26
May

Day 441

No Suits in Miami: one of our favourite Swedish bands is back with a terrific new single, “Buffy”! And no, the song is not about vampire killing! As usual, lovely vocals, jangling guitars, and top melodies. It is always a pleasure to listen to the Lund based band!

The Edible Eyes: another favourite band, formed by ex members of The Blanche Hudson Weekend and The Manhattan Love Suicides is back with a new song too, “Until the Morning Comes Around”. This one is a bit more post punk than indiepop if I could categorize it. It is being released on a split 7″ with the band Sissy Space Echo & the Invisible Collaborators. Preorders are up on Bandcamp.

Answers: now let’s head to Melbourne. There, in Australia, we find this guitar-driven project and their second album, “Fools in Despair”. It is available digitally only it seems and has 7 songs. The guitars chime and the melodies are great. They consider themselves post punk, and that might be right, but they are on the melodic side of the post punk spectrum!

Señor Kino: now we go to Hermosillo, Mexico. There we find the dreampop band Señor Kino and their newest song, “Aurora Boreal”. The song is quite nice and even has a video worth checking out!

Not Even Close: and we round up today’s bands with Sweden’s Not Even Close. Their latest single is “Dödsgest” and is a fine slice of punky pop in Swedish! I don’t know much about the band but previously, earlier this year, they released another single called “Lemons”.

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One single released in 1991 in their own Satyrday Records was all this British band left us. Two songs and one remix. Can we find any othere details about them?

The single came out on 7″ and 12″. The catalog number was SATYR T001. The 7″ didn’t have a sleeve. The 12″ did. The producer was Charlie Francis who had played bass with Toyah. The engineer was Ian Caple. The songs were recorded at Stone Room Studios, in Shepherds Bush, in London. I went once to that area. Many many years ago. It has been such a long time since I’ve been to London. I need to return soon. But, would it be safe to assume the band hailed from London?

The 7″ had “Shooting Air” on the A side and “Oh Yeah!!” on the B side. The 12″ had both of the songs on the A side and we find the “Shooting Air (The Blitz Mix)” on the B side.

Discogs lists a name, a band member, Chris Hill. He is a bassist it says and had been in the band The Buzz in the early 80s in Shrewsbury? Is it the same Chris Hill?

There are two compilation appearances. Both of them have the band contributing the song “Belief”. The first dates from 1991, a compilation CD called “Exposed – New Noise for the Nineties” that came as a freebie with the Exposed magazine. Then in 1992 the band appeared on “Tape Horn”, another compilation from a magazine. This time it was a tape comp given away by Deadline Magazine.

I found the drummer, Ian Davies. He lives in Marseille now. He has a Soundcloud and there he has shared music he has worked on, The Satyrs’ “Shooting Air” and “Believe” included. Other projects of his are Sister Jo Jo, The Gilberts, Texas Martha and the House of Twang and Ochre.

Another member was Stuart Evans. On a website called Famous Welsh it mentions that The Satyrs are progenitors of Britpop. It also says that he was born in 1962 at Llandovery, Wales.

I have three names. I haven’t found any other details. But I hope I get some help eventually. The three songs I’ve heard are very good. Who remembers them?

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Listen
The Satyrs – Shooting Air

25
May

Thanks so much to Wahidah, Daniel, Jared, Spencer and Lucas for the interview. Also thanks to Raphael Ong from Middle Class Cigars Records (their label) for making this interview happen. I discovered the band last year and enjoyed their latest release, “Nature of Things“, quite a bit. Then I started to check out their previous releases and found quite a nice variety of pop sounds in them. Also enjoying their latest forays in the digital world, as their appearance on Audiotree. As I am not that familiar with the current Singaporean scene and didn’t know much about the band, I thought it was a great opportunity to hear from them!

++ Hi guys! Thanks so much for being up for this interview! How are you? You just released a wonderful album called “Nature of Things” which was quite a surprise to me. But I want to go in order, from the band’s early days to today. So let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

Wahidah (vocals): My mom used to play cassette tapes of 80s-00s contemporary hits in the kitchen while she cooks, so I grew up listening to that. Eventually, I became angsty and listened to Avril Lavigne and Green Day when I entered elementary school. I first learned to play classical guitar through the internet.

Daniel (guitar): When I was a kid, I was given a cheap mp3 player that already had some songs, and that was the first time I ever heard Blink182. Blew my mind, and started my whole interest in music. I just listened to a lot of pop-punk growing up. It made me want to learn electric guitar, so I just learned from Youtube.

Jared (guitar): My dad used to play the acoustic guitar and sing BeeGees songs to us. I first learned drums through Rock Band 2 on PS3, which I got one Christmas, and I got really good at it. Growing up, I listened to whatever my dad played and unfortunately a lot of mid 2000s Weezer.

Spencer (bass):
I come from a musical family; my mom loves to sing and my dad loves to play guitar, so a lot of family memories around music. I first learned drums through music school and unfortunately from church. Unfortunately, I also listened to a lot Christian rock and hymns growing up…

Lucas (drums): My first musical memory is seeing a band play at church when my parents took us there. I first learned violin through classes in elementary school.  Growing up, I just listened to whatever was on the radio and then eventually I got angsty in my teens and listened to a lot of post-hardcore and emo stuff.

++ Had you been in other bands before Subsonic Eye? If so, how did all of these bands sound? Are there any recordings? 

Right before Subsonic Eye, Daniel, Wahidah and Spencer had a band with a couple of their classmates for a short while, and released one song.
https://soundcloud.com/officialnjce/unlisted-teens-demo

++ I guess with Covid-19 this is a strange question, but prior to it, how was the Singapore scene? Are there any bands that you like? Any good record stores? Or what about the pubs or venues to go check out up and coming bands? 

The Singapore scene is pretty vibrant. There’s a wide variety of bands that can suit every taste. There’s many we love but just to name a few; Forests, Sobs, Saints Amongst Sinners, Cosmic Child, and Coming Up Roses,

++ When and how did the band start? How did you all meet? How was the recruiting process?

It started in 2016. Daniel, Wahidah and Spencer were classmates, and we met Jared and Lucas through mutual friends. It started when Daniel shared demos with Wahidah, where she sang over them, and eventually they had a bunch of songs that needed a full band. Recruiting process was just whoever could play the instrument and that we could get along.

++ How is the creative process for you? Where do you usually practice?

Daniel: I’ll just play around with my guitar until I get a nice string of riffs or chord progressions, then I’ll record that and put some MIDI drums over it. I’ll send it to Wahidah and she’ll record vocals over it. We go back and forth until we’re happy with the demos, then we show them to the band and work on them together. There’s no fixed place we practice at, we just go to whichever jamming studio has available slots.

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

Wahidah and Daniel were looking through the Wikipedia page of ‘outer space’ and came across the word ‘Subsonic’. They thought it was cool, but was already taken by another band. So we just added in the word ‘eye’ because illuminati.

++ Who would you say were influences in the sound of the band?

Daniel: Starting out, we were really influenced by bands like Beach Fossils, DIIV, Makthaverskan. But with our new record and sound, a lot of influence from Sonic Youth, Pavement, and Life Without Buildings.

++ I am not that familiar with Singapore indiepop, I know a few bands and that’s it. I was wondering if you would recommend a few bands or songs that you really like.

For indiepop specifically, you can check out our friends Sobs, Saints Amongst Sinners, and this really new young band called Moon Pool.

++ Your first release was the album “Strawberry Feels” which came out on CD and cassette thanks to the label Middle Class Cigars. Who are Middle Class Cigars? How did you end up working with them? How do you like the relationship with the label?

Daniel: There’s a collective called Symmetry Entertainment that brings in bands we love like Slowdive, The Drums, Beach Fossils. I messaged them on Facebook asking if we could open up for the bands they bring in. One of the guys, named Nigel Lopez, got back to me saying he’s actually planning on starting a label called ‘Middle Class Cigars’ and it just took off from there.

++ This first release has a kid on the front cover, a photo. I was wondering who he is? Is it any of you?

It’s a childhood pic of our vocalist Wahidah’s ex-boyfriend.

++ Your second release was another album, and this time only available on tape. It came out in 2018, just a year after the first release. How did you record and write so many songs this quick?

The whole process of writing a demo and then working on it with a full band is very addictive, so we just kept writing and jamming. Not to mention, we were students so we had a lot of free time. Daniel, Wahidah and Spencer were in college for ‘Audio Technology’ so they had free access to a recording studio. So we also rushed to quickly make use of the school’s facilities to record drums before we graduated. But for guitars, bass and vocals, we prefer to record it ourselves at home.

++ The art for this release was created by Karen Claire Yu. How did you end up working with her?

Daniel: I knew Karen from high school but I never knew she painted. When I found out and saw some of her work, I immediately knew I wanted to work with her. Really cool stuff.

++ This tape was very limited, just 50 copies, I expect it impossible to find a copy these days. Are there any plans of re-releasing your sold out records?

Unfortunately not at the moment. We always make very few copies because we’re afraid no one buys them.

++ Your latest release is “Nature of Things”. This sounds a bit more varied than your previous releases. What’s the story of this album? From conception to final product, how did the idea of this album evolve?

Daniel: I was getting tired of having to set-up my effects every time I wanted to write a song, so I just started playing my acoustic guitar more. The raw guitar sound became really attractive to me, along with alternative tunings, so I just decided it would be cool to venture into that new sound. Wahidah’s lyrics and vocals naturally became a lot more raw as well, writing and singing in the most honest way she could rather than worrying about whether it was ‘poppy’ or not. The rest of the band resonated with the new sound immediately, and everyone got to express themselves way more compared to our older sound.

++ What differences or similarities do you see to your previous releases?

A big difference would be the lack of a ‘leading’ instrument in most of the songs. It’s like we’re all playing the same part just in different forms. Similarities would be that we still wanted to retain the sense of form and structure to the song (verse-chorus-verse)

++ And why the name “Nature of Things”?

I got into Buddhism some time in 2020 and I read that the nature of all things is impermanence, which is an underlying subconscious theme in most of the songs. And we started to spend a lot of time in nature rather than more urban areas as well, so it all just made sense to go with ‘Nature of Things’

++ Aside from these albums there are some more songs on Bandcamp called the “Bedroom Sessions”. These were recorded during Covid-19 lockdown, right? How has this pandemic affected the band?

Bedroom Sessions was actually recorded in 2016 and released only on tape. We decided to release it in 2020 to raise funds for an organisation, but we also added more instruments to the recordings. The pandemic luckily didn’t affect us that much (other than not being able to play shows) because we finished working on the songs by the time Singapore’s lockdown kicked in. When the lockdown kicked in, we were just left with mixing, and all the album cover design stuff, which we could work on online.

++ And having released records now on CD, tape and vinyl, what would you say is your favourite format and why?

It’s actually just our label Middle Class Cigars that’s really into those formats. Unfortunately us in the band are all victims of the digital age, and we just listen digitally. It’s mostly for  economic reasons… we’re broke fresh graduates.

++  Are there compilation appearances by the band?

HDT”, off our second full-length was released on Middle Class Cigars’ Christmas compilation “A City Without Snow” in 2016, in the form of “Holiday Depression Triggers”, along with a live video of us performing the song. “Cosmic Realignment” was also included in A Lonely Ghost Burning’s “Alternative Melodies Vol. 6”.

++ I think my favourite song of yours might as well be “Come Around”, wondering if you could tell me what inspired this song? What’s the story behind it?

It’s the frustration over trying to fix something that could not be fixed. Just young and dumb 19 year old relationship problems.

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

Right now it would probably be Fruitcake. It’s a blast to play for us, and we get pretty tired because it’s pretty fast.

++ What about gigs? Have you played many?

We’ve played a lot of gigs!

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

Some of the best gigs we remember are the ones organised by our friends. The anecdotes are the same for all of the best shows.. It’s when the crowd is just in sync with us and they’re vibing and having a really good time. As a band that feeds off the energy of the crowd, those are the best times.

Definitely. Technical errors and just sometimes a bad show just happens.

++ Was there any interest from radio?
There was a local radio station that played a lot of local music that made us their band of the month a few years ago but unfortunately they’re not around any more. We do get a lot of airplay in the US and the rest of the world though – I know that we’re on rotation on KEXP pretty often.

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

Biggest highlight is getting to tour all these different countries with our friends’ bands. Surreal experience.

++ And now, in the near future, what are the plans for the band? Are there new songs? New releases?

Definitely another album. The process is very addictive, even if the album doesn’t do well.

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

Riding bicycles, fishing, knitting, and watching professional DOTA 2 matches.

++ Never been to Singapore, I do have many friends there and would love to go. But I’d  love to hear from a local. What are the sights one shouldn’t miss? Are there any food or drinks one should also try?

Check out our local trails to experience our tropical jungle like Chestnut Nature Park, Macritchie Nature Trail, and the rustic island of Pulau Ubin. For food you definitely have to try ‘Salted Egg Chicken’, and for drinks if you’re a coffee person ‘Kopi’, and if you’re a tea person ‘Teh’.

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Listen
Subsonic Eye – Come Around

24
May

Day 439

Beach Vacation: let’s start this week in Brest, France. That’s where the label Too Good to Be True is based. They are releasing a limited CD album by Beach Vacation on June 4th. This 11 song album is titled “I Fell Apart” and sounds pretty good! We can preview three tracks from the album now and as I said, really enjoyable.

April June: now we cross the southwest border and we are in Spain. Not sure exactly where in Spain. But there’s a band there called April June that makes beautiful pop songs! Wow. What a nice surprise. Their latest song “Have a Hell of a Nice Life” sounds like a slice of Swedish indiepop circa 2006. This is very good!

Gus: “It’s Gus!” is a demo tape from the early days from Chapter Music from Australia. It was formed in the 90s by Guy and Richard from that well known label and the Salty & Delicious fanzine in Perth. As a band they existed for a few days in Brisbane in 1994 and recorded these 5 songs. As an indiepop archaeologist I love this. Would love to know more about this project. An interview could be cool?

Valentina Way: is this the new project by Charlie Darling? It looks like it! Just one song is on their Soundcloud, “Say it Say it Say it” which is superb! Fun and catchy, with a “back story” that could well be true! We should keep an eye for any new songs they put out!

The Laundromat Chicks: and because last week we featured the Austrian band’s Bandcamp and new songs, well, it makes sense to now check out their new video for the song “Catch It”! This is a superb song, very The Bats! So don’t miss this one!

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We head to Finland today. It has been a while since I featured a band from that country. A country I really enjoyed visiting and I hope to be back again in the near future, when all of this nightmare of the pandemic is over. Have a nice salmon soup and a karelian pie. Why not.

The Autobiographical Dancers hail from Finland. I don’t know much more right now. Not sure where from Finland they were from. But I hope while I write this post I’ll find out. I got to them a long time ago, thanks to the blog From a Northern Place. The person behind that blog, who I have never met or exchanged emails which surprises me!, shared a song called “Night Falls” from the band’s album “Fey”. And I immediately loved the soft and elegant sounds of it. It sounded timeless. And I wondered how come this band is so obscure!

According to Discogs the band hailed from Helsinki. Okay, that’s a good piece of information. Easy detective work. Lovely city too. I remember now getting a moose kebab at the old market. Interesting things one does when traveling. Yeah, I miss it. I will guess then that the recording studios where they made the album, Viidakkorumpu Studios, was in this same city, the capital. The songs were recorded and mixed there in July 1988.

That same year the album was released. It came out on Gaga Goodies (GOOD-6), a label founded in 1987 by Kimmo Miettinen. The idea behind this label was to release Finnish bands who sang in English and didn’t use keyboards. In their catalog I see Poverty Stinks which I know, but in general most of their releases are unknown to me. I should try to discover any treasures there.

The album is kind of short, 7 songs. The A side has “Heaven”, “Ghost of You”, “Night Falls” and “April” while the B side has “The Glass Bead Game”, “The Twerp” and “Before Leaving”.  All songs are credited to the band but “The Twerp” which is credited to the band and to Sakari Kukkonen (I found info about a Veli-Sakari Kukkonen, is he the same? If so he was in bands like Zero Nine, Ramblers, Nights of Iguana and U-Bayou). He also is credited for additional percussion.

The band was a four piece. It was formed by Pola on vocals and guitar, Zu on drums, Tape Riihmäki on bass, and Jay on guitar.

Other credits on the record are for Annika Ursin on backing vocals and Petri Eskola (From Monday and Standing Ovation) on piano. The cover photography is credited to Tape and the band’s photo by Ursula.

Aside from the record the band contributed the song “Heaven” to two compilations.

The first is from 2005 and I’ve mentioned it before on the blog, “Sivulliset – Valikoima Suomalaista Vaihtoehtorockia Vuosilta 1985-2000”, a 4CD boxset that sort of compiles the most important indie bands of Finland. This record was released by Poko Rekords (VALOSA1). Then in 2011 we see them again on another 4CD boxset, “Miettinen – Pieni Rockhistorikki 1979-2000”. This one was released by their own label, Gaga Goodies (MBOX-1).

I also find some other bands they were involved with. Tape was in a band called Variance in the early nineties. And Jay, whose real name is Jukka Hannukainen, was in many bands like Emmenthal Socapex, Palms on Hips and Variance. He also works as a composer, sound designer, producer and DJ. He has a soundcloud here.

And that’s it. No more info about the band. I am curious about the rest of the songs. I haven’t heard them. Are they as good as “Night Falls”? I hope so. And what happened about the other members? On Discogs I saw comments saying that the drummer Zu is quite a mystery. How come? What are they now? Did they continue making music? Had they made music before The Autobiographical Dancers? Did they gig much? Did they have a big following? Hopefully we’ll find out some day…

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Listen
The Autobiographical Dancers – Night Falls

21
May

Day 436

The Laundromat Chicks: we return to Austria, to Vienna to be precise. Months ago I discovered this nice pop combo and now that I was revisiting their Bandcamp I notice they have an album out. It is called “Often in the World” and includes 9 songs. The songs sound great, clearly influenced by Flying Nun Records’ bands.

Poster Paints: this new Glasgow band formed by Simon Liddell and Carla J Easton. Their debut single is called “Number 1” and is now available to check out on Bandcamp. I am enjoying it, the cool mix of indiepop sounds and dreampop guitars.

The Sensitive: it is always a good idea to check what is happening with Shiny Happy Records from Indonesia. Today I found a new song by The Sensitive called “No One Top Felix Delta Alpha Sierra Sierra” which I believe will be part of a tape called “Do Everything or Else”. I am very curious about the other songs on the tape as this one sounds really good and even has Edwyn Collins on the sleeve!

Glixen: now we move to more dreamy, shoegazy, sounds. We travel to Phoenix, Arizona, and theere we discover Glixen and their debut digital single, “Sugarcube”. There’s no other info in the page, but we have the lyrics. Let’s keep an eye for more songs as “Sugarcube” does have a punchy sound!

Hazte Lapón: and we end this week’s recommendations with “El Baile de la Medusa”. This fun song was actually recorded in 2011 and included in a self-released single in 2012. Now, 2021, the band have remixed and remastered it to re-release it again. And it sounds great! Perfect for dancing, perfect for any indiepop party!

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I wrote about a UK band called The Counting House many years ago. I never found anything about them. Today I discovered another British band called The Countinghouse. I honestly don’t know if it is the same band. Who would know?

About The Countinghouse (one word) there are more details on the web. There was a 7″ released in 1988 on Clear Cut Records (EASCCR 1) which probably was their own label. This double A sided record had “Pack Your Bags” and “Closer”.

A demo tape is also listed on Discogs with four songs, “(Within These) Four Walls”, “Makings of You”, “Song Three” and “Broken Toy”.

The only other detail we know about the band is that they hailed from Leicester.

I dig a little bit more and find 5 songs on Youtube. Sadly there is no more details in here either. These songs are “Streets Where You Live“, “Wish I Was There“, “Within These Four Walls“, “Makings of You” (which appears on the demo, but here on Youtube the song seems to be faulty and unlistenable) and “Closer” (from the 7″).

I search for The Countinghouse and look for any relation with Leicester. Well, there is a venue called The Counting House in that city. So that makes my search futile.

And that’s it. Like The Counting House, information for The Countinghouse is almost non-existent. The songs on Youtube are a rarity. Anyone remembers them? Would be nice to find more info about them!

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Listen
The Countinghouse – Streets Where You Live

20
May

Thanks so much to Kristin for the interview! When I wrote about the Brisbane band Fugitive Microbes, my friend Stewart from The Kensingtons, who had lived in Brisbane, managed to put me in touch with her! So cool! Then Kristin was very kind to answer all my questions and learn more about her band which was quite a discovery for me. They have some wonderful songs that deserve to be discovered!

++ Hi Kristin! Thanks so much for being up for this interview! How are you? I see in Australia you have concerts again, very jealous. Have you been to one since the pandemic start?

I’m really well thanks. Yes it’s been wonderful to get back out to see bands again. It’s been a gradual process, and we still have restrictions and crowd sizes etc, and we are campaigning for live venues to be treated the same as sporting venues which seem to be able to have far greater crowds. I love seeing live bands as often as possible.

++ You are these days in a band called The Double Happiness. You have some very fine songs, and was wondering if you could tell me a bit about the band. When did it start? Any releases?

TDH is a quartet consisting of two married couples – Pete and myself are on guitars and Meg & Simon are our rhythm section. We’ve been friends for close on 30 years, and have very similar tastes in music. We love independent alternative music. Our influences are post-punk, shoegaze and surf. We think of our sound as ‘surfgaze’. We had our very first jam about 5.5 years ago. It was so easy. We’re all on the same page. We have released one EP in 2018 ‘City’, a single ‘No place like Nundah’ in 2019, and our full length LP ‘Surfgazing’ in 2020.

++ And what would you say are the main differences and similarities between The Double Happiness and Fugitive Microbes?

TDH has its own jangly guitar sound, with call-response vocals not unlike Nancy Sinatra & Lee Hazelwood. We like interesting arrangements and trance-like outros to songs. Pete and I generally ‘noodle’ guitar riffs and ideas and bring them to band practice, and Meg & Simon lay down the most amazing bass lines and drums.

WIth Fugitive Microbes, Tony was a well established figure in the Brisbane anarchist and music scenes, having released a well known protest song – Pig City – with his band The Parameters. He had more of a blues/punk and rock sound with a great baritone. He played sax and slide guitar. I was very young and new to this as it was my first band. I wrote more jangly pop tunes. We’d each sing our own songs, and there was a distinct difference in our sounds.

Even though Pete and I each write songs in TDH, we come together in vocals and arrangements, and I feel it’s a more cohesive sound.

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

I remember learning piano at 5 years old but very briefly as I hated practising. All I wanted was a guitar, and to play like Sister Margaret who was a teacher at my primary school. She would play ABBA to us at lunchtime when it rained. I had a few lessons when I was 10 and 11 but after that I I relied on teaching myself my favourite songs by ear. At home I loved listening to David Bowie, U2, Kate Bush, and once I discovered 4ZZZ radio I fell in love with alternative music.

++ Had you been in other bands before the Fugitive Microbes? If so, how did all of these bands sound? Are there any recordings?

No, Fugitive Microbes was my first band.

++ What about the other members?

Tony (Kneipp) had been in other bands I believe, and this band had grown out of a long standing Brisbane band “Trash of all Nations”. Colin Barwick joined us on drums once Oscar had decided he was going back to Holland and moved from drums to bass. We felt it would be easier to replace a bass player than a drummer. Col had been in many successful bands including Died Pretty, The End, Ceramic Eggplants, The Wickermen and also an earlier version of Trash of All Nations. Irena Luckas was with us during the transition from Trash to Microbes, and she had been in legendary band Xero. I learned so much from everyone in the band. They knew the Brisbane music scene so well, and had seen it all through the turbulent Joh years.

++ Where were you from originally?

I was born in Brisbane

++ How was Brisbane at the time of Fugitive Microbes? 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?

Brisbane was going through a huge transition in 1989/1990. We saw the last of the Bjelke-Petersen government here in Queensland when they were voted out at the end of 1989. It was basically the end of a right-wing dictatorship which lasted two decades. Live music really suffered at the hands of brutal police. Many bands left Brisbane for Sydney and Melbourne in the 70’s and 80’s.

I loved (and still love) Ups and Downs, The Go Betweens, Purple Avengers, Dream Poppies, Thanks for the Fish, The Riptides. There was so much great music.

The record stores around at the time were Kent, Skinny’s and Rocking Horse (which is still going strong). These were all based in the CBD

The Qld Uni refec was a great place to see bands, so was The Storey Bridge Hotel. But my favourite was Albert Park when 4ZZZ put on Market Days.

++ How did you all meet? How was the recruiting process? I read you met at Kelvin Grove campus? What were you studying?

I met Tony while we were studying teaching at Kelvin Grove BCAE (now QUT). He invited me to join his band after seeing me playing at a uni friend’s party.

++ There were a few lineup changes, right?

Yes, originally there was Tony, Irena, Oscar and myself. Irena (keys/synth) left a few months after I joined, then Oscar started playing bass once we knew Col was keen to play drums for us. By the time we recorded at Burbank Studios though, my boyfriend (now husband) Pete jumped on bass guitar.

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

Tony and I would each bring songs to our practices which were held at his share house on Vulture Street West End. Tony had a large number of songs when I joined, and Irena was playing some of her songs from Xero. Over time I was bringing more songs along and we’d take it in turns through the set, each singing our own songs.

++ One thing I notice is that your songs were poppier while Tony’s were rockier, was that what came natural I guess? Also whoever wrote the song, sung the song?

Yes, that’s it. I was drawn to a more indie-pop sound, loving jangly guitar. Tony had a blues rock and punk sound, and he could play slide guitar and saxophone too.

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

Pretty funny really. We just opened the dictionary twice and found two words!

++ Who would you say were influences in the sound of the band?

My influences were bands like The Sundays, Look Blue Go Purple, Ups and Downs. I’m not sure about Tony.

++ As far as I know you only released one 7″ back in 1992. Previous to it, had you made any recordings? Or was the 7″ your first experience at a recording studio?

We released one double A sided single with a theme of insanity – Mad Dave and Living With A Schizophrenic. That was our first and only release. We did record a few more tracks during that session that are available on Soundcloud.

++ How was the experience of working at Burbank Studios? Who produced the record?

It was interesting. My first time in a studio. It was recorded live or almost live. I think the engineer’s name was Steve? I learned heaps about vocal tracking and that the process can take longer than expected. And it’s not cheap!

++ This 7″ has some interesting artwork, was wondering who made it?

Shane Kneipp (Tony’s brother) was a very talented local artist who kindly offered to do our artwork. Shane also did some gerat poster artwork for local bands in the 80’s.

++ And who were Sundown Records? Was it your own label?

I’m not 100% sure on this one sorry. I know Tony’s label was A records.

++ On Soundcloud I found some more songs from the band, so I wonder if you used to do demo tapes? And if so if we could do a quick demography?

There was a live recording done at the QUT Campus Club one night. It has a great version of Schizophrenic on it with heaps of delay on my vocals. Other than that the only other tracks I know of were done at Burbank Studios.

++ There’s a song called “Alice (from the Brady Bunch)” and I wonder if you were big fans of this TV show? Or why dedicate this character a song?

Yes, huge fans of this show. But the song was inspired by some artwork in the ill-fated share house which also inspired Schizophrenic. My flatmate had a banner in the kitchen which said ‘Alice won’t cook’ and a tea towel which said “It starts when you sink into his arms and ends with your arms in his sink” which formed the opening lines of the song. So I combined the Brady Bunch Alice with these ideas and hey presto!

++ Did you appear on any compilations?

I don’t believe so

++ Are there still many unreleased songs?

Yes – Alice, Blackest Heart, Fuck Fashion, Six O’Clock News

++ I think my favourite song of yours might as well be “Living with a Schizophrenic”, wondering if you could tell me what inspired this song? What’s the story behind it?

I had a crazy share house experience. My house mate was very difficult. I might leave it there

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

I’m pretty nostalgic about Schizophrenic being my first recorded and released song. But I loved some of Tony’s songs especially Blackest Heart. It’s a really dark blues song that gets in your head.

++ What about gigs? Did you play many?

We did play quite a few gigs there in 1990. When we were a part of the Band Collective (BC Club) we played heaps up at QUT. I loved playing at The Storey Bridge Hotel and Albert Park, but we played in people’s lounge rooms – a lot!

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

World Environment Day 1990, Albert Park. I wrote a song especially for that gig ‘Don’t Fall on Me’ but the highlight was Col’s toddler daughter Emily running on stage and drumming with her Dad

++ And were there any bad ones?

One time at Albert Park, it may have been a 4ZZZ market day, we were standing side of stage getting ready to go on and another band ran on before us. They heard the sound engineer couldn’t stay much longer so wanted to make sure they got their full set. We wound up only playing about four songs. That was very uncool.

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

At the end of 1990 Oscar had returned to Holland, andI had scored my first teaching job at Bribie Island which was one hour north of Brisbane. It was just not really possible to continue as we were. Pete and Col went on to Splat Acrobat after the recording. I joined an all-girl band called Fruit in 1993, but that was also short lived as Pete and I moved to Townsville that year. Pete Col and I recorded some demos as a three piece called ‘Boo Tree’. Then travelling and five kids later, I joined a three piece surf instrumental band called ‘The Ripz’ with Col as their bass player. Now Pete and I are in The Double Happiness with good friends, Meg and Simon and we are having a ball.

++ Has there been any Fugitive Microbes reunions?

There was one in December 1993 at The Zoo which was one of the best gigs we ever played. Oscar was back in town which was super special. Then Tony, Col and I played at a gathering at West End about ten years ago. That was also heaps of fun.

++ Was there any interest from radio? TV?

4ZZZ radio was always a great support to us. We did a ‘Live to Air’ from their Toowong studios in 1990.

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

Haha. Not that I can recall.

++ What about from fanzines?

No. We were pretty edgy.

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

Probably supporting Celibate Rifles at QUT. Talking to Damien Lovelock (RIP) backstage was very special. He recognised Col from playing in The End.

++ These days you work at 4zzz Radio. What do you do? Is there a place where we can listen to you?

Yes I LOVE 4ZZZ. I first discovered it as a teen. I host a show called Heyday on Saturday nights which plays mostly 80s alternative music http://4zzzfm.org.au/program/hey-day. I get involved as much as time allows – reviewing programs, training announcers and even got to produce a podcast for their 45th birthday where I interviewed Billy Bragg. You can listen to it here https://podcasts.apple.com/au/podcast/billy-bragg-and-the-deep-north/id1542143375?i=1000501883106

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

Music is a huge passion. Catching arty movies with delicious nibbles and a glass of something red is also high on the list.

++ Never been to Brisbane nor Australia, I hope I visit sooner than later, so would love to ask a local for some suggestions, like what do you recommend them doing in your town,what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Take a scooter around our beautiful river, stop for a drink at Howard Smith Wharves and see the sun go down over the Bridge, or pop out to one of our Bay islands, or check out some of our inner city suburbs like West End or Paddington for great restaurants and bars. There’s a top view of the city from Mt Coot-tha too.

++ Anything else you’d like to add?

Thanks so much for asking about this very formative time of my life. I was very lucky to meet the people that I did when I did.

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Listen
Fugitive Microbes – Living with a Schizophrenic

19
May

Day 434

Ocean Blender: Indonesian Shoegazer Compilation Vol. 2: here’s a new cassette released by Anoa Records from Jakarta. It features 16 shoegaze songs by 16 different bands including some classic bands like Sharesprings or Astrolab. This is the 2nd tape in this series after “Holy Noise” that came out on 2016. Lots of great songs, lots of bands to discover.

Themilo: one of the bands I just discovered on that compilation, Themilo, actually has a new release on Anoa Records. It is a 3″ mini CD with two versions of the same song “Lazy”. We find on the 3″ an extended version that lasts almost 8 minutes an d the “Let Me Begin” version which is shorter so you can pick your favourite.

Bubble Tea and Cigarettes: Elefant Records has signed a New York band I have never heard before. I wonder if when the pandemic is over I’ll catch them live here. They seem to be a duo and they have released a new song with a video called “Santa Monica”. I suppose a phyical release will be announced soon.

Big Thing: I wasn’t aware of the label The Popty Ping Recording Company but will start looking into their catalogue. Their latest release is a fine indiepop 7″ single by Big Thing. The songs included are “Say When” and “Eye to Eye” and we can preview the opening truck. It is a fun pop song, clearly influenced by 90s sound, catchy and punchy!

The Smashing Times: the Baltimore band is back with a new album! It is titled “Summer Inside” and it includes 11 lo-fi pop songs. The band is formed by Thee Jasmine Monk, Zelda Anais and Ole “Juice Johnson” Johnson. The album is out now on tape and is limited to 100 copies. Good stuff!

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Time for more Reading-based bands! This time around I want to find out more info about this combo that I discovered through the “Small Town Scenery” (RCLP  018) compilation that Record Collector Magazine put together to accompany one of their issues back in January 26, 2016.

I’ve mentioned before that I don’t have this 10″ yet. I will get it soon I hope. So far I’ve written about a few bands that appear on it like Triple Blind, Blue Velvet or Pretty Green. I’ve written about Final Hour too, but not sure if it is the same Final Hour. I need to go back to that and check. But what’s interesting about Blindmans Rainbow is that they appear with four songs on this comp, “She’s the Sea”, “Love Surrenders”, “Calibration” and “Banks”. It is worth noting that the last three songs appeared by themselves as a separate 12″ in this compilation.

On the sleeve of this record we see the band members:
Brendan Carr (vocals), Damian Jones (guitar), Nick Carter (drums) and Adam Blay (bass). There is some info about the band too. Former lead singer Brendan Carr said: “We were all just 18 when the song “She’s the Sea” emerged during our morning rehearsals at the Cell Studios in Reading. You can hear the backwards guitars picked up from the Stone Roses, a band we were lined up to support at the Majestic nightbclub but couldn’t because Adam (bass player) had his Math’s A level the next morning. Back then all that really mattered was to get the music into vinyl. It just never happened to us”.

They did appear on two compilation tapes during their time. Their song “Bus Journey” was on thee “You Can’t Bee Loved Forever No.2” that our friend Phil Ball put together. Two years later, in 1991, they had their song “All Gone” in the “Farnborough Groove Volume 1” tape compilation that Pete Cole put together and whose series of compilations are now in volume number 12!

The only other thing we know they put out was a demo tape from 1990 titled “The Sand and the Sky”. This tape had four songs, “She’s the Sea”, “All Gone”, “Rudi” and “Brighter Day”. I believe there are more demo tapes by them. At least one more. But who knows… this is just me guessing as the songs “Bus Journey”, “Love Surrenders”, “Calibration” and “Banks” are not part of this tape.

What else have I found…

I know the band played at the After Dark Club on April 21st of some year supporting Neds Atomic Dusbin.

But there’s more. It seems the band reunited in 2016 to play on the launch of the Record Collector compilation. At Corsica Studios in London they played “Blue Skies” and there’s video for that. On Soundcloud there is a recording of “Ship of Fools” at the same gig.

Not much more on the web. But some good details about the band. Would be nice to know if the band members were involved with other bands for example. Or if there are more recordings. Or how come they didn’t get to release their music back then… Who remembers them?

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Listen
Blindmans Rainbow – She’s the Sea

18
May

Thanks so much to Ian for the interview! I wrote about The Clamheads on the blog a few years ago I think. And just last week Ian got in touch with me and he was keen in sharing details and anecdotes about the 80s English band The Clamheads! The band released one 12″ record back in the day and then sort of went silent. Later on in 1995 the band reunited under the name Borgnine (hopefully we’ll talk about this period in a 2nd interview). If you’ve never heard them before, you are in for a treat, as their songs are punchy, poppy and fun. If you already know them, I am sure that, like me, you’ve always been curious about their story! Well, here it is!

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

I’m fine thanks, lockdown was hard, glad we seem to be emerging from that now. I was very involved with music until August 2019, when due to complicated reasons my group Les Clochards had to take a break, which I now think may be definitive.

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

I don’t come from a musical family and my parents weren’t big music fans and didn’t have many records, mainly Scottish stuff like pipe bands and Andy Stewart, some film soundtracks, a few old 78s, one single by Elvis – A Fool Such as I. I was born in 1960 but was only vaguely aware of the Beatles and Stones. I started to get interested in music when I was about 8, I asked my parents to buy Legend of Xanadu by Dave Dee etc, then the first record I bought with my own money was Metal Guru by T.Rex. When I was 13 I saw David Bowie at Oxford New Theatre, that was a life-changing experience. I had a cheap Spanish guitar when I was about 11 and had lessons but didn’t stick with it, then when I was 16 my friend Rob and I started a group, he had a guitar so I bought a bass from a junk shop, it was a Gibson SG copy made of plywood and cost £30. I learned by playing along with records in my bedroom, by that time it was Dr Feelgood, The Flamin Groovies, the Foggy Notion ep by the Velvet Underground.

++ Had you been in other bands before The Clamheads? If so, how did all of these bands sound? Are there any recordings?

Yes, several other bands. Immediately before the Clamheads I played bass with the Shrew Kings who I’ve described as art-thugs. We had a lot of good press, released an LP and two singles, had some great ideas and a few good songs, this is probably the best: https://www.youtube.com/watch?v=CHOxdB3HqiM
We were almost a good group but musically only two of us could really play.

++ What about the other members?

Matt (guitarist/singer) was in the original Clamheads duo with a legendary character called Mac. Mike (guitar) had been in the Shrew Kings. Gary (drums) had played in a group called Ariva who for a while had Sade on vocals.

++ Where were you from originally?

I grew up in rural Oxfordshire. It sounds posh but wasn’t really, Pam Ayres lived down the road. If you’re not familiar with Pam I can explain the significance of that.

++ How was London at the time of The Clamheads? 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 loved living in London during the 1980s, went to gigs all the time, the Pogues, the Prisoners, the Milkshakes, Jesus & Mary Chain, the early Creation groups – I’ve attached a list of the gigs I went to in the mid-80s, at least those I remember! There were so many venues: The Cricketers, The Hope & Anchor, Dingwalls, The Marquee, The Clarendon, The Town & Country Club, The Half Moon, The Bull & Gate. Best record shops were in Camden, I forget the names now, and Hanway Place off Oxford Street, there was a great shop called Rocks Off where Shane MacGowan used to work.

++ How did you all meet? How was the recruiting process?

I knew Matt from Oxford, I had been in a group with his older brother. Matt started the Clamheads and asked me to play bass on some recordings, it went from there. Mike was in the Shrew Kings, and I knew Gary because he had been at art college with an ex-girlfriend, we met him at a gig by Howard Devoto’s group Luxuria at the Town & Country Club and asked him to join. There was no recruiting process, it was all quite spontaneous.

++ What instruments did each of you play in your songs?

Matt guitar/vocals, Mike guitar, Gary drums, me bass/vocals

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

Matt and I wrote the songs, sometimes together, mostly individually. We practiced in various rehearsal rooms in London.

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

Matt would be able to answer that, I’ll ask him. Borgnine was after the actor Ernest Borgnine, who usually played a villain.

++ Who would you say were influences in the sound of the band?

Old-school rock’n’roll and garage rock, the Beatles, girl groups like the Crystals and the Shirelles, Matt liked the Everly Brothers and Buddy Holly, The Byrds, the Flamin Groovies, The Cramps, Link Wray. With the Shrew Kings it had been quite avant-garde and theatrical, I just wanted to get back to guitar music for a while. Personally I liked a lot of jazz, doo-wop and soul music plus Tom Waits, but that didn’t really feed into our group.

++ You only released the “Summer’s Coming Down EP” back in 1989. I was wondering prior to this release, had the band already made other recordings? Demo tapes perhaps?

Yes, quite a lot of recordings, of variable quality. If you give me an address I’ll send a CD of early stuff and outtakes.

++ This 12″ EP came out on Jericho Records. I don’t know anything about this label. Care telling me a bit about them, like who were they? How did you end up working with them? How was your relationship?

I remember almost nothing about Jericho Records, except they were based in Oxford, something to do with Dave Newton who managed Ride. I think we paid for everything and just used their label because it looked good.

++ On the “Jericho Collection” compilation you contributed the song “Suddenly”. This compilation has some fine bands like The Anyways or The Wild Poppies. I am not familiar wit the rest though! Was wondering if you would recommend me any obscure bands, from this comp or not, to check out and try to find any information?

The one group who became well-known were Shake Appeal, who turned into Swervedriver and are still making great records. The only other group I knew were the Anyways who were excellent, they morphed into The Relationships who are also good but they’re my friends so I’m probably biased: https://www.therelationships.co.uk

++ And was there interest from any other labels?

Yes but nothing serious.

++ Going back to the EP, it was recorded at Scruttocks Studios and Stargoat Studios. Why two different studios? Which one did you like better?

Stargoat was on a farm near Banbury in Oxfordshire, it was nice but they were still learning; the guys at Scruttocks were more serious about it.

++ What about the photo on the cover? Who are they?

Len Fairclough and Bet Lynch from Coronation Street.

++ One thing that is funny on the sleeve is that you thank Simon for giving you money. What’s the story there?!

A guy called Simon gave us some money to make the record, I think he saw it as a solid investment. Big mistake! Sorry Simon.

++ How come there were no more releases by The Clamheads?

It became difficult, I had moved from London to Oxford and had two children, no money, no time. After a couple of years I wanted to do it again, but by that time there was another group in London called Clamhead, so we changed the name.

++ Are there more unreleased songs by the band?

There is an LP, None The Wiser, which came out in 1998. I’ll send you a copy. It’s really good, unfortunately we stopped playing soon after it came out, we had lost our rehearsal space, Matt had a baby daughter, my kids were older but I was working and studying part-time at university, it was hard to coordinate anything. As I said, we never split up, we just stopped. I wish we had been able to plug the album a bit more, but it can’t be helped.

++ I think my favourite song of yours might as well be “Summer’s Coming Down’”, wondering if you could tell me what inspired this song? What’s the story behind it?

When I was 14 I went with my parents to a holiday camp near Great Yarmouth in Norfolk. Holiday camps were where working class families went for two weeks in the summer, we couldn’t afford foreign holidays at that time. We stayed in a chalet and there was family entertainment and games. At the age of 14 you’re sniffy and dismissive of everything, I felt I had been waiting a long time to be grown up, what was I doing with my parents at this uncool place? The song is just observations from that time, it isn’t meant to be critical, I have fond memories. Someone – I’ve no idea who – has made a video to accompany it, and they’ve perfectly captured the holiday camp atmosphere: https://www.youtube.com/watch?v=RUqMtT43rmo

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

I think there are a lot of great tunes on None the Wiser. She’s a Funny Girl works for me because it’s very concise and subtly feminist lyrically, with a nice garage groove, that was a co-write with Matt. I always liked Motorcycle Song and Things That Stop Me Sleeping, those are Matt’s tunes.

++ What about gigs? Did you play many?

Yes, we played a lot, all of the small to medium London venues, plus we played in France.

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

Playing the Marquee was fun, we did some good early shows at Dingwalls and The Cricketers, plus some good gigs in France. Later on there were some great nights at the Point in Oxford. Playing open-air in central Toulouse was fun. It was nearly always enjoyable, but it’s really hard work! We liked drinking and a modest amount of narcotics but to be honest we saved the craziness for nights when we weren’t playing because I was always driving, plus I had two kids and had to go to work in the morning. I had to try to be responsible.

++ And were there any bad ones?

There was one in France, first night of the tour, no one turned up. We played anyway, treated it as a cheap rehearsal.

++ When and why did The Clamheads stop making music? You would regroup later in 1995 as Borgnine, right? Were you in any other bands?

See above for the first two questions. I had my own group Les Clochards from 2005-2019, French influence, played literally hundreds of gigs, good press, made two albums, available on Spotify etc, I’ll send CDs. The first one is really good, the second not so much but it’s ok.

++ What about the rest of the band, had they been in other bands afterwards?

Not really, which I think is a shame. Adult responsibilities get in the way.

++ Was there any interest from radio?

John Peel played our single, plus local radio.

++ I saw that you appeared on French TV. How was that experience?! That must have been fun! Did you play any other songs other than “Woodenface” and “She’s a Funny Girl”?

That was great and I’ve no idea how or why it happened, we were in Toulouse and someone told us to go to the TV studio. We only played (mimed really) the two tunes. It was a very hot day and we had to carry huge speakers on set to make it look authentic, we were sweating buckets. I remember the make-up woman saying ‘ooh-la-la’, at the time I didn’t know French people really said that.

++ What about other TV appearances?

No, that was the only one.

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

Not much, we weren’t good at publicity. A dismissive review in NME, some ok reviews in Time Out. It was frustrating but you have to work at that side of things and we just didn’t, which was a mistake.

++ What about from fanzines?

Yes some good reviews in fanzines, that was encouraging.

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

Touring in France, we had such a fantastic time and made great friends, most of whom I’m still in touch with. Personally it was another life-changing experience because it made me obsessive about learning the language properly, I eventually studied French at university and now I teach French. I’m about to start a PhD on French literature.

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

I read all the time, I’m trying to learn some Arabic, I like cooking and running, I’m a football fan. Nothing’s as good as music though.

++ I have visited London many times and I hope to return. Would like to ask a local, what would you suggest them doing here, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

It’s a long time since I lived in London but my son lives there so I go quite often, in fact I was there last Sunday. I love London, it’s become very expensive but still a great city – you could spend your whole life there and still find new things every day. I suggest avoid the tourist destinations and try to experience the neighbourhoods, Brick Lane, Hackney, Brixton, Peckham, Tottenham (Camden is very tourist-orientated these days). Traditional London food is really down to immigration, could be Indian, Italian, Greek, Jamaican, you can get anything but some neighbourhoods specialise, e.g. Brick Lane has many Bangladeshi restaurants. English beer is not like any other beer, not everyone likes it but unlike the food it is an English speciality which you can’t find anywhere else. Served in a pint!

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Listen
The Clamheads – Summer’s Coming Down

17
May

Day 432

Dayflower: the latest by our Leicester friends is a song called “Mockingbird”. It is a bit different to previous releases, this one is much more acoustic and introspective. From what I understand this song is not that new, that it was actually made by two of the members years ago in their bedroom for an album that never got released.

Nos Etés Trop Courts: not too long I was interviewing Gérôme and Jimmy about this short-lived project from Nantes and learning so many details. It was quite a surprise to hear a new song today, “Moon Scream”, from their fall 1993 demo tape. I wonder how many more nice songs will Jimmy unearth for his OVVK Archives Bandcamp page! It definitely seems the Nantes, Rennes and Brittany scene of the early 90s was quite exciting!

The Korova Milk Bar: remember the interview last week? Well, well, well… the band has released a limited 10″ vinyl on Blue-Very Label of Japan!! It is called “Rain Girls & Gentle Girls”, just like one of their best songs. It has 7 tracks and right now on the label’s Bandcamp you can preview the title track (which I shared on the interview) and “Goodby Flip-Flap Guitar”. I would recommend everyone getting it. I would if only the Japanese shipping costs to the US were more “normal”. Top stuff.

Nico Nico: it’s been a while since I heard a Peruvian jangle pop band. This is a nice discovery then! An 8-song album titled “El Azulito” and no other details. I look into their Facebook page to see if there’s any other info. Not really. I see a band of four people on a photo. My favourite song out of the 8 is “Tomás Valle”.

Marmalade: from the early 90s, from Denton, Texas. I have never heard this band and would be interesting to interview them and find out more. They released two cassette albums, “Promise You the Moon” (1992) and “In So Many Words (1993)” and then disappeared. Luckily 15 of their songs are now on Bandcamp. Jangly and poppy. It is also worth mentioning that they also go by A Band Called Marmalade because of a problem with a UK 60s-70s band called Marmalade.

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Now let’s head to Sweden. Again my friend David Chalé picked my curiosity as he posted a song by Violett called “Utsikt”.

I am aware of this Swedish band thanks to the compilation “A Chance to Shine. A Dorian Compilation” that came out in 1996 on Dorian Records, the label our friend Roger Gunnarsson ran when he was still in Halmstad.

On this compilation we find the song “Mitt Fel” which actually opens the CD. The only information we get on the booklet of the CD about the band is that the song is credited to M. Cervin and M. Wemrell. But we know few more things. We know that this song was also the opening track of a self-titled demo tape that was released in 1996.

This demo tape had four songs, “Mitt Fel”, “När Du Talar Till Mig”, “Trasig Ring” and “Utsikt”. all songs had being recorded and mixed at Studio Mary M in Ystad in the month of July of 1995. Wow, Ystad. The city of Wallander. I want to go one day. Did the band hailed from there then? Indeed. The contact info on the demo tape indicates they were from there!

Speaking of the band we know that ti was formed by Mårten Cervin, Dan Lindgren and Daniel Permbo. And when it came ot the songs we know that Daniel Permbo wrote “När Du Talar Till Mig”, “Trasig Ring” and “Utsikt”, while “Mitt Fel” is credited to Maria Wemrell. I wonder who she is. For the music, we see that all songs are credited to Mårten but “När Du Talar Till Mig” where the music is credited to Dan Lindgren.

The only other info on the demo tape is a credit for the photo on the sleeve which was taken by Martin Gustavsson. Ah! and the tape has a label, Clown Productions. The tape is CLOWN003.

I look for the band members then. I believe Mårten has been playing keyboards with a singer songwriter called Fredrik Larsson as of late. I don’t find any music related projects by Daniel Permbo but I think he has his own film/animation company called DejPej Film and has made this cool video about the city and Wallader! Even cooler he used a Sambassadeur song as background music for the video. Class.

I found a Maria Wemrell who is a post-doctoral fellow at Lund University. It is still Skåne. Could it be the same Maria?

I couldn’t find any other info about Violett’s music. But this was some nice background info. Hopefully we’ll learn more about the band in the near future! Hålla tummarna!

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Listen
Violett – Utsikt

14
May

Day 429

Tapeworms: Friday at last. We start with this band from Lille, France, and their latest song, “Magic Pierrot”. This is my introduction to this band, this surprising song which I am having trouble to categorize.It is a super fun song, poppy and catchy, a song perfect to play on repeat.

Broome: “Winter Sun Demo” is how we discover this one-man project by Brian Bielawa from Brooklyn, NYC. There is no other songs nor other information, just this fine dreamy shoegaze track.

Kid Coyote: let’s stay in the U.S. and travel north, to Boston. There we find the duo Kid Coyote formed by Joe O’Neill and Clara Berry. Their latest release is the “Good Company” EP. It is available digitally now and it includes four fine pop slices, “Good Company”, “Plastic”, “Distracted Fantasy” and “Young”.

Coral Grief: now to the other coast, to Seattle. Another duo, Lena Farr-Morrissey and Sam Fason. No EP this time but a digital single. It is called “Crumble” and it is another dreampop track. It is different. It is softer, more sparce, melancholic and hopeful, a lovely song.

Apartamentos Acapulco: another great song is the latest by the Spanish band is a video recorded in Argentina it seems. The song is called “Y Tú en Barcelona” and is available now everywhere digitally.

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My Serbian friend Nikola gave me the heads up about the Paisley, Scotland, band The Handsomes. I had no idea they existed and well, let’s see if we can find anything about them on the web.

The Swansea-based label Lavender Sweep Records seem to be looking for information about them. So they uploaded one of the songs the band recorded. They have identified this song as “Paisley” and they mention it came from a demo tape of the band. Sadly they haven’t added any information of any of the other songs that were included in this cassette. The only other detail shared is that it dates from sometime in the 80s.

There is a photo of the cassette. An AGFA LNX60. The tape had some art. It shows a smiling woman with sunglasses, a dress and a cool beehive hairdo.

The song sounds very much influenced by The Smiths. What else can we find?

On Facebook I noticed the Welsh label tried to get contact information as well. Seems there was no luck. Someone that was in the Glasgow band The Clinic seems to mention that one of the band members in The Handsomes used to be called Soapie.

Not much more. But maybe some of the readers of the blog remember this band. I’d be very curious to find out more information about them as well!

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Listen
The Handsomes – Paisley

13
May

Thanks so much to Nick and Matthew for the interview! I had interviewed Nick in the past about his previous band, Almost Charlotte, and I thought as they are re-releasing the CD compilation “I Think of the Sea” that compiled most of the recordings by Almost Charlotte and the band that came next, Bluff, that it was just perfect timing to talk about Bluff! Based in Brighton, the band didn’t get to release any proper records but left us some terrific songs. If you haven’t heard about them, now it is a good time!

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

Matthew: T Rex and Slade got me into music and punk got me into bass (quickest to learn and everyone needs a bass guitarist) then guitar followed. Limited talent (and lack of patience to properly learn instruments) got me into writing my own songs.

Nick: 10cc and Be-Bop Deluxe were the first two bands that made my very young self musically obsessive.  Things really then kicked off post punk for me – I’m very lucky to have lived through that period when indie bands were restlessly creative and shooting off in so many different directions (think Magazine, Skids, Associates, early Simple Minds etc.)  I only ever wanted to play drums and so bought a cheap kit as soon as I was earning money to pay for it then I taught myself (badly) from there.

++ Last time we talked about Almost Charlotte, so I wonder how would you compare both bands, what was similar and what was different between Bluff and Almost Charlotte?

Matthew: Bluff felt closer to my ‘ideal’ of 3–4-minute songs with a story behind them.

Nick: as Matthew says I think that we all agreed that the new band would be more single minded.  I loved Almost Charlotte at the beginning and in the middle but by the end we had sort of fractured and lost focus; with Bluff we wanted that focus right from the start.

++ How did you all meet? How was the recruiting process?

Nick: We formed Bluff because another Brighton band – The Whirlybirds – split at the same time as Almost Charlotte so two people from each got together.  Matthew and I knew Trevor Warman (guitar) and Trevor Thorne (bass) and it sort of felt natural to do something together that was different to our previous bands.

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

Matthew: We continued to practice at the same Brighton studios that we’d used in Almost Charlotte.  In terms of writing, I took the lead more than had been the case in Almost Charlotte where Ian Philipson and I shared.  Everyone threw stuff in though and we began to find our own sound.

Nick: I think that some of Matthew’s lyrics at the time were amongst his best (and I say that having been writing and playing with him for a long time now!)  Britain was still in the grip of a right-wing Government (Thatcher had gone but she was replaced by an administration that continued in her vein) and we wanted to represent that without preaching – to be a live band that would grab people and make them dance as much as make them think.  That’s a tough balance but I think that Matthew’s writing often achieved it.

++ There were some lineup changes too, right?

Nick: Just the one actually: Colin Clifford replaced Trevor Thorne after our first EP came out (‘The Frank Muir EP’) and before we did the second (‘Hospitals Houses Playgrounds.’)   I think that relative consistency was a really good thing and both the bass players bought something a bit different – it’s no coincidence to me that we were a tougher edged proposition with Colin and that’s why the songs from ‘Hospitals Houses Playgrounds’ hit hard. I think that we were more cohesive and focused with Colin.  We all had pretty broad musical interests so I think we all opened each other’s eyes to stuff that was around at the time.

++ You say Bluff had a harder edged sound compared to Almost Charlotte, and that might be true, but also within Bluff I feel some of the songs, especially those at the end of the “I Think of the Sea” comp are harder edged than the previous recordings. What was the direction the band was following? Had your influences changed at the time?

Matthew: I think Bluff was more of a collective creative process. Everyone contributed. It seemed to gel and I believe the songs show that.

Nick: to be honest it’s hard to remember influences other than a few bands that all four of us seemed to be into such as Sugar and Billy Bragg although there were certainly many others. I’m not sure that we consciously had a direction – we were focused on what we were doing at the time and had little in the way of a plan.  The whole thing only lasted a couple of years.

++ Speaking of “I Think of the Sea”, the compilation that compiles Almost Charlotte and Bluff, which is now available from Moments of Pleasure. Are these all the songs recorded by the band? Or are there more unreleased tracks?

Nick: they’re pretty much all of them.  There are a few others but they’re not good enough to release either in terms of sound quality or just, er, quality!

++ Moments of Pleasure is your own label, how do you enjoy doing label stuff, promoting, distribution? I suppose you prefer making the music? or not?

Nick: MOP is really a home for the things that any of us who were in Almost Charlotte have done since.  As such, it’s an on/off thing.  When we’re doing nothing it lays dormant and when we have something we want to share we crank it up!  The process of distribution and promotion can mostly be done online and there are intermediaries who take some of the legwork out of it but it’s still time consuming and we’re realistic enough to know that the people who are interested in what we do are very very few in number.  We put out the limited-edition CD of ‘I Think Of The Sea’ because we’d had a few people ask if there would be a physical version rather than the download/stream.  The response has been great – especially the geographic spread which has really surprised us.

++ As far as I know there were no records released by Bluff. How come? Was there no labels interested? Did you consider self-releasing?

Matthew: we self-released the two EPs on cassette (now there’s a term/format from the past!) and sold them at gigs.  Really, the whole process of searching out labels was never an option.

++ And there are no compilation appearances either, right?

Nick: no.  Almost Charlotte had a track on ‘The Sound of Leamington Spa volume 5’ but nothing for Bluff.

++ I think my favourite song of yours might as well be “Go Home Now”, wondering if you could tell me what inspired this song? What’s the story behind it?

Matthew: It’s about the inevitable ending of a long- distance relationship.

Nick: that was always a good one to play and – being selfish for a moment – I always liked the rhythm section part!  It’s also a nice example of some of Matthew’s lyrics (standing on platforms and awaiting connections) which played with different ways of describing fading links between people.  It also had one of Trevor Warman’s meatiest buzzsaw guitar parts that always threatened to swamp us – in a good way!

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

Matthew: ‘Losing Sleep’ and ‘Attitude.’ I love the energy on both and they were great to play live.

Nick: ‘Losing Sleep’ for me too – similar reasons.  It was also the last song in the set at our last gig so it was sort of our sign off.

++ And suppose you had a chance to put a 7″ single, with A and B side. What songs would you put on it?

Matthew: ‘Losing Sleep’ and ‘Wish You Were Here’

Nick: ‘Losing Sleep’ and ‘Switch Off’ for me.  ‘Switch Off’ was personally very important because it was the first lyric that I’d done and so it was really the first song that Matthew and I had written together; it was the end of Bluff but the beginning of a lot of things that we’ve done since.

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

Nick: we were definitely swimming against the tide.  On the one hand, at the time indie in Brighton (and maybe actually in Britain) was in the grip of grunge fever via Nirvana etc so nobody was interested in anything else.  That wasn’t us and we were never going to pretend it was.  On the other hand there was a growing interest in a sort of theatricality and over the topness which was also not us – our last gig was a Battle-of-the-Bands in which the winners used dry ice and had songs that ended in massively dramatic crescendos. We came last.  We didn’t mind at all because it was sort of a race that we didn’t want to enter.

Matthew: afterwards we were away from music for a very long time as life intervened.  It was 7 years or so before Nick and I did anything else and that was intended to be a one off but it has sort of carried on for over 20 years now under the name of Rogue Beauty.  The two of us are the nucleus but we have worked with a lot of other people and it’s been a really nice alternative to those band days – it’s sort of eclectic and freer than a band could ever be.  The ‘Seems Like Yesterday’ album is a compilation of stuff we’ve done so far and it’s nice to have it available via MOP.

Nick: I’ve also been working with Paul Midcalf on a couple of one- off projects (A Long Valley and Colourbeat – both of which have releases on MOP) as well as a much longer collaboration as Senses Reeling which has produced several EPs and an album on MOP.  There was a really nice top and tail to the story when Matthew sang several songs on the album (‘Time’s Still Now’) over 30 years after we first made music together.

Matthew: Trevor Warman now lives in France and Colin’s in Australia (last we heard Trevor Thorne was too) so we are now all sort of scattered but we stay in touch through social at least. Trevor Warman and Colin in particular are such good guys and their playing was always so distinctive to Bluff.

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Listen
Bluff – Go Home Now