

++ What about DJing? I saw that you did that at Club King Kong in 2012. Was that something you did much? Did you like it? How was Club King Kong? I heard very good things about it…

CKK was a small friend group with really great taste in music that put on shows with all the small lofi bands that I loved. And they were so kind, letting me play a bunch of times, with my different bands and djing.

++ When and why did The Paper Merchants stop making music? 

I think around 2012 or 2015 or something, when I realized I would never finish the songs.

++ Was there any interest from the radio? TV?

No we were too obscure for that I think.

++ What about the press? Did they give you any attention?

Some different magazines did write about us though, that was fun.

++ What about fanzines?

I think the fanzine No Disco by Martin Sernestrand wrote about us but I might be misremembering. A lot of blogs wrote about us though.

++ Looking back in retrospect, what would you say was the biggest highlight for the band?

Once at a concert, I saw Johan Duncanson of Radio Dept in the crowd so I went up to him and told him I had recently seen a show of theirs and said “thank you for the good show” and then he told me that he saw us play once and he said the same back to me!

++ Aside from music, what other hobbies do you have?

Hmm, I don’t really have anything other than music, I still play and record a lot of music as much as I can manage. I love it and it keeps me sane and it makes me happy.

++ I’ve been to Sweden a few times but I still like to ask locals. What do you  suggest checking out in your town, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Umm, I don’t know, really.

++ Anything else you’d like to add?

Fire is the essence of life.

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Listen
The Paper Merchants – The Lovers (In The Face Of)

03
Nov

As mentioned, I’m going through a Swedish indiepop phase. Remembering the days when I fell in love with that country, the bands, the music, the people. Good times.

Maybe many remember We Are Soldiers We Have Guns, Malin Dahlberg’s alter-ego. It was a good band who released a bunch of records. The music of the band could be indiepop but other times was a bit more experimental, more sparse.

We are Soldiers We Have Guns started in 2004 with a self-titled CDR EP on Yellow Mica Recordings (YMR 006), the label of our friends Martin Cannert and Christoffer Lärkner. That EP with that iconic drawing of a girl bleeding from a gun wound on the back had four songs, “Damn Those TV-Shows Damn Them Straight To Hell”, “My Hero”, “Jodi’s Noise” and “Psalm 190”.

The next year, 2005, there was a CDR that I believe was self-released. It was titled “Soldaterna #2” and had the tracks “Tourists in Our Hometown” and “The Ego is a Tricky Business”.

After that the band signs to Stereo Test Kit Records in the UK that was releasing some of Labrador Records music there like Club 8 or Laurel Music. With them Malin releases the band’s first min-album, also self-titled (STK CD008). The songs on this record are “Tourist in Our Hometown”, “Redefine”, “Damn Those TV Shows; Damn Them Straight to Hell”, “On Hold” and “Jodi’s Noise”. These were new recordings done at Min Vilja Är Folkets Studio in Mellanbygden, Västerbotten, and mastered by Mats Hammarström (from Isolation Years, do you remember them?) at Second Home Studio in Umeå.

On this record Malin who sang, played guitar, piano and organ, got some more people to help. Lovisa Nyström (from Two White Horses) played cello and Robert Tenevall (from Horseface, Knugen Faller, Royal Downfall and Totalt Jävla Mörker) played guitar. Jon Brännström, previously of the band Purusam and owner of the recording studio, was the producer and also played accordion.

2006 sees the band release “To Meet is Murder” on Stereo Test Kit (STK CD012). Again a mini-album or EP of 5 songs. These were “In the Morning We’re OK”, “The Line is a Dot to You” (which has a great video, check it out), “The Trick is to Love”, “Konservatism” and “Songs that No One Will Hear”. This time the record was mastered at Studio Folkhemmet by Petter Ericsson. The artwork was done by Emma Mierse and other than Malin Dahlberg, we see music playing credits for Jocke Rosén.

In 2007 We Are Soldiers We Have Guns releases their only vinyl release, a 7″ single on our friend Andreas from Celestial label Lavender Recordings (LAV7001). This beautiful single had two covers, “Wild World” by Cat Stevens on the A side and “Wherever I Lay My Hat (That’s My Home)” by Marvin Gaye on the B side.

Then we jump to 2008. This is the proper We are Soldiers We Have Guns album. It was called “Get Up, Get Out” and is actually on Bandcamp so you can listen to it in its entirety. It came out on CD on Stereo Test Kit Records (STK CD019) and had the tracks “Better Days/More Alive”, “Me Vs Time = Fixed Game”, “Rain, Heart, Scars”, “The Great Depression” (which has a top video made by Andreas Andersson and shot on 8mm in Gothenburg), “November”, “Create Your Own Psychosis!”, “Nina”, “Speak Up, Speak Out”, “Power” and “What Your Sister Said”.

The album was recorded at Folkhemmet and we see some more musicians involved in the album this time. Ramo Spatalovic (from Douglas Heart, Franke, Shipyard, The Greencoats and Melody Fields) played bass on “Power”, drums on “Me Vs Time = Fixed Game”, “November” and “Create Your Own Psychosis!” and guitar on “The Great Depression”.

Susanna Brandin (from Winter Took His Life, Hunt, Rome is not a Town and Unikorus) played bass too on “The Great Depression”, “Nina” and “Speak Up, Speak Out”. Max Sjöholm (from Douglas Heart and Sambassadeur) played drums on “The Great Depression, “Nina” and “Speak Out, Speak Up”. Ulf Wederbrandt (from The Jam of the Year) played drums on “Rain, Heart, Scars” and piano on “Me Vs Time = Fixed Game”. Ulf was also the producer of the record.

The artwork is credited to Valero Doval, a Spanish designer.

And of course you noticed all the Douglas Heart’s connections, and it is true, Malin was also in Douglas Heart (and I wrote about them many years ago), as well as in Shipyard and Laurel Music.

When it comes to compilations the band appeared on a few. In 2005 the song “The Ego is a Tricky Business” was on Cosy Recordings CDR comp “Cosy Den Goes Lägenhet Ett År” (Cosy 001). Tht same year we see “Tourists in Our Hometown” on “Records Make Great Pets Vol. 1/Sweden” released by Stereo Kit Records (STK CD005) and the song “Anchorless” on Yellow Mica’s CDR compilation “Our Hearts Beat Out of Tune” (YMR021). Then in 2008 the song “Olis” was included in “Björn Kleinhenz – Quietly Happy and Deep Inside ‘Covers and Remixes'” released digitally as an MP3 compilation by IAT.Mp3.

Then there is another release on Discogs which I am not sure what it is. It says “The Fool on the Hill” which is a Beatles’ song and it seems We Are Soldiers We Have Guns covered it, I think just as an MP3.

Another interesting bit to share is that there is a live session on a tram, dating from 2009. We see the snowy city through the windows and we notice too that Malin is joined by two friends, not sure who they are though. It looks like these tram sessions were organized and recorded by Tom Jerry Boman at the time.

I find an interview with Malin dating from 2009 on a blog called The Ampeater Review. It is mentioned that there are 3 videos. So far I’ve only found 2 on Youtube. Which one was the third? Malin also talks about her influences including Delta 5, The Au-Pairs and The Go-Go’s.

Another interesting bit is that it seems she was recording something in Brooklyn at the time. I wonder what. Anyone knows?

And then what happened to Malin? What is she doing these days? Still involved with music? Was she ever in other bands after We Are Soldiers We Have Guns? Did she play live much? I couldn’t find much info on that field.

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Listen
We Have Soldiers We Have Guns – Electricity

27
Oct

I’m listening again Swedish bands from my youth. There are quite a few that haven’t made the blog and are still fresh in my memory. Stockholm’s Unarmed Enemies is one of them.

I remembered they had a video for their song “Show Me Your Plans“. I was surprised to see that 19 years ago, it was Starsgoneout who had uploaded it to Youtube. She was my colleague (and friend) who helped me write on my blog Mira el Péndulo. Time flies indeed.

Unarmed Enemies was a duo formed by Azi Ashourvan and Jordi Bergstam. They used to have a website but of course it doesn’t exist anymore. They released two records, both on the label Songs I Wish I Had Written. The Malmö label was quite fashionable at the time as they released Le Sport.

The band’s first release was a self-titled “Unarmed Enemies” EP (SIWIHW005) released in 2005. It had five songs, “Missing Out”, “Hustlers Recharged (Wheelcher)”, “Show Me Your Plans” and “Hustlers Recharged (Mr. Suitcase’s Armed Friends-Mix)”. The songs were mastered by Frederik Hellström.

The next year, 2006, saw the release of the CDR single “Show Me Your Plans” (SIWIHW008). The single had 2 tracks, “Show Me Your Plans (Radio Edit)” and “Show Me Your Plans (Le Sport Remix)”. From what I read, due to the video the band had to cut the original version of the song from 5 minutes to 3. That is the radio edit. Then the video, we learn, was recorded partly in Paris. Good life!

Discogs also lists “On Track” as a digital release from 2008 on a label called Kitty Litter MP3 (KLMP302). This one has the title track and a remix of it called “On Track (Mr. Suitcase Derailed Edit)”.

Other than these releases the electropop band had a few songs on compilations. “Missing Out” was included in “Songs I Wish I Had Written” released by that same name label as a promo CDR. Then they had a song called “I Saw Mommy Kissing Santa Claus” in a 2005 digital compilation called “Euro X-Mas EP”. Lastly their song “Show Me Your Plans” was on the CD comp “Pophopp 2006” released by Dagens Nyheter (DN006). This last one is quite interesting as this was a release by the newspaper Dagens Nyheter and included some great bands like Loveninjas, I’m From Barcelona, Sarto and more.

Now, interestingly enough on Youtube there are more songs by the band. My friend David from Spain has uploaded a cover of The Go-Betweens’ “Going Blind“, “Consume” and “Binging“. I believe these three tracks are unreleased still.

I look for more info about the band members. I find a Soundcloud for Jordi. It hasn’t been updated for a while.He called himself Jordisaurus. I also believe he is a psychologist these days.

And that’s it. That’s what’s online about this duo. Do you remember them?

Then a Soundcloud for the band, last updated 6 years ago. There are quite a few unreleased tracks it seems. There is “Disco” and “Boat” which are new to me.There is also “Waiting for the Happy Ending”.

I see some remixes of the band has done too like one for Mr. Suitcase called “Christmas Leftovers (Unarmed Enemies’ Starving Gourmand Remix)” or one for Le Sport called “I Comes Before U (Unarmed Enemies’ G-Mix)”. And there are more too.

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Listen
Unarmed Enemies – Show Me Your Plans

20
Oct

D’Estrellitas Power was a short lived band from Zaragoza, Spain, that was active just between 1999 and 2000. It was formed by Raquel Palacio, David Sanz and Luis Javier Velilla and released a superb EP called “En el Año 2000” on Jabalina Música (JAB-016) in, needless to say, the year 2000.

Raquel and David were also members of the band Cassino. Actually it seems D’Estrellitas Power short life has to do with Cassino, as them two wanted to focus more on that band and their releases.

After the demise of the band Luis Javier formed the band Alice. He was also on Solo Va, Jafi Marvel and Winter Note.

In any case, we got more than a handful of songs by D’Estrellitas Power, terrific songs to be honest, punchy and fun. The songs on the record were “Siempre en Jueves”, “Estamos en Verano”, “Empanados Fritos”, “Todo da Vueltas”, “Maquillaje” and En el Año 2000″. It is worth mentioning that “Maquillaje” is a cover of the classic song by Mecano.

The song “En el Año 2000” would also appear on a double CD compilation called “Don Diablo Disco I” that was released by El Diablo! Discos (EDD002) in 2000.

That same year the band had the song “Un Día Más” in a compilation called “El Sol Sale Para Todos” that Jabalina (JAN-2017) put out. This song is perhaps my favourite, so good!

As mentioned the band was short-lived but they did get quite a lot of attention by the Spanish radio and press at the time. I believe they also played the Lemon Pop festival in Murcia.

The only other interesting bit I have found is that there is an extended version of the song “Siempre en Jueves” that is about 8 minutes long. David Sanz has uploaded that track to Youtube.

Very little written about them, just the same bio over and over online. Wonder if they had more songs. And yeah, would love to hear of any memories people may have of them!

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Listen
D’Estrellitas Power – Un Día Más

13
Oct

I’m going back to some classics. Classics in my book. Classics that I haven’t got around in the blog. Have to be fair to all that great music I remember from the early 2000s. That’s when I got involved for real with music. And I have a terrible sense of nostalgia of that period especially of the Swedish indiepop scene then.

My Enemy is a band that was formed in 2004 and had 3 releases in 2005. And then disappeared. Their tracks were great, and you wonder what they did after. Maybe I’ll find out.

The band was formed in the great town of Gothenburg, a town I want to go back of course. They line-up of the band featured Helena Jäderberg on vocals and guitar, Samira Englund on bass, keyboard and vocals and Leonel Jäderberg on keyboars, guitars and vocals. Were Leonel and Helena siblings?

The band first release came out on a label called Vapen & Godis. I have forgotten about it! This label released also Tokyo Eye and Otur. The label, whose name translates to “weapon and candies”, released the “Elil EP” as their first ever release, having catalog number V&G001. It had 5 songs, “Can’t Blame You”, “Gullvivas Koloni”, “Don’t Need!”, “Add Some Spiders” and “Grönland”. The artwork was done by Veronica Stenberg and the songs were mastered and mixed by Peter Åhrberg from the bands THe Solar Lodge and Whippet.

Shortly after the band releases the “Roo EP”. This one came out on the fantastic Yellow Mica Recordings of our friend Martin Cannert of The Faintest Ideas. The EP was a CDR and had four songs, “My Time Coming”, “Khreis”, “Catch One Word” and “Bothers Me”.

Then came “Khreis” a new CDR single on Vapen & Godis (V*G003). This one had “Khreis (Original Mix)”, “Khreis (Tommy Eld Remix)”, “My Time Coming (Johan Fotmeijer Remix)”, “My Time Coming (Claudia’s Shoe-gazer Remix)”, “My Time Coming (Mein Feind Remix)” and a cover of Kim Wilde’s “Cambodia”.

The band covered “What is Love”, Haddaway’s big hit of the 90s, for a 2006 ompilation called “This is Love” that was released by Dig Your Own Grave (DIG003) that incldued other familiar bands like Komon, The Mexicos or Bare Knees.

Last but not least the band did a video for the song “Khreis” which I uploaded to Youtube 19 years ago. It is still there gladly and sounding brilliant.

I look for other music projects from the band members on Dicogs. I see that Helena had contributed backing vocals to an album by Nicke Lurig. There is a Soundcloud account by someone with her name with some nice music. Could it be her?

Now Leonel looks to have a website. Here he shows his projects as he is a composer, producer and mixer. There is a bit of a history about him here. It mentions that he was originally from Hälsingland in the north of Sweden but moved to Gothenburg in 2000. He was in a band called Den and toured Germany with the band Incognito Pop. Here he confirms Helena was his sister and that he founded the label Vapen & Godis. Then he started recording under the name Tommy Eld. Wow! Great info!

Samira Englund looks like a painter these days. Her art looks amazing I must say. She was from Stockholm and ended in Gothenburg to study at the Gothenburg Art School.

It looks like My Enemy continued being cool after the band split. That’s really brilliant.

I do wonder one thing, I didn’t find much information about the band playing live, did they play much? And of course, as always I am curious if there are still unreleased songs by them out there…

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Listen
My Enemy – Khreis

10
Oct

I had written about the great Sheffield band The Seaside who back in the day released the “Idolise” EP. Stan Jeffries got in touch, he played guitar. That was 2021. For some reason or another the interview didn’t happen then. Good news is that now it has happened, and what is even better is that the band is releasing an album, a mix of old and new songs. Really amazing! Learn more in this interview!

++ Hi Stan! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Hey Roque. I’m very good, thanks. I’m still involved in music insomuch as I’m writing and recording with The Seaside. I spent over 15 years as a guitar tech. and tour manager for many different bands, but I stopped doing that a few years ago.

++ Definitely the news is that you are releasing an album this October! It is called “Coastal Walks” and the first thing I wonder is if these are new songs? Or these are older songs that have been finally recorded? Can you tell me a bit about the record?

It’s a mixture of both old and new. When we decided to reform The Seaside we had a bunch of old songs we thought were very good, and confident they had stood the test of time. But, thinking that an album needed about 10 tracks, we were a few short so wrote some new songs, which we’re very happy with. Clix’s wife, Kaye, heard the first new song and said it ‘sounds like The Seaside’, and we were very happy with that too.

++ Tell me where people can find it. I’ve seen it on Bandcamp. Will it be available in any other formats?

Yeah, it’s on Bandcamp so people can listen to it for free and, if they decide it’s worth the money, can buy it. We’ve had some vinyl cut, but only a few. If people keep asking us for a vinyl copy, we can print up some more. We’ve yet to have the discussion about Spotify or Apple Music, so it might end up on those platforms in the future.

++ Where was it recorded? Did you work with a producer?

Clix and Steve did their parts at Granny Annex Studios in Sheffield, England, I added my parts at Honey Creek Studios which is near Málaga in Spain because that’s where I live these days. We didn’t have a producer because we didn’t think we needed one. A producer’s main job is to shape the song, and we’ve all spent decades listening to songs and writing our own songs. We felt we didn’t need anyone to tell us how to write and arrange a song. And I’ve learned how to record and mix, so we did the album pretty much ourselves.

++ And how did the album come together? What made you get back and make music again? Are you planning to play live perhaps? 

The album came together because we felt we had unfinished business. In 2023, a mutual friend organised an afternoon in the pub with me and Clix and it was the first time we’d spoken for over 20 years. We hadn’t fallen out, it just happened that way. As we got more and more drunk the plan came together to reform the band and finally get those songs we loved so much into shape, record them and release them.

We’ve actually already done a show at a pub in Sheffield. It was a very low-key affair and we didn’t do ourselves justice for one reason and another. So, yes, we’ve organised another for the 16th January 2026, again in Sheffield,. This time we’ll do it properly, and show people how good we still are as a live band.

++ Let’s go back in time. What are your first music memories? Do you remember what your first instrument was? How did you learn to play it? What sort of music did you listen to at home while growing up?

My first music memories were Sunday mornings with my mum, helping her cook Sunday dinner. She listened to a lot of easy listening stuff like Andy Williams, Jack Jones and Vicki Carr. I think that gave me a taste for classic songwriting. Verse, chorius, verse, chorus type songs.

My first instrument was a Rickenbacker 4001 bass copy. By then, I was about 13 years old, I was heavily into a band called The Jam, and they played Rickenbacker guitars. I thought, stupidly, that the bass would be easier than the guitar so I asked for a bass for Christmas. I learned how to play The Jam’s third album, ‘All Mod Cons’, just by listening to it and working it out. I spent a lot of time in my bedroom.

++ Had you been in other bands before The Seaside? What about the other band members? If so, how did all of these bands sound? Are there any recordings?

I had been in four or five bands prior to The Seaside. By this time I’d switched to guitar and it was the 80s. It’s important to say the bands I played in didn’t play Duran Duran 80s, it was Orange Juice, Smiths 80s. Very indie. I’m pretty sure that none of the original members of The Seaside had played in bands before. But I’m two or three years older than the rest, so I had a head start. I have a lot of recordings from my old bands. I listen to them occasionally and steal from myself for riffs for The Seaside.

++ Where were you from originally?

I was born and bred in Sheffield. All The Seaside were.

++ How was Sheffield at the time of The Seaside? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

Sheffield was pretty cool at the time. Warp records was the coolest record shop in town and Steve, our bass player, worked there, which is how we met. There were also some good second hand shops like Jack’s, Forever Changes and Record Collector. As for venues, there was the Hallamshire Hotel (actually a pub, not a hotel) which is where The Seaside played their first gig. The Leadmill was the big gig though. It had ‘proper’ bands every Saturday, and every Sheffield band’s ambition was to play the Leadmill on Saturday night. We finally made it, and headlined on the 5th January 1991. We thought, ‘This is it, we’re on our way.’

Were there any bands I liked? The Subterraneans were good. A three-piece who played some cracking songs, and didn’t take themselves as seriously as everyone else did.

++ During those early 90s there were many great indiepop bands from the UK. Would you recommend some obscure bands I might have missed?

Hhmm, difficult to say. There was a band called 5:30, who me and Steve loved. They only released a few singles and an album. We supported them in Liverpool and played to very few people. But me and Steve didn’t care because we loved them. The rest, you’ve probably heard of. Bands like Teenage Fanclub and The Boo Radleys.
++ How was the band put together? How was the recruiting process?

As I’ve mentioned, me and Steve met at Warp Records. We talked about being in a band and we were guitar and bass, which left us needing another guitarist, a drummer and a singer. Clix, Mark B. and Danny were looking for a bass player and a second guitar player. I seem to remember that at some point there was an ad in the paper for ‘the next JOhnny Marr’, but I don’t know who wrote it, nor who it was intended for. I lived in a flat opposite Clix, and he’d seen one of the band’s I was in, Johnny Seven, a few times and we became nodding acquaintances as all the Sheffield band people went to the same pubs. I’m pretty sure it was Mark B. who was the catalyst for us to join forces. Steve used to get dropped off at rehearsals by his mate Mark M., who used to hang around listening to us rehearse for a couple of hours. It didn’t seem right that he just sat there so we invited him to join the band. He couldn’t play anything particularly, so he went and bought some congas and other percussion instruments and became the sixth member. There was no ‘process’, it was very organic.

++ What instruments did each of you play in the band?

Danny sang, Clix played guitar and sang backing vocals, Steve was on bass and Mark B. was the drummer. Mark M. was on percussion and I played guitar.

++ How was the creative process for you? Where did you usually practice?

Me and Clix quickly became the songwriters. He would bring in fully formed songs, I would have a bunch of words and chords and we would shape them into a song before presenting it to the band at rehearsals. Me and Clix were ‘straight’ songwriters being big Beatles fans and, as I’ve said, I grew up with ‘traditional’ songwriting, But Steve and the two Marks were into 70s funky stuff, hip-hop and a bit of rave. Somehow, between the six of us, it worked. Later, Steve started writing songs too. One of his, ‘Mrs. Clean’, is on the album.

We practised in all sorts of terrible places. There were no rehearsal spaces like there are these days; all soundproofed with backline you can hire and snacks sold at the reception desk. They were just ramshackle empty rooms in run down factories.

++ What’s the story behind the band’s name?

We were all Sheffield lads, and Sheffield is an industrial city in the north, miles away from the sea. It seemed obvious to us that a band from Sheffield should be called The Seaside.

++ You only released the “Idolise” single back in 1991. It came out on Vlaw Records. Who were they? Was it yourselves doing a self-release?

Vlaw records was created by our managers. It stands for ‘Very Like A Whale’, which is a quote from Shakespeare’s ‘Hamlet’. None of us knew that at the time. We didn’t care, we were going to release a record, who cared what the label was?

++ I am curious if the three songs on this record were your first ever recordings or you had previous experience at recording studios?

This was the first time The Seaside had been in ‘proper’ studio, as opposed to tiny studios that had been put together by enthusiastic amateurs.

++ The record was recorded at Axis Studios with John Avery. How was this experience? How long did it take to put together the songs?

The experience I remember as being very good. We were a tight band, and it didn’t take long to record. But the production team were used to doing theatre soundtracks, which tend to be smooth and have few rough edges. The recording lacks the rough edges that we had as a live band. In that respect, it’s not very representative of what we were like.

++ I have always been curious about the title “Wild C. Wilder”. What does it mean?

When we rehearsed we’d write the order of a song down on giant pieces of paper (no idea where they came from) so it might run, V1 (verse), V2, C (chorus) solo, V3, Cx2, end. For Wild C. Wilder there was an instrumental bit that was supposed to be a bit rough, then into another chorus, then another instrumental bit which was rougher than the first instrumental bit. So, ‘Wild C. Wilder’.

++ Was there any interest from labels to sign you, to release your music?

A bit of interest. A&M had a sniff at one point after seeing us play at ULU (University of London Union) but obviously nothing came of it. There was another offer where the label manager joined us in the studio and did handclaps on a track, then we went to the pub with him and everything looked very positive. The label was started by Alex Patterson of the Orb and Youth from Killing Joke. The way I remember it was the label had a singer called Zöe, and she had a massive hit with a track called ‘Sunshine On A Rainy Day’, so the label poured all their money and attention into her and that was it for us.

++ And were there demo tapes put together by the band? If so, how many were they? Do you remember what songs were on them?

There are a few songs recorded by The Seaside out there. In fact, there are tapes with three different singers. Danny, a chap called Chris, and finally Clix become the lead singer. I remember ‘Chocolate Accident’ and ‘Ambulance Man’, which are pretty good songs, you might even call them groovy. There was a song called ‘Sail’, which Chris sang originally, and that’s made it onto ‘Coastal Walks’.

++ The only other song I know by you is “Begging Bowl” that appeared on an American compilation in 1995. Was this a late recording of the band? And how did you end up working with spinART Records?

I think the story is that we had a fan in America who found us after she bought the ‘Idolise’ single in a record shop in Greece where she was on holiday. She started writing to the band and I sent her ‘Begging Bowl’ for no real reason. She sent it to the label, they liked it and put it on their compilation album, ‘Lemon Lime’.

++ Then there was a blog that mentions that you may have released a track on a single alongside March to the Grave. But it seems the blogger is just speculating. Is this something real?

Pure speculation. I don’t even know who March to the Grave are. Or is. Or were.

++ So why were there no more releases by the band at the time. What happened? 

I think the fact that we had an outside chance of achieving something, and then lost that chance, was a body blow to us. We carried on, still writing what we thought were good songs, but the spark has gone.

++ My favourite song of yours is “Idolise”, wondering if you could tell me what inspired this song? What’s the story behind it?

This is one of mine and honestly, Roque, I can’t remember. Normally, I know where the songs come from, but this is lost in the mists of time. It’s a cracking riff though.

++ If you were to choose your favorite The Seaside song, which one would that be and why?

Oh, what a question! I really like ‘I Don’t Have The Time’, which is on the album, ‘Coastal Walks’. It starts very gently, a nice jangly guitar riff played by Clix, Steve plays a lovely, mellow insistent bass line that pushes the song along, and I do what I usually do, which is put overdriven guitar riffs on it. When we were recording the song I thought that Clix, great singer though he is, wasn’t doing what I had in my mind in the second verse. I sort of knew a singer in the US, Molli3, and sent her an email asking if she’d be interested in collaborating with us. She said yes, I sent her the song, and she sent back her version of the second verse. And it blew us all away. A completely different version of the verse than we expected, but it’s great. Then Clix added some mouth harp, I put a glockenspiel on it and more overdriven guitar. What starts as a mellow ballad ends as a full on noise attack. Just my sort of thing.

++ What about gigs? Did you play many?

We played a lot more than I remember. When we were recording the album I’d stay at Clix’s house and he was reeling off all the shows we’d done and I was saying, ‘Really? We played there, and there, and there?’

++ And what were the best gigs you remember? Any anecdotes you can share?

The best gig was the first Leadmill headliner. We had a stage invasion at the end. I was bent over trying to protect my pedal board from people jumping on it. It was chaos. The security didn’t know what to do, so they just left everyone on stage.

I remember one show in London. We had nowhere to stay so Danny announced from the stage that if anyone could put us up for the night, we’d be most grateful. Some students said they could put a couple of us up so me and Danny jumped in. We got back to their house and there was one very small sofa and one chair. I jumped on the sofa thinking it was the best option, even though my legs were dangling over the edge. Then Danny pulled a handle on the chair and it slid out into a full size single bed. I remember waking up the next morning with a cat sitting on my head.

++ And were there any bad ones?

Oh yeah. There were bad ones.

++ When and why did The Seaside stop making music? Were you involved in any other bands afterwards?

As I’ve said, The Seaside just sort of petered out. I think when we made the decision to call it a day it was a bit of a relief. The thing is, me and Clix thought we could still write really good songs so we decided to stay  together and put another band together. By this time, Steve had left The Seaside, but he came back, we found another drummer, Craig, and singer, Paul, and called ourselves Six Stone Six. We released a three song CD called ‘Baby’s First Wind’, which I think is better than ‘Idolise’ from a recording and production point of view.

++ Prior to the reunion to make the album, had there been any other The Seaside reunions?

No. As I said, I hadn’t seen Clix, or Steve, for more than two decades.

++ Was there any interest from the radio? TV?

Local radio played us a lot. And I’m a member of PRS, and I used to get royalty cheques fairly regularly, so someone somewhere was playing us. No TV though.

++ What about the press? Did they give you any attention?

Again, the local press were pretty kind to us and featured us a few times with interviews and photos. ‘Idolise’ was reviewed in the NME, which was an influential paper back then. The writer, David Quantick, ended his review with ‘talent present’. Which I’m proud of to this day. We were also featured on the ‘On’ page of the NME. Every week they’d pick three bands that they thought had something; that was satisfying. And we had very good live reviews in the NME and Melody Maker.

++ What about fanzines?

There was one fanzine who loved us, Epicurean’s Answer. Thomas, the bloke who wrote it, saw us play in London supporting a Sheffield band called The Dylans. He prefered us to them and wrote about us. He lived in the south, but would come up to Sheffield to watch us play. He, and his sister, Susannah, became friends of the band. We lost touch but the release of ‘Coastal Walks’ has brought us together again. That in itself is reason enough for us to have made the album.

++ Looking back in retrospect, what would you say has been the biggest highlight for the band?

I think just making friends, writing songs, recording songs and playing a few shows. And picking some fans up along the way. It doesn’t sound like a lot, but it’s actually a very big thing. For us, at least.

++ Aside from music, what other hobbies do you have?

My hobbies are pretty mundane. I like reading (is that a hobby?) and doing crosswords. Anything that keeps my brain from stagnating.. I recorded and mixed the album which was challenging. I used to have a four-track recorder back in the 80s, but new technology is far more complicated. And, of course, far better. That was quite engaging. I’m also a pretty good cook. Oh, and TV, but that’s rarely engaging.

++ Do you follow football? What’s your team? Sheffield United? Sheffield Wednesday?

Sheffield Wednesday. Me and Clix are Wednesday fans. Steve’s not really interested in football, which is probably a good thing because being a Wednesday fan is 10% joy and 90% heartache.

++ Never been to Sheffield, would love to visit some day. So I’d love to ask you what would you suggest checking out in your town, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

I’ve not lived in Sheffield for 25 years. I moved to Newcastle in the north-east to look after the gigs for Newcastle University. That’s when I became a backline tech. and tour manager, which kept me travelling, then to Leeds to live with my girlfriend and now I’m in Spain. But I worked at Sheffield City Hall for five years from 2015, and of course recording ‘Coastal Walks’ has taken me back a lot recently. Sheffield’s had its rough times, but it’s on its way back now, and the independent live music scene is as strong as it ever was.

I don’t think Sheffield has ‘sights’, it’s just a nice place. Henderson’s Relish, or ‘Hendoes’, is a Sheffield institution. It’s been made in the city since 1885. It’s a secret recipe that only two or three of the Henderson family know. I love the stuff, it’s in my blood. And Yorkshire puddings. Sheffield’s in the county of Yorkshire, and Yorkshire puddings are a staple of Sunday dinners. Not just in Yorkshire, but the whole country.

++ Anything else you’d like to add?

Buy ‘Coastal Walks’. It’s really good.

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Listen
The Seaside – Idolise

06
Oct

I miss so much to release records, to do label stuff, be in touch with bands. Sadly this seems like a dream now. Is anyone buying records still? Who is paying $40 for an LP? I feel the good old days are gone. One of my dream projects was to do a compilation of Australian indiepop bands from the late 80s, early 90s and when I discover a band that could have fitted the bill I just have this sense of excitement mixed with impotence that is hard to describe.

Batswing Saloon was a late 80s band from Brisbane, Australia. They released just one record, in 1988, a 7″ single titled “Harold and Maude”.

The record included the title song “Harold and Maude” on the A side and “Split Level World” on the B side. It came out on Cosmic Records (BSW01) which probably was the band’s own label. The band’s logo is on the front sleeve, a logo taken from Batman clearly. On the back of the sleeve a band photo with some information about themselves. This sleeve was designed by Michelle.

So we learn the band was formed by Jenny May on bass, Sue Holman on drums, Leanne Holman and Michelle Bowden on guitar and Liza McDonald on vocals. The band co-produced the record with Ian Wadley who had been in many bands including Dragster or Small World Experience. The single was recorded on a 4-track at the band’s practice room in the old Target building in Fortitude Valley.

One thing that does surprises one is that the band was all female. We know that some of the girls had been involved in bands like Michelle Bowden was afterwards on Chopper Division, Gravelrash, The Worm Turns and Koko Uzi or Sue Holman who also played in Cut.

The Brisbane Music Graveyard Bandcamp account has uploaded the two tracks of the single. Here there is more information about them. We learn that the band was formed in 1986 and it mentions that the single sold well in Sydney, Melbourne, London, Germany and New York. The title song reached number 12 on the 4ZZZ Hot 100 radio programme, and the band was voted the 4th best new independent band in the RAM readers poll in 1988.

It seems that originally the vocalist was Anne Deller but she left in 1987 and that’s when Liza joined.

About gigs we see that the band played especially around Brisbane and South East Queensland where they supported Hunters and Collectors, TISM and the Hoodoo Gurus.

The band would split up in 1990.

Then I find a Soundcloud account for Sue Mikkelsen. Could it be Sue Holman? Maybe married name? Here there is the single too. But there is another little treasure, a beautiful Batswing Saloon song called “Secret Mile”. Wonder where that one came from? A demo? An outtake from the single recordings? Or a future single that never happened?

I continue searching. I find a post on a blog called Striped Sunlight dating from 2011. Here I look at the comments sections. I learn that the band played at the Brisbane Uni Rec Club in 1988. Someone also mentions that he has a live video of the band. I wonder if it made it to Youtube… don’t think so.

The only other thing worth knowing is that their song “Harold and Maude” appeared on the compilation “Behind the Banana Curtain 1975-2000”  that was released as a double CD by Valve Records and East West in 2000. In this comp they appear alongside so many important Aussie bands including the Go-Betweens, The Apartments and more.

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Listen
Batswing Saloon – Secret Mile

29
Sep

There are a couple of tracks from the US based band Paris Working on Soundcloud. They are on an account by someone under the alias of whoopingkafka. What can we find out about this band?

The tracks are “Faith” and “Baby Camille“. Both are good tracks, but I must say that my favourite is the latter, it is more poppy. The songs also date from early in the 80s, before indiepop was even born, so keep that in mind.

“Faith” was recorded in 1982 at Tom Mallon Studios. Where is that? According to Discogs it was located in San Francisco. We know that the song was produced by Peter Woods and Michael Belfer. On top of it all we also have the names of the people that were part of the recording.

Gregory Griffith was on vocals and guitar, Paul Ramont on vocals and guitar, Dan Magazin on backing vocals and keys, Steve Winkle on bass, Richard Doty on drums, Benjami Bossi and Norman Salant both on sax. Safe to assume the band was formed by Gregory, Paul, Dan, Steve and Richard?

I look for more info. I find that the name Paris Working is most probably named after a period of intense ritual involving strong drug use in which the gods Mercury and Jupiter are invoked. Is that so?

Discogs has a 12″ vinyl listed dating from 1983. It is a self-titled release and is listed as a goth rock, synth-pop, minimal EP. It came out on Fatal Marble Records (FM 001). This is the only release on this label, could it be a self-release?

The tracks on it are “Movies of You”, “Everything is Coming After” and “Pieces of Heaven” on the A side and “Sleep” and “The Film of Breakdown” on the B side. Now the band members include Ken Weller on bass. We also see two new drummers listed, Phil Hertz and Dave Carothers (who is credited as a guest, thanking his other band Mutants). The producer for the record was Steve Fisk. The engineers were Dr Bob and Gary Clayton. the songs were recorded at the Tom Mallon Studios again.

Some of these songs are on Youtube as well as some other that are unreleased and they are good. Here are “Pieces of Heaven“, “Everything is Coming After“, “Sleep“, “It’s a Wonderful Life“, “Staples“, “Movies of You“.

I look if the band members had been in other bands. Dan Magazin had been in Surface Music, Gregory Griffith on Martian Lamps, Ken Weller on Seven Day Diary and Voice Farm, Phil Hertz on Scientists.

The band also appeared on compilations. Their song “Sleep” was on the tape compilation “Sub Pop 9” released by Sub Pop(S/Pop 9) in 1983. Then “Downtown” was on “On-Slaught No. 6” a 1985 cassette comp released by Idiosyncratics. This was a tape that came accompanying the 6th issue of On-Slaught magazine. Lastly the track “I Won’t be Dancing” appeared on the German vinyl compilation “Voices from North America” that was released by Temporary Music (TM001) in 1986.

I learn too that the band hailed from Berkeley, close to San Francisco, in California.

There seems to be another band of the same name hailing from the UK. So it is a bit difficult not to confuse some of the info online. But I am confident what I shared is correct.

So I wonder, what other information we can find about them? They had some very good songs, and you wonder why their name is not more known. Did they play live much? Did they play outside of California? Anyone remembers them?

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Listen
Paris Working – Pieces of Heaven

22
Sep

Benton is a city in and the county seat of Franklin County, Illinois. The population was 6,709 at the 2020 census. In 1839, Franklin County was split roughly in half and the county seat was permanently fixed “at a hill at the south end of Rowling’s Prairie”, the site of the future city of Benton. Benton’s namesake is Missouri senator Thomas Hart Benton. The village of Benton was organized in 1841 on 20 acres (8.1 ha) of property donated by John Ewing and Walter S. Akin. In 1902, the village became a city, and incorporated under the mayor/commissioner form of government.

Benton, today with a population of 6,709 people, that’s where we are heading today.

The band Cruces, formed by Derek Cook on vocals, Christopher Fouke on guitars, Danny Wilson on bass and Matt Arms on drums, was around in the early 90s it. They released a tape album in 1991 called “Painted Grey”.

The name of the band seems to be in Spanish and would translate to Crosses. I do a little bit of digging and find a Youtube channel for Chris Fouke were he has uploaded tracks from the album as well of many of his own videos showing his own guitars. It looks like he makes industrial guitars and here in this channel he demoes lap steel playing in different styles.

The songs in the album are “Tapestry of Change“, “A Summer Afternoon“, “The Cabin Song”, “Shade Me Grey“, “Dear Harriet” and “To Touch so Fine” on the A side and “Remember Me”, “The Forbidden“, “Skin“, “So There“, “Peaceful Rock”, “I Tell Myself”, “Thirteen Hours” on the B side. I have linked the ones that are on Youtube. It is important to mention too that “Dear Harriet” is a tribute song to Harriet Wheeler of The Sundays.

The songs from the album were recorded at different periods. So “Thirteen Hours” is from October 1990, “Shade My Grey” and “The Cabin Song” from November 1990, “To Touch So Fire” from December 1990, “Peaceful Rock” from January 1991, “Remember Me” from February 1991, “Skin”, “The Forbidden”, “Dear Harriet” and “So There” from March 1991, “Tapestry of Change” and “A Summer Afternoon” from April 1991 and “I Tell Myself” from June 1991.

The other bit of information we have is that the album was produced by the band and Scott Munson. Scott also is credited as the engineer. The songs were recorded and mixed at Soundcore Studio in Carbondale, Illinois.

The design of the cassette sleeve was done by Todd Freeman and Derek Cook with art by Derek Cook and Christopher Fouke.

On Discogs I looked if any of the band members were listed in other bands, but no, no other bands show up.

And that’s all I could find about them. Anyone remembers them? Did they play much live? Are there any other recordings by the band?

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Listen
Cruces – Dear Harriet