Thanks so much to Erik Illes for this great interview! The Watermelon Men might be one of the most important guitar pop bands to ever come from Sweden. They were around the late 80s and released a bunch of singles and 3 albums. They toured many countries in Europe and even graced the cover of Sounds magazine in the UK. On the web there is not much written about it, so took the chance and asked Erik many many questions, and was even surprised that there is actually a 4th album that remains unreleased!

++ Hi Erik! Thanks so much for being up for this interview! Very honoured to do an interview with you. I know you are still making music now with the band Distant Days. Care telling me a bit about the band? Who are part of it? How does it sound like? Maybe there are some links to share? And how different or similar would you say Distant Days is to Watermelon Men?

I lived and worked overseas for many years, in Vientiane, Phnom Penh, Sarajevo and Brussels. I returned to Uppsala in late 2013. Over the years I had written many songs that I wanted to try them out with a band and record. Michael Funke, who plays guitar is an old friend of mine. He found Anders Vretenäs and Ulf Eklund on bass and drums – and it has really worked out with the chemistry. The music, in a spiritual and emotional sense, comes from the same place as with Watermelon Men. It is a bit darker and even more dramatic. Someone described it as a meeting between Simon & Garfunkel and Joy Division. Our first album, Dying of the Light, was released on vinyl last year and has been well received. It’s also available on Spotify and SoundCloud.

++ Now that I’m looking at info on the web about the band something struck, for a band that had quite a following and that released more than a handful of records, the information on the web is little. That is quite strange. Do you know why that may be?

In 1994 I moved to Laos and that was de facto the end of the Watermelon Men. So, it was really before the era of on-line communication. We never ourselves published anything related to the band on internet. It’s nice to see though that people upload and make available songs on Youtube and elsewhere.

++ This might be a long interview! You released 3 albums and around 10 singles/EPs. I have so much to ask you. But  let’s go back to the very beginning. What are your first music memories? Like what music was played at home while growing up? And what was your first instrument and how did you get it?

I have two older brothers who very much was part of intruding me to the world of music. It really started during the era of glitter rock – I heard the intro riff of 20th Century Boy by T. Rex and it had such a transformative effect on me that it lasts until today. Then came punk and new wave, and through that we started to listen to bands from the 60´s that were a source of inspiration for new wave bands like The Jam and XTC.

I started with flute and trumpet but it was the guitar that I was drawn to. I learned to play it on my father’s nylon string guitar. Then I had my first electric, a Gibson Les Paul copy, that I swapped for a Gretsch Chet Atkins when I met Imre von Polgar to complement his Rickenbacker. Then we were in the early 80’s and the quest was to chime louder and clearer the The Byrds. We found out that when certain frequencies met, other and unexpected sounds could appear, it was magic.

We were not very skilled musicians. At the time we started, we very much associated skilled musicians with playing fusion or Toto. Bands looking bad and playing dull music. After a while we realized that being able to play had its merits to develop the arrangement and sound that the song required.

++ How was Uppsala back then? Where do you usually hang out? What were the venues to check out up and coming bands? Or what were the good record stores there?

Uppsala is a university town. Usually we would hang out at cafés. There was a really good record store that had a good collection of punk, new wave and prog. We were fortunate to have two good venues in town where many international bands, The Saints, The Fleshtones, The Triffids, Alex Chilton to name a few, came to play and where we were given the chance to perform.

++ I’m assuming you were in Uppsala studying as it is a university town, am I on the right path? If so, what were you all studying?

Everyone in WM grew up in Uppsala with the exception of our bass player Hans Sacklén who came from the south coast. I studied political science and languages. Imre IT and Hans macro-economics.

++ Were there any like-minded bands in town that you liked?

Not many I would say. The Preachers, a garage-rock outfit, were close allies. I quite liked Webstrarna and The Pretty Triggers as well.

++ And in general, what would you say are your all-time favourite Swedish guitar pop bands ever?

What comes into mind are band like Tages, The Wannadies, Eggstone, Simian Ghost

++ How and when did the band start? How was the recruiting process or how did you all know each other?

It started around 1983. Imre had been in a defunct band with Johan Lundberg. I didn’t know Imre but one day I read an article he wrote that was published in one of the major evening papers comprising a list of the best songs using Rickenbacker guitars. He was only 17 and I was 16 at the time. It made me get in contact with him to propose that we started a band. I think I played the bass guitar for the first rehearsals and we had someone trying out as singer. Then we picked up Hans on bass and I became the singer. Then we recruited Erik Westin as a drummer. He had his own band, called Start, where he played guitar. Erik turned out to be a great drummer and song writer but he never felt as comfortable with the drums as with the guitar.

++ Had any of you had other band experiences before being on Watermelon Men?

Yes, there was a number of short-lived constellations. I was in a band called Allan Ball and then my first band with Imre (The Rave-ups), Hans played with a band in Southern Sweden called RH-negative. Johan played together with Imre in Martin Bendix and the Taxi Drivers and had a band called The Original Rummies.

++ Why the name Watermelon Name? What’s the story?

My grandfather cultivated watermelons in Hungary, then there was the song by Gun Club.

++ How was the creative process for the band? Whereabouts did you practice?

Imre was the mentor of the band. He had this enormous extended network from which he managed to harvest al this fantastic music of all different eras and genres. Soul, psych, pop, French film music, surf, hard core – he had the ability to find quality in all strands of music. We rehearsed in a shelter in the center of town. Usually me and Imre would work on the songs before we introduced them to the band. Erik Westin brought his own material and sometimes recorded home demos he shared.

++ And what would you say were your influences?

So much music of different genres, soul, folk, psych, garage, punk, new wave, pop. You need to mention The Byrds, Love, Velvet Underground and the Kinks. Among our contemporaries our peers were REM, The Barracudas, Robyn Hitchcock, The Triffids, The Go-betweens, The Church among others.

++ Your first releases date from 1985, where the “New Hope for The Lonely” 7″ and the “Past, Present and Future” albums are released. Something that caught my attention was that the album was released in three countries straight away, in Sweden, Germany and UK. I suppose your main label was MNW in Sweden and they licensed the record? And just out of curiosity how did you end up signing to MNW?

As far as I remember, we came in contact with MNW through Jörgen Johansson. It was Jörgen through his Tracks on Wax label who financed the recording of the two first albums. Jörgen was a fan and a very important mentor to us. He has this incredible ability to find and share quality music. A very generous man. Maybe you are acquainted with his Facing Yellow compilations with timeless and forgotten pop music?

++ Was there any chance to release the album in any other countries perhaps?

Yes, the album was licensed in Europe through a German Company, EFA, and in the US and UK through What Goes On Records.

++ Even from this first release I notice something about the art for your records. There’s generally always an evocative photograph on the cover. Who was usually in charge of that?

We were looking for covers that captured the landscape of the music. The artwork was done by Hank, the drummer of the band Wayward Souls, who worked in visual design. All that changed when we were signed by WEA for our third album. How I hate that cover! They brought in an American producer who was instructed to give us a more contemporary slick 80’s sound. The whole project was a trauma and a battle. He hated guitars. Finally, when everything had been recorded and mixed, we persuaded the label to give us two more days to put back the guitars that were erased and to remix the whole thing. It improved things but we were still highly unsatisfied with the way it sounded. It wasn’t us. I was like listening to the record of someone else.

++ This first album has the song “Hungarian Heart”, which speaks of yours and Imre’s background. I wonder though aside from this song, if Hungarian music was much of an influence to your sound?

It was. Me and Imre used to travel to Budapest every year and hang out in restaurants and cafés looking for the best gypsy musicians. We came across this band with the lead violin being replaced by cello. They wore black tuxedos and were incredible. The saddest and most uplifting music you can imagine.

++ The first record I ever bought by Watermelon Men was the “Four Stories by the…” 7″ that was released in 1985. I noticed that that record and many others were recorded at Studio 55 in Uppsala. What can you tell me about this studio. Does it still exist? Who ran it? Was it convenient? Was there a liquor store close by or a cheap restaurant for the breaks?

It was located in an old villa in Uppsala. A quite area, not much else around. The state has liquor monopoly in Sweden, so no off-license liquor stores in the neighborhood. The studio is closed since many years ago.

++ In 1987 there is a split single with the American artist Peter Case. This is quite a one-off release, there are no other split releases by you. And also because it came out on the label Bucketful of Brains and it was the first and only time you collaborated with them. How did this happen? Were you aware of Peter Case beforehand? Did you like his music? Did you ever meet?

I think it was organized by the What Goes On label. We liked the music of Peter Case but we never met. We did a cover of Flaming Groovies’ “I Can’t Hide”. The same year we played it live at The Dingwalls in London together with Chris Wilson from the Flaming Groovies/Barracudas and Robert Wills

++ Your second album dates from 1987 and this time you expand to Austria and Switzerland thanks to the German label Yellow Ltd. On this album I notice that you expanded your sound by having session musicians. How did that come about? Did you know them? Was it easy to work with them?

We loved strings and had already worked with string musicians on our first album. We also expanded with horns, maybe not as successful. The steel guitar player was a friend’s boss from an insurance company. We were influenced by the way the Triffids used steel guitar, but this guy was more old school country in his playing.

++ This album have many of my favourite songs by the band. But I will choose one hoping you can tell me the story behind it: “Postcard View”. Any chance for that?

It was written by Erik Westin. His songs were usually quite light and melodic.

++ Your last album, “Moving Targets” from 1988, was released by a big label, WEA. How was that change? Did it influence in any way your music or the big label is not as terrible as everyone thinks?

It was a horrible experience. They signed us but were not really into what we were doing. They wanted to change it into something contemporary and that could appeal to a larger audience. The main problem was the choice of producer. The album flopped and we were dropped.

++ Your last release dates from 1993 and was an EP on Fat Lady Records and Amigo. I wonder why that gap in between releases? Like 4 years since the “Nobody’s Fool” 7″! In the 80s you were releasing stuff more often. What happened in between the album and this CDEP?

It took a long time to recover after the WEA debacle. Erik Westin left the band. We recruited a new drummer, Ola Jameson, and a keyboard player, Jonas Rehn. We recorded a full album in KHM studios in1993. But it was never released as I moved to Laos in the spring of 1994. There are some really good songs there.

++ I see that on Discogs there’s an unofficial album titled “Fifteen Stories by The Watermelon Men” which is an LP with the whole gig in Stuttgart on February 23rd of 1986. Do you have a copy of that? Did you ever got in touch with the unofficial label Lounge Records?

I think I have copy somewhere, we were never in touch. I like the way they have misspelled the title of some of the songs.

++ Also I did find some Youtube videos from that gig. It looks and sounds great! I like the style of yours, kind of Postcard Records a bit. Were you into vintage clothing? Thrifting? Or where does that look come from?

We certainly did not like the mainstream fashion of the 80’s. We were more into classic and stylish outfits of the 40s-late 60s era. But we were quite eclectic.

++ Your music appeared on a few compilations during the eighties mostly, like on “A Real Cool Time Distorted Sounds from the North”, “Efa’s Tönende Musikschau”, “Bada I Hitz” and “Yellow Unlimited”, but I’m quite curious by you appearing on two compilations dating from the 2000s, “Children of Nuggets” and “A Real Cool Time Revisited”. Was there a renewed interest in the band at the time you think?

Since Nuggets was such a source of inspiration when we started the band, we felt honored to be on the “Children”-compilation.

++ Is there any unreleased material by the band? Or everything was released?

Yes, the whole album we never released in 1994. It is named Stories from the Blue House.

++ From all your repertoire, which is not little by any means, do you have any favourite songs? and why?

From our first album, “Seven years”, “Back in My Dreams”, “New Hope for the Lonely”. They capture the true spirit of the band. “Heading for the Woods” and “In Another World” from “Wild Flowers”. “Tonight” from the “Moving Targets”, there are some other decent songs on that album but I have problems with the overall sound. “Four Heartbeats”, our last single, I also like a lot.

++ What about gigs? Did you play many? What about abroad? Which countries did you visit as a band?

We played many gigs in Europe in 86-87. Lots in Germany, The Netherlands, France, Greece, Switzerland, Austria and the UK.

++ And what would you say were your best gigs and why? Any good anecdotes to share?

The gigs we did by the end of our first tour in Germany. We had become a really tight unit and Johan had developed into a first class show man. The gigs we did in Athens at the Kytaro Club were fantastic. We played two nights. The first night ended in complete mayhem. The following night we were a bit fragile and decided to start with only slower number to keep things under control. Then suddenly we only had fast number left in our repertoire . I remember thinking “Here we go, I hope we will survive the onslaught” as we started the first chords of You should be mine and people started to storm the stage.

++ Were there any bad gigs at all?

No disasters, but the gigs just before Erik left the band were not as exciting as they had been.

++ I read you appeared on the cover of British magazine Sounds. How did that happen?

We had a five star review of Past, Present and Future in Sounds. They followed up the review with the interview and gave us the cover. The article was written by Ralph Traitor, who was an alias for Jeremy Gluck, the singer in Barracudas. Me and Imre were traveling in South America for three months at the time when the article was published. Probably a bad career move.

++ I feel though that your biggest following was in Germany. I even bought some of your records there while visiting. How did this come to be? Was it just because of being released by a German label and having that support? Or perhaps there was another connection? I’m sure you also toured Germany extensively?

We had a good label in Germany. We were well received. Germany was full with great venues where people came for the music. We were not used to that in Sweden.

++ Were there any TV appearances of the band perhaps?

We did some TV appearances in Germany. One live show (could have been Rockpalast) and a few silly play backs.

++ And what about fanzines? Were you part of the fanzine culture of the 80s? Maybe involved in some?

There was one particular Swedish fanzine called Larm that was an essential guide to music. It was a fanzine started by Lennart Persson, a legendary Swedish music journalist, who sadly passed away a few years ago.

++ You released songs on tape, CD and vinyl, this is a simple question, what is your favourite format and why?

I am not too picky, but I have a soft spot for vinyl given that its size and format gives more room for the artwork and that it’s more tangible. I always listen to music while commuting to Stockholm, then vinyl is not that handy.

++ When and why did you split? What did you all do afterwards?

We split because I moved to Laos for work. When I returned after three years everyone had moved on. I am the only one in the band who is still active.

++ Were you involved with any other bands after the demise of Watermelon Men?

No, not until we formed Distant Days.

++ Are you all still in touch to this day? I know that Imre is sadly no longer with us, and that you did a reunion gig after he passed away. That must have been a difficult time to do the reunion? How was that experience?

We are still in touch every now and then. Losing Imre was such a chock and I don’t think we will ever reconcile with the fact that he is gone. I lived in Phnom Penh at the time of the Tsunami in 2004. We had met to spend some time with families in Bangkok before he left for Khao Lak and I went back Phnom Penh. Then came the Tsunami and both Imre and his two daughters died. The reunion gig was a way to gather friends and relatives around something positive and it was an important event to us.

++ Are you still based in Uppsala? Has it changed much since the Watermelon Men days? I visited once and really liked it, but wondering if you could recommend pop fans what to see, what to do, or what to eat in your hometown?

Uppsala has grown in size considerably. We are now over 200 000 habitants. The music scene is not doing well and many of the places hosting live music have closed down in recent years. Restaurants are mushrooming though. You should pay a visit to the vinyl store Open Mind Records, that released the Distant Days album. Dan Olsson, the owner will get you a cup of coffee for free.

++ Today, aside of music, what other hobbies do you have?

I love outdoors stuff like fishing, skating and picking mushrooms.

++ Looking back in time, what would you say was the biggest highlight of the Watermelon Men?

When we received the master of Past, Present and Future and we listened to it in Imre’s flat. We thought it was unbelievable. The tours in Europe, playing venues like the Dingwall’s in London and the Loft in Berlin. But the greatest highlight is always the sense of wonder and achievement when a new song is starting to take form.

++ One last question, taking the cue from “In Another World”, have you ever been to Argentina? 🙂

Yes, Argentina was the last country we visited in South America during our trip there following the release of Past, Present and Future. We started in Quito, Ecuador, and travelled through Peru and Bolivia down to Buenos Aires.

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Listen
Watermelon Men – Postcard View

Having a small break now from the Indietracks announcements. Last week I saw a bunch of interesting indiepop news from all over the world and have been saving them for this and future posts. Without further ado, let me get you the first batch of new music to check out this week:

Los Waldners: the Costa Rican band has been a favourite of mine even though I still haven’t found a way of getting their albums. Sometimes life can be hard for record collecting. But this time there’s a new song on Bandcamp that is really nice that is called “No Me Visto Para Vos”. From what I read on the band’s Facebook this song is not exactly new but the band decided to share it because of the situation of women’s violence in their country and around the world.

Olivia’s World: this is a new Vancouver band I discovered thanks to their connection to Alice who used to be in Go Violets back in Brisbane, Australia. Now Alice is in Vancouver and shared a link to their first ever song, “Blotter”, and I thought it is really promising! It is said that the band is recording at the moment their debut EP and just last week were playing with the great band Sleuth in their hometown. Looking forward to hearing more by them!

Palm Ghosts: I open their Bandcamp to encounter a brilliant song titled “Love in Winter”. Upbeat, moody, boy/girl vocals, a love for 80s music that is so obvious that makes me giggle. I read the bio for this band and I find that the band has been going for years now, like from 2014 at least. They are based in Nashville, Tennessee, definitely not the place you expect to hear these sort of sounds. I will have to explore more, see if the rest of their output sounds as great as this.The band is formed by Joseph Lekkas, Jason Springman, Rene Lambert, Erica Whintey Wilkes and Benjamin Douglas.

Foster Studio: I heard from Chiwai from the lovely, fab, unique, Fantastic Day. Remember them? We put a 3″ CD back in the day, and later the band released a couple of superb jangly albums? Well, Chiwai has a new project called Foster Studio and it sounds as good! Great guitars, top melodies, that invite everyone to dance really. Well, at least on the one song I’ve heard, “Moonlight”. It is available on Youtube and it has a cool video and even lyrics for everyone to sing along. I can’t wait to hear more, and hope this gets released! Great stuff coming from Hong Kong!

Die Time Twisters: I love this German band. I have some of their releases from back in the day. Now Tapete Records is releasing a retrospective compilation called “Guten Morgen Sommer” on both LP and CD format and I want it! I think it is a compilation not to be missed. My only concern is that the LP and the CD are about the same price? It doesn’t make sense. So if you buy a CD it costs 19 euros plus shipping. If you buy the LP it costs 24 euros plus shipping. The thing is the LP also includes the CD! So really, the LP costs 5 more euros? It is odd. I feel a bit weird about these prices. I don’t understand them. I am happy with just the CD. But 19 euros for a CD? What kind of CD is this? Made of gold? I wonder. Hopefully at some point I’ll find it for a cheaper price, or maybe, just maybe, I will never find it and I’ll miss this fantastic band, one of the best pop bands from Germany for sure.

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Nonpareil: having no match or equal; unrivaled or a flat round candy made of chocolate covered with white sugar sprinkles.

At the same time I ordered the Daisy Age 7″ I ordered The Nonpareils 7″ on Papercut Records from 1996. I had some releases by this American label based in Florida and, in general, I’d say they were good. So of course, I needed to add something else to my order, to save some on shipping costs and decided to give The Nonpareils a chance.

I had heard one of their songs, “Inside”, on a compilation 7″ that was released by this same label the previous year called “The Airplane” (PCT 002). I had bought this 7″ many years ago, probably on eBay and possibly it was cheap. I can’t remember exactly. I mostly bought this record because of the appearance of Belmondo, where the legendary Pam Berry does vocals. The other two bands that appear on this comp are Incredible Force of Junior and Wimp Factor 14. The Nonpareils appear on the A side, alongside Belmondo. All were American bands. The song that the band contributes was recoded and mixed by Dave Auchenbach who was in the fantastic Small Factory.

That wasn’t their first compilation appearance. Back in 1994 the band appeared with the same song on a CD sampler titled “A Bitter Pill to Swallow: A Providence Music Sampler” that was released by Over the Counter Records (OTC 6). The odd thing about this release is that this label was a hardcore punk label, and indeed it was based in Providence, Rhode Island. The band also hailed from this city.

Providence is the capital and most populous city of the U.S. state of Rhode Island and is one of the oldest cities in the United States. It was founded in 1636 by Roger Williams, a Reformed Baptist theologian and religious exile from the Massachusetts Bay Colony. He named the area in honor of “God’s merciful Providence” which he believed was responsible for revealing such a haven for him and his followers to settle. The city is situated at the mouth of the Providence River at the head of Narragansett Bay.

Contrast Records from Belgium asked them for a song on their 3rd 500-limited 7″ compilation of their “Split Single Club” (CT 003) series. Here the band opens the B side with the song “Tree”. The two other bands on this record are Lambchop and Bartlebees.

Lastly the band appears with the song “Fear of Dating” on the 1996 CD “Little Darla Has a Treat For You Volume 4, Summer 1996″ (DRL 023). Obviously this was released by Darla Records and was part of their very popular 1990s series of Little Darla compilations.

The first kind of proper release by the band happened in 1995. It was through the hardcore punk label, Over the Counter Records and it was a split 7” (OTC 8) that they shared with the band Difference Engine. This time around the band contributed the song “Exit”, and that was it. There is no information on the sleeve sadly.

The last release by the band that is listed on Discogs is the one 7″ I bought. The “Engine EP”, released on July 1996, by Papercut Records (PCT 003). The record included 4 songs, two on each side. On the A side we find “And She Does” and “Hazel”, while on the B side we find “See-Saw” and “Engine”. All songs were recorded to four track in Providence, the first two by Frank and the last two by Alex Kemp from Small Factory.

On the back of the sleeve we find the first names of the band members. That’s something! So:
Lisa – vocals, guitar, percussion
Ted – vocals, guitar
Frank – bass
Sean – drums

As usual after Discogs I head to Google to find information. And almost immediately I hit the jackpot, a The Nonpareils Bandcamp page with 14 songs! The self-proclaimed minimalist pop combo’s available songs for streaming are: “And She Does”, “Armchair”, “Hazel”, “Exit”, “P.O. Box”, “Lillian”, “Pain Free (*Delayed Start)”, “Fear of Dating”, “Inside”, “One by One”, “Tree Song”, “X-Ray”, “Amuse Me” and “Oblivious (Galaxy 500 cover)”. These all being a collection of assorted recordings from the summer of 93 thru the fall of 94.

Thanks to this page I get to put some last names to the band members. So it is Ted Peffer, Lisa Underhill, Frank Mullin and Sean Thompson. On the credits I see that they worked mostly with Alex Kemp when it came to record the songs, though a new name that appears is that of Toby Fitch who mixed and mastered the first 5 songs that we see on Bandcamp, which had appeared on a self released tape. Which tape is this? A demo? a proper release? There is no information about it. We also see that Mark Cummins played drums at the end of the band.

And then I find a Facebook page!! Wow. It doesn’t seem to have been updated lately, but still, quite a find. It seems it was setup for a comeback gig on January 19th of 2014 where they played along other indiepop bands like Honeybunch or Purple Ivy Shadows. I keep checking any other posts and find that in October of the same year they also played a gig at The Met in Pawtucket alongside the band Polaris. In 2015 they had a show at The Parlour on May 9th alongside Fred Thomas, Working and Pixels. And the last gig I see dates from  June 13th, 2015, at the Providence’s Rock n’ Roll Yard Sale.

I keep looking on the web but I mostly see recipes. How to make the most delicious nonpareils. Semisweet and patriotic chocolate nonpareils, whatever that means. I find a mention of Ted Peffer on the band page of The ‘Mericans. Here I see that Lisa has a different name, she appears as Lisa Dermanouelian. Interesting. It also mentions that Ted has been behind the local printing company IO Labs. Sadly there are some news in this paragraph, it mentions Sean passed away when he was 43 because of leukemia. If you want to hear the cover of “X-Ray” by The ‘Mericans, check it here. I also find that Frank Mullin was also in the Godrays and Purple Ivy Shadows and played at New England Popfest 97 with the band Flora Street as their bassist just for that occasion. I try to find out what he is doing today, and notice there is a photographer based in Providence with the same name, might it be him?

And that’s about it. Why weren’t most of the songs on Bandcamp not properly released? What about that tape mentioned there? And were there any other compilation appearances? What other bands were they involved with? What are they up to now? When and why did they call it a day? How were these reunion shows? Are they preparing any new gigs? Would be interesting to find out more about this underrated American pop band!

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Listen
The Nonpareils – And She Does

Want to start this post sharing a gig I wish to attend in Sheffield. Two great bands, The Suncharms and All Ashore will be playing the Record Junkee on June 16th.  Those in the area or close by (or why not, far away) that an attend, do so. I’m sure it will be brilliant!

Surfin’ In The Subway presents Sheffield legends The Suncharms. Returning to play live in their hometown city for the first time since 1993 this gig is unmissable for fans of jangly indie and shoegaze! Originally active between 1989 and 1993 their sound is characterised by a juxtaposition of gentle melodies and hushed vocals with relentlessly noisy guitars, producing an overall sound that bridges the gap between the noisier end of indiepop and shoegaze. Support comes from Sheffield band All Ashore! featuring ex-members of Velodrome 2000. Their buzzsaw pop and jangly overtones will have you grinning your chops off!  Tickets are £6 adv and will be £8 on the door. On sale from Thursday March 1st at this link http://www.wegottickets.com/event/431951

Now, onto the 4 bands that are left on our Indietracks review: Rebecka Reinhard, Tekla, Whitelands and The Sunset Beach Hut.

Rebecka Reinhard: might be the only one of the bands at Indietracks that on their Facebook page I don’t see any of my friends being fans. That is quite interesting. Rebecka grew up in Sweden and now lives in London. She is a singer/songwriter. Folk music of course. Now, let’s see how it sounds. Her latest songs seem to be the 5 tracks that were included in her “Cherry Trees EP”. So I’ll have a listen. Hmm. First song is “Pisces” and I’m a pisces. So I want to like it. But it is too fragile, too soft for my taste. I need some nerve, some action. Some pop. Will I find it in the other songs? Not really, but it does get close on “Like a Dream”.

Tekla: I thought it was the name of a band, but it seems it is a person called Tekla Szersynska from Manchester. I found a SoundCloud and I have a listen of the songs “The Brightest Light”, “Dressing Up Box” or “Climbing Frames”. And I sadly got bored by them.

Whitelands: more acoustic guitars, I suppose for the train or chapel stages. Their latest work is a 4 song EP on Bandcamp titled “Old News” that was released on February 18th. I’m not that interested in this sort of folksy music, so can’t say much, it is not bad, but doesn’t say much to me.

The Sunset Beach Hut: a band from Shrewsbury, let’s see how it sounds. Guitar pop, but with a hipster twist I’d say. With an eye on indie, another on the mainstream. Their last song on Soundcloud dates of just 4 months ago and is called “Comfort”. When I say mainstream, you’ll understand me when you hear the vocals and choruses. That’s the kind of music I expect on the radio. It is not bad at all, I think within its style this must be good. But not really what I go for when I attended Indietracks. I like my classic guitar pop, with jangly, chiming guitars, and that sort Englishness in its vocals. For some reason, I feel here the vocals are very US influenced? Or am I the only one seeing this?

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70s ‘Budgie’ Jacket: this jacket got it’s name from the TV series ‘Budgie’ featuring Adam Faith, always had the rounded collars. The ‘real’ budgie jacket was two tone cotton. Quite light and thin. It had side pockets too. 

Or perhaps they named themselves after the Felt song of the same name?

More archaeology on indiepop records that are missing from my collection. In this case all of Budgie Jacket releases. I can’t believe it. I thought I might have one or two of their 7″s but a closer look into my collection, as I have them sorted out alphabetically, showed me I don’t own any. I hope then that I can fix this in the near future of course.

My first encounter with the Japanese band was through compilations. They did appear on many, Discogs lists 10 of them. There might be more even, I wouldn’t be surprised. But why don’t I start in order. If I am to do that, it seems there was a tape titled “Kiss Our Thought Goodbye?” that was their first release, dating from 1991. It looks like a demo tape. Might that be the case? It has no label, and has that photocopy DIY look. Maybe. There were 6 songs on it, 3 on each side. On the A side there was “Heaven Can Wait”, “Sugarmaple”, “Ain’t Nothing New Under the Sun” and on the B side we find “International Velvet”, “Different Strokes for Different Folk” and “My Girl Friday”. Many of these songs were to be re-released later on.

1992 would see the band at its busiest. Starting with compilations they contribute the song “I’m Waiting for the Day” to the cassette compilation”Around the World Again” that was released by Elefant Records (ER-020). A fine indiepop compilation that I hope to hear sometime as there are many unknown bands for me like The Napkin’s Thorns, The Mellow Gravy or Mercenary Tree Freaks. Were they any good? Another appearance that year was on the “Whoops!” tape released by Houpla (HOUPLA01) in France. Another fine compilation with The Tables, The Cudgels, Acid House Kings and more.

More from 1992, they appear on the “Around the World” tape on Elefant (ER-016). So yes, they appeared on both volumes of this tape compilations. On this one they have the song “Wik From You”. Also on Elefant, on the label’s first release “La Línea del Arco – La Banda Sonora 3″ (ER-01) they have the song”Three Card Mountie”. I hope to hear all these songs someday!

1992 will also mean the start of the band’s relationship with two labels, Anorak and A Trumpet Trumpet. On the French label Anorak Records, they were included on a tape compilation titled “Teeny Poppers” (SHOUBIDOUWA 01) where they had their song “Gone Too Far”. On the Japanese A Trumpet Trumpet on the other hand, they appeared on the 3″ CD compilation “Television Personalities From Japan” (TT001) where they had the song “Sweet Loving”. On this same label the band had two more songs on a tape compilation called “The Birth of the Untruth”(TT003) where they appear alongside a band that has been featured on the blog, “The Love Mushrooms“.

That year was also going to be the year when Budgie Jacket was to release their first proper record, a 7″ vinyl with three songs on A Trumpet Trumpet Records (TT002). The 7” opens with the wonderful “I Don’t Care About Time I Don’t Want to Surmise” on the A side while on the B side there’s another brilliant track “The Wax Won’t Get On Your Wick” and “The Birds And the World” which I haven’t had the chance to listen yet. I’m thoroughly surprised by their ease in creating pop melodies. The guitars are great too. Indiepop in its pure form. I’m happy listening to these songs! This 7″, that came with postcard and poster, also introduces us to the people behind the band:
Kunihiro Isami on bass
Tetsuji Kamata on drums
Keisuke Hatsuda on guitar
Shogo Matsuda on vocals

The record was engineered by Yoshiaki Kondo who owned the studios GOK Sound and produced by the band and Masashi Naka who had been involved in the band Losfeld.

In 1993 the band continued appearing on compilations. On the German label Pico Records’ LP comp “Smash Tinkle – International Pop Underground Compilation”, the band appears with the song “International Velvet”. This same song, “International Velvet”, and “Puppet Hooligan” appeared on a French tape compilation called “Gloomy Biscuit 1” that was released by the Gloomy Biscuit fanzine. Here the band appears next to another two bands that have been featured on the blog, Tricycle Popstar and Bulldozer Crash.

That year their music was going to cross the Pacific to the USA. They were to release a 7″ titled “World’s Famous EP” on the Urbana, Illinois, label Parasol Records. Four songs were included, on the A side: “A Lot of Lovin’ To Do” and “When the First Rain Fall” and on the B side: “Streetwise” and “Lions After Slumber”. For this record we notice that Mami Otomo is credited with backing vocals. Mami had been involved with other important Japanese pop bands like Bridge, Chicago Bass and Maylove.

Their last 7″ was released in 1994 on the French label Ad Libitum Pop !? (Ad Lib 2). “My Girl Friday”, with artwork by the band Maylove, had three songs. On the A side, the title song “My Girl Friday”. On the B side, “A Lot of Loving To Do” and “Heaven Can Wait”. All songs were recorded at Studio Shatou.

A release that I can’t find on Discogs but does show up on Twee.net is the “Wheels Go Round” CD compilation released by A Trumpet Trumpet in 1993. On this comp Budgie Jacket appears with a love at Budou-Kan version of “Gone Too Far”.

There are two other releases listed on Discogs but they don’t have any date for when they were released, both on Anorak Records, which you can read an interview on the blog too. The first is a tape called “Anorak Demos” were we see 4 bands (Meek, The Almanacs, Maylove and Budgie Jacket) each with a bunch of songs. Actually it is Budgie Jacket the band that includes more songs, 8! They were “The Man I Love”, “Heaven Can Wait”, “Blue Juice”, “Afternoon Ritual”, “I Don’t Care About Time I Don’t Want to Surmise”, “Streetwise”, “The Wax Won’t Get On Your Wick” and “Luck From You”. It is said that this was a promo tape. The other Budgie Jacket release on Anorak Records was a self-titled tape (SHOUBIDOUWA 02). On this tape the band had 19 songs!! Maybe they were all of their recorded output? I wonder. On the A side there was “Love Hewitt”, “Bitter End… So Why”, “Blue Juice”, “The Wax Won’t Get On Your Wick”, “Genius Move” “Waiting for the Day”, “Sugarcoat”, “The Man I Love” and “Afternoon Ritual”. The B side had “A Lot of Loving To Do”, “Lions After Slumber”, “When The First Rain Fall”, “Streetwise”, “Gone Too Far”, “Luck From You”, “I Don’t Care About Time, I Don’t Want to Surmise”, “Sweet Loving”, “Bizarre Image On Screen” and “Black Bamboo Building”. Oh! How much I would love to listen to all these songs!

I start checking in which other projects the bands had been involved or credited. For example Tetsuji Kamata and Shogo Matsuda had done photography for the “Snapshot of Your Sweet Mountain” album released by the band Snapshot on Escalator Records in 1993. Keisuke Hatsuda had played guitars & keyboards, as well as writing songs, for Maylove. It is also worth noting that it is Keisuke who had been behind the fantastic label Motorway Records.

For me it is quite interesting that there is not much more information on the web. Even in Japanese. I do find one blog where the writer remembers the band but in a personal view, without many details. It is a fact that the band hailed from Tokyo, but aside from that I can’t seem to find anything else. There are a few uploads of their songs on Youtube. Not many for a band that was important at the time, in the early 90s, in the Japanese scene, a band that reached out to Germany, France and Spain, appearing in compilations in those countries. I know it is hard to get in touch with Japanese bands, but I’d definitely would love to interview their members. Hopefully that will happen in the near future!

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Listen
Budgie Jacket – Gone Too Far

The next batch of Indietracks bands are to be reviewed today! I kind of feel bad though that by doing this I have missed the lineup of Wales Go Pop, which is happening this weekend. In any case, I won’t be able to go anyways, but I’ll try to discover the new bands that played there on the coming weeks. But now let’s do some homework!

Cat Apostrophe: “radically soft pop” from Leeds. I will have a listen of their latest digital release, “The World is Fucked”. There are 3 songs, “I Left My Room” “Roast Dinner/Comfort Eater” and “Small Things”. These are by no means all their songs, they have been around since 2016 with two previous releases. The band is formed by Alex Shaw, Jack William, Julia Downes, Kate Stonestreet and Kirsty Fife. Musically it sounds ok but I’m not enjoying the girl vocals. Oh well… probably she sings better than me, but it is a bit too much for me.

Strange New Places: a band from Belfast. A nice change. One song pops up when I open their Bandcamp and it is called “Trombone”. And it starts good. Promising! Guitars, melodies. Now I wait for the vocals to kick in. Oh, this is pretty good. Definitely Belle and Sebastian influenced, but in a good way, reminding me a bit of my all-time favourite Tales of Jenny. This band I would definitely check out at Indietracks on the strength of this song. The two previous demos they have on Youtube are not that interesting though.

Panic Pocket: a London duo formed by Sophie and Nat. They write about trash men, bad bosses, being creepy on the internet. Two songs are available to stream on their Bandcamp. Maybe there’s more, or maybe two songs were enough to get them to the festival. So let’s check them out. The first song “Don’t Get Me Started” is alright. Bedroom pop casio-pop, mid-tempo. Maybe they if they sped it up, it would be more fun. “Front Teeth” does that, it is more upbeat, and even though it has a demo feel to it because of its lo-finess, it is a better pop song, it is much catchier and fun.

French Boutik: well, well, a French band. Pop Moderniste from Paris. That sounds already promising. There is a playlist on their SoundCloud called Front Pop! and that’s what I’m listening now. It sounds good and I start to wonder why my Parisien friends haven’t told me about them, or they haven’t played any of the pop gigs. Who knows really. But their first song, “Le Mac”, is definitely above the Indietracks average. I click on their Facebook page but takes me to the personal page of Olivia, the vocalist. Ok, won’t find more information there, but that’s ok. I just wanted to know if they have any proper releases. Definitely one of the bands to check out at the festival.

Ghum: atmospheric dark pop from London. I’m loving how the bands are describing themselves on Bandcamp. This all-girl combo formed by Laura, Marina, Vicki and Jojo, have four songs to stream as part of their self-titled EP: “Shallow”, “The Window”, “TV” and “Witches”. It does sound a bit dark and because of that perhaps lacks hooks and melodies? I don’t know. I didn’t get into their music at all.

And that’s it for today. 4 more bands left for next post: Rebecka Reinhard, Tekla, Whitelands and The Sunset Beach Hut. See you then.

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In 2011, after 35 years, the Panda Pop fizzy drinks were scrapped. According to news of the time, health-conscious mums were blamed for the demise of the children fizzy drink. The soft drink firm Nichols ditched the lunchbox range to concentrate on healthier juice drinks and flavoured water and that was it. I never tried it. But I do suppose, the English band Panda Pops did, and maybe they were fans of it.

The Panda Pops are not that obscure. If you consider that the members of the band went to form Tramway who released on Sarah and also on Siesta. Well, that’s sort of everything I know about the band. I know that connection. But in due honesty I really don’t know much about the band called Panda Pops. I only know they had a 7″ released, posthumously on Elefant Records, which I still don’t have on my collection!

There were three songs on the “Bristol Fashion” 7″ that was released by Elefant Records (ER-103) in 1992. They were “Pillar Box” on the A side, and “Tramway” and “Star” on the B side. Was it because of that second song that the band was to change their name to Tramway later on? That is very probable.

The three songs were recorded in 1989. The A side at P.I.J. Studios and the B side at La Cav. Both sides were later remixed in 1992 for this release. Three names appear on the credits, C. Young, M. Evans and N. Evans. Chris Young, Matthew Evans and Nancy Evans. And yes, as the title of their 7″ says, the band hailed from Bristol, and of course they were later be, as Tramway, one of the two bands from that city that released a record on the Bristol based label Sarah.

Of course, this post is about Panda Pops and not Tramway, but there are always these interesting connections worth mentioning. And all in all, it was kind of the same band as they were exactly the same members in both. Anyhow, the Panda Pops have two compilation appearances listed on Discogs. The first dates from 1990 on the classic tape compilation “Positively Teenage” released by Dolphin 7. On this record the band appears with the song “Submarine”. This is a fantastic compilation that has been mentioned on the blog before as it has many fab bands like Love Parade, Remember Fun, The Penny Candles and more.

The other tape compilation that the Panda Pops graced was the “It’s All About Love” tape that was released by the pre-Firestation Records label Smuf (SMUF 003). Just a week or so ago I was talking about this tape because of the Moosblüten, amazing. The Panda Pops in this compilation appeared with the song “Still”. What’s funny though is that on this same compilation Tramway also appears playing “Pillar Box”. Is this the same version of “Pillar Box” from the 7″?

I look as it is normal for me to check out the band members. See what other bands aside from Tramway they were involved with. I notice Matthew was also in a band called Murry The Hump who released an album and many singles in the late 90s, early 00s.

Another mention of the Panda Pops was on the Popkiss: The Life and Afterlife of Sarah Records book by Michael White. This is what it says: “This was actually the case for Tramway. The first Bristol band to record for Sarah, their original intention had been to join forces with Cosmic English Music, a label co-founded by former Razorcuts singer-guitarist Gregory Webster (who also happened to be their producer). Webster extended the courtesy of convincing the trio to make history of their original name, the Panda Pops (‘He thought that, ironic or not, it was not cool,’ says singer Matthew Evans), but ultimately decided not to release their music…”

So Gregory Webster was the reason the band changed names. I read, afterwards, on the Elefant site, that the three songs on the 7″ were two demos and a live version. That’s interesting. That raises a question though, if these songs were demos, then there was probably a demo tape with more songs on them. Or maybe more than one demo tape. I’d be curious to hear that.

Do you, my Bristol friends, remember them?

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Listen
Panda Pops – Pillar Box

Part 2 for Indietracks announcements. Let’s see, these are all the bands we have on the list still: Happy Accidents, Let’s Whisper, Wolf Girl, Just Blankets, Dream Nails, Mikey Collins, Sink Ya Teeth, Tugboat Captain, The Baby Seals, Life Model, Cat Apostrophe, Strange New Places, Melenas, Panic Pocket, French Boutik, Ghum, Rebecka Reinhard, Tekla, Whitelands and The Sunset Beach Hut. I’ll skip the repeats, Let’s Whisper and Wolf Girl. Will also skip the bands that I’ve recommended on the blog, Just Blankets, Melenas and Life Model. That’s 15 bands I need to discover! Maybe I can split them in three posts this week? That is quite a lot, especially as I have posts ready with new discoveries, that when posted will probably be “old” discoveries! But what’s promised has to be done. And also I’m very curious what I will be missing this year.

Dream Nails: self-proclaimed DIY punk witches. Interesting. The last effort from this London trio was a 2-song 7″ released last February. The A side is “Vagina Police” and the B side is “Fascism is Coming (Get Out of Bed)”. If you like shouty punk, well this is for you.  I don’t think I could listen a whole gig of shouting. So this is definitely not for me. I do salute though their efforts of giving all proceeds of their last record to the Abortion Support Network. That I respect very much. Just wish their music was much more punk pop than punk I suppose.

Mikey Collins: I can’t find any music by them. If anyone can point me out where to listen I’d be thankful. My only knowledge comes from the bio at Indietracks website where it mentions the band is formed by Mike Collins, Paul Rains, Laura Kovic, Tom Parkinson and Ian Button. I suppose the band has the advantage that Mike played in Allo Darlin’ as their drummer and that opens doors even with no records or anything under their belt. But I give them the benefit of the doubt until I hear something.

Sink Ya Teeth: their Bandcamp has no songs, it seems the band uses it mostly for selling their records and merch. But I did find this video for their song “If You See Me” where the band is described as a post-punk synth pop duo. That was their first single, later they released another 7″ for the song “Glass”. So I listen, and I must say I don’t get hooked to their electronic beats or the vocals. I need hooks I suppose and this sounds kind of flat to me. I miss my indiepop so far, 3 bands and not a good song yet.

Tugboat Captain: London band. Released two songs last month, February. The songs names are “The Distance” and “1003”. Okay, this is guitar pop at last! But while I check a song after another I see the quality vary, and that most of their stuff is quite folky. But I keep listening, and find a very good song, “Little Life”, where there are female vocals. Much better! That track appears on an album called “Everybody Seems to Think That I’m a Raincloud” and I believe there are some very fine songs (“Don’t Want to Wake Up On My Own” for example), but ends up being way too long, 21 songs, and being inconsistent.

The Baby Seals: I start playing the debut CD EP by this Peterborough based band. The first song is “My Labia is Lopsided But I Don’t Mind”. Punk pop is my first thought. Not bad, not amazing either. So onto the next song, “Nipple Hair”. Much better I think, I like the guitars, the melodies, though the chorus is not that inspired. I think they are interesting though, I see talent and wouldn’t mind checking out their gig. “Guuurrrl”, the third song, is catchy too, so far my favourite. You know this review of bands is like all first impressions. I’m not overanalyzing any of the bands. I want love at first sight with the music. I feel that is a very honest approach. There are 3 more songs to go. “Yawn Porn” suffers the same from “Nipple Hair”, good song but the chorus doesn’t hook me. The rest of the song does. And then suddenly, “Period Drama”, which is really good too! This one has a good chorus! Their last song, “It’s Not About The Money Honey”, is not upbeat and has some odd moans and well, probably my least favourite one. But in general, I’d say I would love to see how the band evolves.

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Met with Ed Shelflife last Thursday for lunch and after trading some records we talked extensively about bands that could work well on a retrospective compilation and also about some obscure discoveries he has made lately. One of the bands he mentioned to me and had no clue whatsoever were The Mistakes. So I decided to investigate.

The song he showed me was called “Jukebox”, it was on Youtube. He described it as a kind-of Dolly Mixture sounding band. I thought so as well. It was a very nice female fronted pop song. The description on the video just said that they were British and obscure. So who were they? Thankfully Discogs had some answers, the band did release some records in the 80s, but not in the mid or late 80s as many of the bands we like did, but in the very early 80s.

The song “Jukebox” and the rest of their output, all of it, came out in 1981. It seems that was their year. There is nothing listed for 1980 or 1982. Maybe they were just around for a year? “Jukebox” appeared on a compilation LP called “Club Sandwich” that was released by Polydor. I must say I don’t know any of the other bands on this LP. Maybe there are some good songs in there? The Mistakes track, produced by Michael Klein and written by Penny Wood, appears as the 4th song on the B side.

There is another compilation appearance listed for the band and this one looks pretty interesting. It is called “Making Waves – A Collection of 12 Womens Bands from the UK”. I do see one band that I know here, the Gymslips, who I like very much. The Mistakes contribute the second song of the LP, it is called “Romance”. This LP was released by Girlfriend Records (Girlfriend LP 001). This song is a bit different to “Jukebox”, it seems much more lo-fi, less produced, but it has a naivety that I love and which I think is hard to come by!

Aside from these two appearances on compilations the band had two releases under their belt. There was a 7″ single for the song “Radiation” with the B side “16 Pins”. From the sleeve we learn the full lineup of the band:
Georgina Clarke – bass guitar
Judy Parsons – drums, backing vocals
Mavis Bayton – vocals, guitar
Penny Wood – guitar, organ, backing vocals
Alison West – keyboards, backing vocals

I don’t own yet any records by the band, but happily Discogs has scans for the back cover of the 7″. Here I see that there is a little description of what the songs are about and I can tell the band was political. For example for “Radiation” it says that “Today in the UK there is more nuclear weaponry per head of population than any other country in the world”. And for “16 Pins” it says “Since the 1970 Equal Pay Act the gap between men’s and women’s wages has increased!”.

The two songs were recorded at Blackwing Studios in South London under the engineer Eric. It seems after this release Judy left the band to play with the Bellestars and Penny went onto the Dots. So the band ended up being Alison, Georgina, Mavis and Linda on drums. Jill joined as an administrator, I suppose that means manager (?). Then there’s an address for the band in Oxford. So they weren’t from London then as I initially thought. Other credits are for Janey for designed the record sleeve.  Lastly the record was put out by the Twist N’ Shout Label (TNS 2) who had released before a 7″ by Andrew Hayward & The Panic Buttons. This label was actually part of a second hand record shop that was based in South London, on Battersea High Street.

Their other record was an LP that looks as if it was self-released as the label was Mistakes Music (MS1). This LP was titled “Live at The Caribbean” and it was recorded at the Caribbean Sunshine Club in Paradise Street, Oxford on September 26, 1981. It was then mixed at Pathway Studios in London and produced by Jim Parsons.

The album had 15 songs in total. On the A side there’s “I Don’t Know”, “Do It Now”, “Cookie”, “Rose Tinted Spectacles”, “Us Or Them”, “Give Me More Love” and “File It Away”. The B side had “Romance”, “Single”, “Man Or Woman”, “16 Pins”, “Hiroshima” and “Radiation”. The back sleeve has a photo for each member of the band though they also thanks a Tinkerbell for percussion and drums. I wonder in which tracks did Tinkerbell played.

I find a mention of the band on the website Women’s Liberation Music Archive. There’s some interesting info here. Firstly I learn that the band formed after George put an advert in the local newspaper, The Backstreet Bugle, looking for women that were tired of dancing to sexist male music at the monthly lesbian disco. Just 6 weeks after the advert the band was playing their first gig. At first they played covers such as “My Girl”, “In the Midnight Hour” and “Green Onions”  and later they penned their own songs and they mention here a song called “Crystal Clear” which I don’t see in any of their records. Then it mentions that Jim Parsons who produced the live album was Judy’s husband. They together also ran a rock PA hire company. The band used to practice at a print room of an alternative press called Pauper’s Press Cooperative Ltd.

There is even more information about the band, a true treasure trove. There’s two audios (1, 2) of bassist George Clarke talking about recording with the band. A flyer where we see that the band played Action Space in London and another at Dingwalls on June 21st of 1981 alongside Jam Today in support of the London Rape Crisis Centre. Other places we know they played were at a CND gig at Greenham Common, Undercurrents, Anti-Nazi gigs, Rock Against Racism and also at 101, Rock Garden, or the ICA. During 1980 they also played Oxford Poly, U.C.H. in London, Henderson Hospital Benefit in London, Brighton Resources Centre, Norwich U.E.A., East Oxford Community Centre, Newcastle, Swan in Oxford, Reading, U.L.U. in London, Brighton Ritzi, RAS in York, Nottingham and South Bank Poly in London. They also played many gigs at the Spare Rib parties, Bisexual conferences and the Women in Manual Trade Conference in Nottingham. Bands they shared gigs included Delta 5, Poison Girls, Alix Dobkin, Girlschool and Aswad.

They seem to have also appeared on a TV documentary about young lesbians called “Veronica 4 Rose” where they appear performing “My Girl” and “That’s The Way The Cookie Crumbles” that were filmed live at the Spare Rib Tenth Anniversary. I wish there was a video of this on Youtube.

Remember I was thinking that 1981 was their year? Well according to this already in 1979 the band had signed to Oval Records that was run by Charlie Gilett. It seems he dropped the band as it was taking long to release anything by them and instead decided to fund the Thompson Twins! In 1980 the band was to sign to Deviant Records who via Twist n’ Shout released the 7″.

The story of Judy leaving the band is also explained. She was offered a temporary drumming job with The Bodysnatchers who were to tour along The Specials, Madness, the Selector and UB40. So she took it. But then the band split and her and Penny Leyton formed the Belle Stars. Then Penny decided to go solo with a band called The Dots.

During this time, and for a year, the band performed as a 4 piece. Then Penny rejoined and they did a mini tour in Italy. Which cities? Doesn’t say. Afterwards George left the band. It is at this time that the band calls it a day and does a farewell gig at the Caribbean Sunshine Club. That was all recorded and released as an LP.

Many, many, years later, Mavis published a book about why so few women were playing in bands. The book is called “Frock Rock” and came out in 1998. Would be interesting to find a copy of it. Ali on the other hand left Oxford and got into choral music.

Well, and that’s quite the story of The Mistakes. Not too little as I expected. It is kind of an obscure band but it seems that while they were around they made an impact and they are well-remembered. There are still many questions to be answered I think. For example why didn’t they record anything for Oval? Are there any unreleased songs? Why no more records, really just one 7″? Where in Italy did they play? Did they play any other countries? If they continue making music after they split? It would be interesting to know more about this pop band from the early 80s!

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Listen
The Mistakes – Jukebox

Finally, having a look at the Indietracks announcements. A bit late, almost a month late. It was on March 1st that the organizers let the first batch of bands out. At the time I was in Madrid, attending Popfest, so didn’t give it an in-depth look but I got the impression that it was kind of the same old. Now, with fresh eyes I will try to see if that first impression was right, or not.

You know I’ve been critical of the festival for the past few years. They haven’t topped earlier lineups were it was indeed Indiepop paradise. The last few years we see repeated bands again and again and bands that are not indiepop at all. To give the festival some credits they did change their motto quietly from an “indiepop festival” to a “DIY festival”. So sure, now they can do whatever they want and that’s fair. But as I come from the old school, the people that attended the “indiepop years”, I will look at the lineup under that light.

British Sea Power, Honeyblood, The Lovely Eggs, Dream Wife, Girl Ray and Sacred Paws are among 35 artists confirmed today for this year’s Indietracks festival.

So, let’s start. These are the headliners. British Sea Power is a big band, don’t need any introduction and of course we know they are not indiepop, so I will skip. The Lovely Eggs, well, they are a repeat, so I’m sure you all are familiar with them. The only band of the three that I’ve never heard before is Honeyblood.

Honeyblood:  I look for them on the web, and found a Bandcamp of Brighton-based label Fatcat Records, where the self-titled album is available for streaming. There are 12 songs penned by the duo formed by two Scottish girls, singer/guitarist Stina Tweeddale and drummer Shona McVicar. The first album seems was released back in 2014, so not new at all, maybe they have something else out? I should check. They do sound all right, a bit like hipster indiepop, in the vein of Dum Dum Girls. Noisy, with girl vocals, having the dream of becoming mainstream perhaps. Then I find their second album, “Babes Never Die”, on the same Bandcamp and it is similar to the first album. But it seems after that release their sound has changed a bit, their latest single seems to be “Walking at Midnight” and it has a video on Youtube. And this might be my least favourite song of the few I’ve heard by them.

Dream Wife: another band from that first sentence by Indietracks that I don’t know. I find their songs and press play. And I hear shouts. I’m not a fan of shouty music aside from a few exceptions. It gets a bit on my nerve. I think to myself that maybe it is only the first song, “Let’s Make Out”, that is shouty. So I give it another shot, now I play the second song “Somebody” from their self-titled album. To be honest this is much much better! I have some hope maybe. But then I continue playing the album and it continues, all the shouting, ending up on “F.U.U.” which is a scream-fest. Not for me.

Sacred Paws: I found a Bandcamp with two lo-fi recordings. They don’t sound very good. I do notice that the two members used to be in the very fine band Golden Grrrls. So there must be something good about them, it can’t just be these two demos. On Youtube I find the video for “Everyday“, and I do enjoy the guitars! And yes, this is a great song with handclaps and a bit of a party/beach vibe. There’s another video available, for “Strike a Match“, this will give me confirmation that I like the band or not. Again the cool fun guitars. Okay, I can like this one. First point for team Indietracks. Good choice.

Girl Ray: many friends are fans of this band, so I am quite curious to see what I think of their music. Well, it sounds nice. Perhaps I was hoping for something else, don’t know why, but I thought they were going to be more upbeat and packed with hooks, maybe because of the name? Instead they have a 60s vibe, they are mellow, and sweet. Poppy, Sophie and Iris comprise this North London trio that have released a few records in their short lifetime. Could work well at the church I think.

The above artists are joined by Darren Hayman (playing ‘Breaking God’s Heart’), Even As We Speak, Haiku Salut, Onsind, The Smittens, Anna Burch, Boyracer, Night Flowers and Eureka California.

Those are the next bands announced, the “big names” after the headliners. Darren Hayman seems to play every single Indietracks that is already getting boring. Onsind I don’t like at all and they are a repeat. The Smittens, another repeat. Night Flowers, I think are ace, but another repeat. Eureka California, yet another repeat. Did they run out of ideas? Haiku Salut  another repeat. This is no fun.

Of course the two bands that thrill everyone are Even as We Speak and Boyracer. Two brilliant bands from the indiepop heyday are playing the festival. I would go and see them. Totally. EAWS I saw at NYC Popfest and were the best that year. Boyracer I’ve never seen, but I wish I could. But then, these two bands need no introduction, they were part of Sarah Records and are in the “legendary” status of indiepop bands. Classics. So I have to move on. What about then Anna Burch? Never heard her music.

Anna Burch: “Tea-Soaked Letter” is the first song I play, there’s a promo video for this song, and I’m immediately hooked. It is good! What do I learn from Anna on the web? She is based in Detroit, so no, not British, so definitely a good expense by the festival. She releases records through Polyvinyl Records, just like everyone darlings Alvvays. Her last effort, the album “Quit the Curse”, was released last month and it is already sold out in its vinyl version. It is available still on CD and tape. On her Bandcamp you can order the record and also stream it all. And after listening to it on a whole, I must say that the first song I ever heard by her, “Tea-Soaked Letter”, is the best. Well, it is the jangliest and indiepoppiest. What can I say.

There are more bands announced by Indietracks (Happy Accidents, Let’s Whisper, Wolf Girl, Just Blankets, Dream Nails, Mikey Collins, Sink Ya Teeth, Tugboat Captain, The Baby Seals, Life Model, Cat Apostrophe, Strange New Places, Melenas, Panic Pocket, French Boutik, Ghum, Rebecka Reinhard, Tekla, Whitelands and The Sunset Beach Hut) but as I like to keep at 5 reviews a post, they’ll need to wait until next posts.

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I ordered the only 7″ I know by Daisy Age just a few days ago. Then I thought that it could be a good obscure French band to feature here after quite a long brainstorming. Yes, I’m trying to be more international on the blog, not just cover bands from the UK.

I must say that I know very little about this band so this is a good exercise, an opportunity, to find out more. So where to start? Maybe the name? Does it have any connection with De La Soul? Their first album by Long Island hip hop band “3 Feet High and Rising” introduced the concept of the “D.A.I.S.Y. Age” (an acronym standing for “da inner sound, y’all”). As a result, audiences were quick to peg the members of De La Soul as hippies. Could that be it? Or is there another reason for the name? Or it is just a nod to the hippies in general?

We do know that the band released one 7″ in 1994 on the label Disco 2000 (catalog Disco 2002). This was a label based in Toulouse which was run by someone called Stéphane. The 7″ had two songs on each side. The A side had “L’Imprévu” and “Hier” and the B side had “Ce N’Est Pas Si Facile” and “Wee Pee”. All four songs were recorded on an 8-track and mixed the same day. The credits for the photos on the sleeve are Fabien Rames and Laurent Lafon.

There’s no other information about the band on the sleeve. Nor on the insert that comes with the record where the label tells more or less what to expect on the 7″ and also the announcement of a tape compilation to be released next.

On Discogs the band appears on there compilations. The first one dates from 1993 on the Lo Label’s compilation tape “Summer 93 Hits”. It seems this tape came with a 32 page mini-booklet, perhaps with information about each band. Maybe there are the details I want to know. Maybe someone who has it can help? On this tape, the band appears with the song “Hier” and we see that they are in good company, mostly French bands like Les Poissons Solubles, Amanda By Night or Chelsea, but also we see the Acid House Kings.

Another compilation tape that had them participating was “A Tribute to the Jamc Vol.2”. Here they cover the Jesus and Mary Chain’s “Between Planets”. This tape was released by Candy Chérie in 1995 (Candy Chérie 002).

Lastly they contribute the song “Dieu Seul Sait” to the tape compilation that was announced on the 7″. “Etreinte & Tempo” was released by Disco 2000 and JMS Records probably around 1995. I must say that I don’t know many of the bands that appear on this tape, only a few! They were mostly from the Toulouse region and would love to hear them someday, especially those ones with poppy names like Crystal Fields, Scoubidou or Edgar Trampoline. No clue who they are. This tape also came with a booklet, a 50-page one, this time.

I look on the web and see that on March 18th 1994 there was a gig by the Daisy Age and Lucie Vacarme at Le Bikini. And that’s about it. I can’t seem to find any band member name, though from photos it seems it was just two guys. The label does have a working website but there is no information about the band whatsoever though it seems you can order a copy of the 7″ from there.

Hopefully my French friends will let me know any details they remember about them. It’s been a while since I interviewed a French band on the blog, I believe only Les Freluquets and Fear Performance have answered my questions, so yeah, I definitely would love to know more about them and try to understand a bit better that exciting French scene of the early 90s, and that of Toulouse as well!

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Listen
Daisy Age – Hier

Well, this will be the last “new findings” for a couple of posts now as I want to concentrate and discover the Indietracks bands that were announced and that I don’t know. So, that on the next post. On this one, 5 new findings!

Stephen’s Shore: the most exciting news in a while is that of our friend’s debut album “September Love” on Meritorio Records from Spain. 10 jingle jangly songs, wonderful songs, that I can’t stop playing on their Bandcamp while I wait for my copy of the record to arrive home. Actually I should be having some extra copies if anyone in the US is interested in buying one, probably cheaper from me. I will add the record to the distribution section of the Cloudberry site when that happens. In the meantime I ask you, I demand you, to have a listen of this beauty. I know it is early to say, but this might be the record of the indiepop record of the year. What a lovely effort of chiming guitars. So happy and proud to have worked with them in the past!

The Catherines: I’ve recommended the Hamburg based band a couple of times if my memory serves me right. It has always been in the way of digital releases, songs on Bandcamp. Finally I see the band is putting something out in a physical format thanks to the Alicante, Spain, label Mondo Canapé. It is a tape with 8 songs and limited to just 50 copies. The solo-project by Heiko Schneider plays indiepop, straight up indiepop, jangly, tweeish sometimes. It is impossible not to like it. If you want just a teaser you can start with “Good Golly Goo“, which they have put together a promo video.

Battery Point: I’ve been a fan of the Chula Vista, California, band for a while now. Recommending every single song they put out on their Bandcamp. So far I don’t have any of their releases as they are mostly being released digitally. I need a CD, a 7″, something like that. I’m old school I suppose. This time around the band have unveiled their latest, a 3 song EP titled “A Memory For Today”. It has three songs, “Another Year”, “Time” and “You Should All Be Murdered”. The last one of course is a cover of Another Sunny Day’s classic song. Great stuff.

Nah…: the new project of Sebastian Voss from The Grindcore Poppies is this oddly named band. For this project he joins forces with Estella and with her, and the help of Kenji from The Fairways and many other bands, he has recorded 4 songs that are available on a CD titled “Summer’s Failing EP” which you can pre-order now. The songs on the CD are “Summer’s Failing”, “This Light Will Always Shine”, “Annie” and “Linus”. Right now we can only stream one of the songs, the first one, and I am loving it. It does take us back to the indiepop halcyon days, to Sarah Records and bedroom bands. Really lovely song, so I can’t wait to hear to the rest of them!

Tiny Fireflies: happy, very happy, to be listening their new gorgeous record on Bandcamp. But not as happy as I could be if I had the 7″ at home. Yup, I need to order it ASAP, so that’s what I’m doing now. The 7″ for “Nothing” and “2040” was released on March 13th and it is only limited to 250 copies. As you know Tiny Fireflies is formed by Kristine Capua and Lisle Mitnik from Chicago. This record had the help from more friends, I see Hampus recorded drums for Nothing and Cris mastered the songs. I’m always very happy to know that I have very talented friends!! Get it, because it is really something!

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The Honeymoons from Sweden. As of the last few months I managed to get their 4 albums in my collection and I must say I have really enjoyed them listening one after the other. It took me years to do this as I had their first release, the “She’s My Heroine” 7″ since at least 2008 or 2010 as it was on a trip to Berlin, to Uwe Firestation’s house that I bought this record.

It too me years to do this, but by no means I have their whole discography now. There are many other singles and EPs that I’m missing. Most of them were released by the legendary Swedish label North of No South. The only release that wasn’t was the 7″, which actually happens to be their only vinyl release. All their other output came out on CDs. It was the mid-nineties.

The 7″, “She’s My Heroine”, was released by the label Jakaranda Records (JAR 914) in 1991. This was a label from the city of Umeå. The record had two songs, “She’s My Heroine” on the A side and “Five Fifteen” on the B side. The artwork, created by Christofer Fredriksson, with the dolphins jumping, does remind one of Orange Juice. There’s not much more information on the sleeve. Here we see that Per Rosenberg is credited of writing the songs, and I would find that he was the vocalist and also played guitar in the band.

Two years will pass until we heard again from the band. Now signed to the exciting North of No South, the band would grace the 6th release on the CD catalog of the label (NONSCD06) with their self-titled “Honeymoons” mini-album. There were 6 songs included in this fine 1993 effort by the band: “She’s Gone Too Far”, “Colourblind”, “We Could Just”, “058”, “Pale Sun” and “Hey Hey”. We could hear the jangly guitars, the love for a good melody, not too far from the Cod Lovers who I interviewed recently. It was indeed the time of the first golden era for Swedish indiepop. Again the art is credited to Christofer Fredriksson and we see that the producer was Per Helin wh had been involved in Puffin and Ray Wonder, other good bands from the period. The engineer was Pelle Henricsson (who owned Tonteknik Recording studios in Umeå) with assistant engineer Eskil Lövström, also from Puffin. Something that does catches one attention is that several drummers are listed. David Nestander for tracks 1,2,5 and 6, Joakim Ahlstrand for track 3 and the aforementioned Pelle Henricsson on track 4.

Again a gap of two years. Finally the first full-album by the band. It was titled “Domestic” and was released on November of 1995 on North of No South (NONSCD23). Eleven songs that continue what they started in the mini-album: “My Honey You”, “Travel”, “A Day Like Today”, “Entertainer”, “Some Days”, “Know You Do”, “Another Dream For Sale”, “Over and Over”, “Me and the Ghosts”, “Flowergirl” and “All Those Feathers”. Art again by Christofer Fredriksson. Once again the songs were recorded at Tonteknik by Eskil Lövström and Pelle Henricsson with Per Helin as the producer (Per also played percussion on tracks 5, 9, 10, by the way). Other credits on the record include Eskil Lövström helping with trombone, Pelle Henricsson with tambourine and our friend from The Seashells, Erik Domellöf on guitar on tracks 2 and 3. We also know that Lars Oskarsson played backing vocals and bass guitar; Magnus Öberg, drums and guitar; Jörgen Gustavsson the organ.

Just before this album, that same year, was released North of No South had released the CD single “Travel” (NONSCD22). Just two songs were included here, “Travel” and “My Innocent Friend (Demo Version)”. Here we see exactly the same credits as for the album.

The band also released that year another CD, the mini-album “Louder” (NONSCD12). 6 songs and the same credits but the art, now they had Magnus Åström taking care of the graphic design, the look, of their record. The songs on this CD were “Difference”, “Monday Bin”, “How to Change the World”, “I Can Do”, “Here Comes the Fall” and “Fifteen Seconds”. Even with the change of artist, the coherent use of fonts, color and negative space continued. I wonder if, as they were always using the same people to record, and the look of the artwork was always in the same line, how disciplined where they to stick to what worked for them. It seems they had found a comfort zone and they loved it and knew how to work within.

1996 was going to be a bit busy, with two CDs being released. The first, “A Day Like Today”, was a CD single (NONSCD28) that included “A Day Like Today” and “A Day Like Today (remix)”. I suppose they continued promoting the “Domestic” album with it. And then I suppose the band wanted to get away of that comfort zone and released a 4 song CD EP of remixes by Histrionic titled, “The Histrionic Remixes”. As I’ve said many times, I’m not much of a fan of remixes in general but well, it was the 90s I suppose. The songs that got the remix treatment were “Travel”, “We Could Just”, “Flowergirl” and “Difference”.

1997 was to see the light their final album, “The Coherent Excitation”. For this record the band had a new drummer, Markus Backstrom and  had gotten percussion help from Mikael Emsing on tracks (1, 3, 5, 7, 6, 9, 10). The album actually had 11 songs, “Never Forget” (that had backing vocals by Ludvig Boss from Ray Wonder), “Flourescein”, “Evil”, “Fabrications”, “Dreamtime”, “Would You Believe”, “Let them Strive”, “Breathe On”, “Colder”, “Turn Aside” and “As We Are”.

As it was the rule, North of No South released a CD single to promote this album. The “Fabrications” CD single (NONSCD53) included the title song and also “My Innocent Friend”.

There are 7 compilation appearances listed on Discogs. Let’s go chronologically through them. The first one is actually on the first ever North of No South CD, on the “North of No South – Compilation CD” where the band appears with the songs “You Never Say” and “Tell Me Why”. Thanks to the credits of this record I notice that North of No South started as a sub-label of Jakaranda. Interesting. Also here the Honeymoons are listed with a different drummer, Jocke Ahlstrand. And to complete the band we see of course Jörgen Gustafsson, Lars Oscarsson and Peter Rosenberg. It does seem that during the years the drumming position was the problem. Now something interesting is that even though the band was Umeå based, they went further north, to Luleå, to record these two songs with Stefan Larsson at Gateway studios.

I’ve mentioned about the great Gothenburg based Pet Sound fanzine, that introduced so many great Swedish bands to the indiepop crowd. On the 5th and last tape they put together, “Pet Sounds Vol. 5”, and in a very limited pressing of around 100 copies, the Honeymoons appear with the song “Flowergirl (Demo)” alongside fantastic bands like The Cardigans, Eggstone or Easy.

“Flower Girl” ended up being a popular song and it was included on Rainbow Music sampler “Life’s A Joke” in 1993. This CD was compiled by Nicke Boström who is better know as the guy behind the superb record store Delicious Goldfish.

“Big Smile From Big Snowflakes City” was a CD compilation released in Japan in 1995 as a sort of a sampler, an introduction, of the bands to this new public. Here the Honeymoons appear with the great “She’s Gone Too Far”.

“My Honey You” and “We Could Just” were to appear on 1996’s “A Veritable Smorgasbord of Music” CD compilation that was put out by North of No South (NONSCD50), and that same year their songs “Travel” and “15 Seconds” appeared on “NONS Vol.2” that was released on the same label (NONSCD25).

Lastly, in 1998, probably when the band was already no more, they had the songs “Fabrications” and “Evil” on the “Aaaaaah… NONSCD75” CD compilation.

I look online and my first hit is that of a blog called “Tidskriften Pop Revisited” were there are several posts about the band. There is a mention here where it says that the band had put together a tape, of not the best quality it seems, that had no cover, no information, nothing. The writer complains about it. It seems it was a demo the writer received. But there is no year, so can’t say when did this happen. On another post the writer again complains about another demo, that instead of information the band sent a naive drawing of a sailboat. He does compare the band to the Razorcuts in this occasion.

Then Musikon, the guide for Swedish music. Here I was to find out that in 1987, Per Rosenberg and Lars Oskarsson had been involved with a punk band called The Join who had released a 7″ EP titled “Total Tystnad”. On the other hand, Jörgen Gustafsson had been involve back in 1985 on a band called Ego Boys who released an LP titled “Bevara Kättjan”. Magnus Öberg, the drummer for a time in the band, had been involved in many more bands, like Ramm, Shredhead, Kevlar and Starmarket.

But probably the best ever find I could hope was an old, very old, Honeymoons website that I found through the Scandinavian Indie mailing list. Here we find the last ever lineup for the band:
Markus Bäckström – Drums
Jörgen Gustafsson – Organ and Sounds
Lars Oskarsson – Bass
Peter Rosenberg – Vocals and Guitar
Petter Sandström – Guitar and Vocals

I notice of course that there’s a new member, Petter, since 1997. Other good info found is that the band formed in spring 1990 at a garden party. Their first ever gig was at a party held by psychology students. Then we know that there was a video for the song “Travel”. Don’t think this video is on Youtube sadly.

In 1997 we have some gigs listed: Festival Lycksele on May 24th, Provinssirock Seinäjoki Finland on June 15th, O-ringen in Umeå on July 23rd and 24th and Nolia in Umeå on August 9th.

Other news are that their records were to be licensed for the Philippines that year.

On the Scandinavian Indie mailing list there’s also a mentions saying: Honeymoons – release their long sought after second “real” album called “This Coherent Excitation” on April 21st. A single from the album called “Fabrications” is released on April 1st. The band spent last weekend in Stockholm in order to record a video and do a photo shoot with Urban Ström and Johan Markusson. So I wonder, where’s that video? I would like to see it! And lastly I do find a review of the “Fabrications” CD single on the list by Erik Söderström. Something I took from there is that the band played in Linköping at J’s Place sometime between 1993 and 1994.

And that’s where I stop. The band, even though having released a bunch of records, disappear into thin air. It doesn’t seem the band members continued making music afterwards aside from the drummer, Öberg. That’s strange. I wonder if they ever go to Japan, where their records found their way. What about the promo videos they made? How many were they and how come they are not on the web yet? If they have more unreleased material? There are many questions, and little answers this time. Do you remember them?

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Listen
Honeymoons – Pale Sun

Wednesday! It’s just been about a week since I received The County Fathers CDs and I’m trying to think what would be the best retrospective to release next. Any suggestions, any ideas are welcome. In the meantime, I have been preparing several posts and I’ve noticed how far behind I am on recommendations. Especially as I have to cover Indietracks too. Maybe I’ll have to resort to three posts a week to be able to have everything fully reviewed. So let’s go straight to the point:

I Saw You Yesterday: found this cool video by this Japanese guitarpop band. It seems that the crop of Japanese bands into shoegaze, dreampop, is neverending at this point. I wonder why. In any case this is pretty good. The band fromed by Hidemasa Shimoda, Kai Murakami, Kasushige Suzuki and Reiji Shibata will be participating in the new Ano(t)racks compilation that is being put together by that label.

Pale Blue Morning: I learned about this band and their first ever song “Eleanor” through the indiepop-list. Sadly no one has given feedback to the poster. The indiepop-list is quite dead to be honest. I was always a lurker but those who were very active have been quiet for years. Anyhow, this is a very nice lo-fi bedroom pop song! I don’t know much about the band aside that they are from Quezon City in the Philippines, but I will keep an eye if they post anything new in the future!

Nos Miran: I recommended a video by this band some weeks ago. Now their label, Elefant, has uploaded all the songs that will be on their 10″ mini-LP to Bandcamp and I’m really enjoying them! There are 6 songs in total, “Amor Y”, “Humo”, “Dinero Para Nada (Feat. Capitán Sunrise)”, “La Montaña del Amor”, “No Te Veo Enamorado (¿Por Qué Será?)” and “No Puedo Ser Hipster”. The band is actually a duo and it is formed by Sergio Rodríguez and Marta Quintana after they met at a La Bien Querida concert.

Putochinomaricón: when Chenta Tsai Tseng’s song started to appear on Youtube we all loved them. The freshness, the quirkiness and the smart lyrics were easy to like. Maybe we all thought it was a bit of a joke, but we never imagined that Elefant, or anyone in the indiepop world, would pay attention and offer a release to him. Not because it wasn’t good. They are great pop songs. But one imagined Putochinomaricón to sign with a bigger label if he ever signed with a label! In any case Elefant will be releasing a 10″ mini-LP titled “Corazón de Cerdo Con Ginseng al Vapor” on April 20th, and I suppose this will sell out pretty quick. Right now you can stream one of the songs, “Gente de Mierda”, on Bandcamp.

Vamping: the Thessaloniki, Greece, label always delivers the goods. This time they introduce us the band Vamping who are releasing an album with 13 songs titled “Desert Plants”. At the moment there are two songs available to stream on Bandcamp as teasers, “Starling” and “Desert Plants”. The latter is especially really nice, jangly as we all like our songs. Vamping is the solo project of a certain Broderick Adams who records them near the Franklin Mountains in Texas. The album will be released in very limited quantities, 50 tapes and there are two different variations for them!

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I remember when I saw their only release for the first time. It was at Pete Hahndorf’s place, he had a few copies and well, he gave me a copy! My friend Nana also got a copy because he was a fan. And that wasn’t all on my visit to Bremen. Peter gave me a copy of the compilation “Ein Spätsommercocktail” where die Moosblüten appears with the song “Klee Ist Fern”. That was my first encounter with their music and well, here you have me writing about them many years after. 10 years I think!

Kalle Luft, Paule Pop and Ulli “Joe” Frisch were die Moosblüten or, in English, the moss blossoms. As I said they released just one proper release, the first one on Peter Hahndorf’s label, Steinpilz Tonträger (Pilz 1). “Aprilfrische” was the name of this for 4 song EP. All of them recorded at Paul’s living room during the time the band members were taking their secondary school final examinations on April 1991. The record came out that same year.

On the A side of this 7″ that had a colorful mushroom on its cover we find two songs, “Wandertag” and “Strandparty”. On the B side there’s “Huberts Grüne Küche” and “Lückenfüller”. The record comes with an insert of what looks the dictionary definition of Moosblüten and other words that start with “moos”.

That same year, 1991, the band appeared on the pre-Firestation Records label Smuf’s cassette compilation called “It’s All About Love” (SMUF 003). On this compilation die Moosblüten contributed the song “Herbstromantik”. This is a very cool compilation by the way with top tracks from bands like The Aurbisons, the Panda Pops or The Sugargliders.

The next year they were going to appear on another tape compilation, “Wegweiser Durch’s Eiswürfelland”, that was released by Steinpilz Tonträger (Stein 1). It was the golden days of tape compilations in Germany it seems. This label as far as I remember was ran by the people behind Die Busfahrer who I interviewed years ago. Anyhow, on this very fine compilation that had classic German bands like Die Blinzelbeeren or Friends Ahoi, die Moosblüten appears with the song “Lustige Schlittenfahrt”.

The band that hailed from Bremen didn’t stop there. In 1993 they were to work again with Steinpilz Tonträger on a compilation called “Frischer Morgentau” (Stein 1). I remember Pete Hahndorf having copies of it, but me, dumb as I am, didn’t get one while my friend Nana did. I was never into tapes. That is a true thing. But now I regret not having this great document of the time! Their song “Klee Ist Nah” appears on this tape and again they are in very good company, you can see amazing bands like Acid House Kings, Red Sleeping Beauty or Die Fünf Freunde.

1994 will see the last two compilation appearances for the band. First on Eiswürfel Tonträger’s CD compilation “Die Schönste Platte Der Welt” (EIS 7). Again among fantastic bands die Moosblüten appears on the 8th track with “Allein Zu Haus, So Ist Das Leben”. And lastly on a 7″ compilation, which I got from Peter too in Bremen, called “Ein Spätsommercocktail”. The band appears on the B side, as the last track with “Klee Ist Fern”. This 7″ included a copied cocktail recipe and a band sticker, “Mossblüten – Umwelt schützen – Rad benützen”. On the record we also find great bands like Friends Ahoi, Space Kelly and Die Wurzelsepps.

I look for more information on the web. I find an old Myspace page where you can’t stream the songs. I do have a slight hunch, and that is that Ulli from the band is Ulli Hahndorf, Peter’s brother and also the one behind the label Steinpilz Tonträger. That would make sense. But I need confirmation. And I do find it on an interview I did with Peter many years ago on the blog. He says: I am five years older than my brother and I guess you can say I had a strong influence on his musical taste. He was in “Die Moosblüten” and released a few singles and a tape on his label “Steinpilz Tonträger”. 

But what happened then to the band? Why no more releases? When did they split? Do they have more unreleased tracks? Did they continue making music with other bands afterwards? Or what about before die Moosblüten? Did they play many gigs? All around Germany? There is not much information on the web sadly, they seem to be forgotten! Do any of you German popkids remember them?

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Listen
Moosblüten – Allein zuhaus, so ist das Leben

Sadly The Sorayas news wasn’t the only bad news in recent weeks. We all know that Patrick Doyle from Veronica Falls passed away. I wasn’t too familiar with his other projects I must say, as they were not that close to the indiepop spectrum, but I really loved his work on Veronica Falls and Sexy Kids. I didn’t interact much with him, but I have a good memory of him when he signed me a Veronica Falls poster I took from a wall from the Williamsburg Music Hall back in 2012 I think. It is indeed an odd time for guitar pop fans.

Last week was my birthday and that same day I released The County Fathers album. I was extremely happy to have now 10 releases on the Cake Kitchen. Now is time to start working on the 11th one! Need to find a good band that would fit nicely for a project like this, one that has the songs, the photos and the memorabilia ready to put this together!!

Now, I know you’ve been expecting some contemporary, some new, indiepop recommendations. Let’s see what I can find for you:

Plastic Girl in Closet: I found out about this Japanese band on the Twee Lovers Club facebook page. There are always some good recommendations in there. The song that was shared was their latest, “Junior”, that is a very nice dreamy and noisy song. I don’t know much about this band, it doesn’t seem to be much information about them in English but on their site I found that they have already released a few cassette EPs, a DVD and two CDs, one album even. I want to get them! How to? That’s the question!

Boys: this Swedish band, a favourite of mine, fronted by Nora Karlsson, is now releasing their debut album. I’ve recommended previous smaller releases by this very fine band and now I’m happy to see that finally a full length album will be out. The album, as her previous efforts, is being released by the Swedish label Pnkslm and will include 8 songs. One of the songs, “End of Time”, is now available to stream from the label’s Soundcloud and it is ace!

Red Sleeping Beauty: our friends from Stockholm have put out a new song on Soundcloud and as usual it is a winner. “Top Love” should be included in the band’s fourth album which they are working on at the moment. It seems too that in preparation for this album the legendary Swedish band formed by Niklas Angergård, Kristina Borg and Mikael Matsson, have many surprises in store. I’ll try to keep on top of any news I hear!

Bounce the Mouse: interviewed them not so long ago on the blog as they were reuniting for a very special week. Now the band has just shared with me some videos of that gig I wish I had attended! Please check out part 1, part 2, and part 3!

Desperate Journalist: one of my favourite bands, and you might already know that from the several recommendations on the blog, have a new video out for the song “It Gets Better”. It is great of course and we will have to wait until March 30th for Fierce Panda to release the EP “You Get Used to It” where the song will be included!

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The Midwich Cuckoos is a science fiction novel written by English author John Wyndham, published in 1957. It has been filmed twice as Village of the Damned, with releases during 1960 and 1995.

Another record I don’t own, another band I know little about. How many great guitar pop bands have existed? Thousands for sure. I don’t even have the count of how many have been featured on the blog having a post on its own. I can’t even imagine then how many more have had a mention on the blog. Way more.

At one point Twee.net served me as a good and comprehensive list of “all” guitar pop band. These days I know it doesn’t even cover half of them. This is by no means a criticism, I think Twee.net served me brilliantly in discovering many bands. The truth is, who in their sane mind could compile all the bands? I don’t know, but I do hope it happens in a way or another (though my favourite way would be on an illustrated book, with photos and small bios if possible!).

I think I found The Midwich Cuckoos through Youtube. One of their songs, “Show Me”, has been uploaded and I thought it sounded great. I must admit too that their name really caught my attention and made me very curious. Now, after many months of discovering them and not being able to secure a copy of their one and only release because of steep postage prices from the UK (even though they are way cheaper than the American prices), I decide to investigate.

The song uploaded in 2011 to Youtube has a bunch of comments. One of them mentions that the band hailed from the area of Stockport, in the UK. As you know, Stockport is a town that is part of the Greater Manchester. So they must have been friends with so many great bands, opened or headlined fantastic gigs, visited legendary venues and so on. Well, I suppose.

Another comment mentions that the band played at the Witchwood in Ashton, also another town of the Greater Manchester. Yet other gig mentioned is that one of the band playing at The Green Room along Anne Marie Finnegan. Where was The Green Room? I wonder. Then I learn that the original singer of the band, Craig Wright, lives in Auckland, NZ. And last but not least, there’s a comment by a Steve Toon, The Midwich Cuckoos manager, saying that the band is alive and well, that they have morphed into a new band called Hit the North.

It seems Hit the North comprise the original members of The Midwich Cuckoos, John Mangan on guitar, Mark Woolfenden on bass, Dave Curley on guitar and keyboards, plus the new members Sean Canning on vocals and Martin O’Brien on drums.  This band supported Toploader at The Headlander Festival in Stockport in 2014 and at the time of the comment they were going to the studio to record an album and a single. Previously the had released a single “Rollercoaster” that was the them music for the comedian John Bishop’s last arena tour.

But let’s explore what we can find about them on the web. The Midwich Cuckoos 12″ maxi-single came out in 1990 on Big Noise Records (BIG1). It seems there are many labels listed with the same name, so I’m going to assume this was a self-release. The record had three songs, on the A side there was “Show Me”, while on the B side we find two, “Baby You’re A Rich Man” and “Drag (Demo Version)”. There is no scan of the back cover of the record so not sure if there’s any extra information. On the front we see the name of the band in that quirky handwriting and a caricature of a chicken on the lower right corner. A cuckoo.

My first doubt happens when Discogs lists them on a 1983 tape compilation called “The Great British Beat Vol. 1” alongside the Page Boys or The Mixers. But I’m sure that must be another band with the same name. The year difference between this compilation and their sole release, doesn’t make sense.

There used to be a Myspace page for the band and as you can expect none of the songs can be streamed now. But at least we get to know a few more song names: “Princes Road”, “New State”, “Police On My Back” and “Did I Believe”. When were these recorded? And were they part of any release or perhaps a demo tape?

But I was going to struck gold when I found a Facebook page for the band! And it seems there used to be a website but that is no more. It looks like as if the band was still going under the name as there is a new lineup listed and also a list of former Midwich Cuckoos members:
Brent Woodall – Vocals
John Mangan – Guitars
Mark Woolfenden – Bass
Chris Toole – Keyboards, Programming
Steven Spencer – Drums, Percussion
Steve Toon – Percussion, Production

Former Midwich Cuckoos Members
Craig Wright – Vocal
Sean Canning – Vocal
Garry Crane – Guitars
Dave Curley – Guitars, Keyboards
Gary Wyatt – Guitars
Vulture – Guitars
Stuart Burnett – Drums
Mick Brophy – Harmonica,Production
Lucy Wyatt – Backing Vocals
Mike Comer – Percussion
Adam Margetson – Keyboards

Most importantly there’s a bio of the band which is exactly what I was looking for. First of all the band was formed in 1990, now clearing all doubts about that compilation appearance. Originally the band was formed by Craig, Mark, John and Steve Toon, and later Steve Spencer, Garry and Dave joined. The band lasted three more years and during that time the band got some great reviews thanks to their gigs and their single “Show Me”, which here says it was released in 1991.

Here comes the interesting part. There was a second single, “Better and Better”, that never got released due to distribution problems. Though that didn’t impede the band to make a promo video with director Pau Kucharski who had just made videos for The Stone Roses, The Mock Turtles and The Charlatans. I’ve looked for this video but I haven’t been able to find it.

It also mentions that the band was wooed by a number of major record companies in the early nineties but were caught up in the Madchester backlash and the interest dried overnight. Their last gig was on Friday 10th of December 1993 at The Cathedral Arches in Manchester.

Looking at the Facebook page it seems it was set up in 2016 as they played a reunion gig for Steve Toon’s 60th birthday at The Ruby Lounge alongside The Cheaters on November 26th of that year. I keep looking for any interesting content and I find a few flyers from back in the day. On one I see that The Midwich Cuckoos played at the Manchester International 1 with support by Mutley and the great Machine Gun Feedback on July 6th of 1991. On another flyer, The Midwich Cuckoos were the support band for the Milltown Brothers at The Hacienda on February 11th 1991.

That’s more or less the story of the band. Of course there are blanks that need to be filled. Like the video for “Better and Better”. Where is it? I want to see it. And what about the other songs I found on Myspace? Would love to listen to them. The only good news right now is that I found a copy of the record for ten dollars including shipping on eBay. That makes me happy.

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Listen
The Midwich Cuckoos – Show Me

I’m terribly sad to write this post. I wish I had in a different circumstance to be honest. I always have the idea that with contemporary bands or not too old ones, it is better to do an interview rather than my sort of indiepop archaeology. If I have the chance to hear the story straight from the band, it is always better than finding small details on the web.

For the crop of fantastic Swedish bands that appeared in the early noughties and all the way to 2007 or so, I would have wanted to feature them on a series of compilations I titled “The Sound of Starke Adolf”. I only ended up releasing the first volume. That was one of my biggest disappointments. I couldn’t get the Swedish bands that I wanted to feature to hand me their songs, bios, or photos, for the 2nd volume. I asked time and time again but got I didn’t get the collaboration I wanted. After that had happened I thought that in a few years I would try to interview them at least. Tell the story of a period that was very important to me, a time where I discovered an exciting scene and where bands were popping up in Sweden out of nowhere.

It was the time of CDRs, Soulseek, clubs like Starke Adolf in Gothenburg, fanzines like Twisterella and cool festivals like Mitt Sista Liv. It was a second golden era for Swedish pop after the 90s. Though this time around it was much more underground, where smaller labels were the norm.  An era I hope gets documented in a way or another in the near future.

One of the bands from that period I hold dear was the energetic all-girl trio The Sorayas. A band that released a few records in the noughties and who I shortly was in touch in 2006. A band I really liked, playing their CDEP time and time again years ago. Today, after hearing about the sad loss of Annika Forsberg, their vocalist, their leader, I’m listening on repeat their whole discography and thought to write a small little tribute hoping for many that weren’t familiar with their output, to discover a great band.

The Sorayas were indeed Annika Forsberg on guitar and vocals, Hanna Maurin on bass and Soraya Mirgalou on drums. And from a small bio on Last.fm I could say that it all started in April of 2000 when Annika Forsberg was searching for band members by putting up notes in local record stores: that’s how she met Soraya and Hanna. They quickly connected by a common bond in music and lifestyle, and after spending the evenings listening to songs they decided to name the band after the Persian princess Soraya and – of course – their own drummer.

The first time we all heard of them was in 2001. Until recently I thought their first songs were the ones on the “Drag Me Under” 7″, but my friend David shared with me a 4 song demo from that same year that I assumed were first. But actually I found on Popfakta that there was a 2000 demo CD that was self-titled and included three songs, “Bothered”, “All Night” and “Yezzebelle”.

The year after, they released the demo David shared with me. It was titled “All Night”, had 4 songs, “Drag Me Under”, “All Night”, “Bothered” and “Yezzebelle”. I’m not sure how these four songs were released, if it was a CDR or a tape. The band at this point sound a bit harder than in their later stuff when they were much punk-poppier I suppose. In any case, it seems this demo caught the ear of the Dolores Recordings label from Gothenburg and offered the girls a 7″. Take in consideration that this was a very important label in Sweden. It had released during its years big bands like The Sooundtrack of Our Lives or Håkan Hellström.

The “Drag Me Under” 7″ (DOL096) had on the B side another song from the demo, “Bothered” and the record came in the classic Dolores Recordings sleeve. The vinyl was pressed in pink. The record itself doesn’t have much information.

In 2003 they put out another demo which on Discogs is just listed as “Demo 2003”. This was released as a CDR and was recorded at Music A Matic Studios in Gothenburg, their hometown, in 2003. The CDR contained 6 tracks but only 4 were listed, “Perfekt Endings”, “Easy Tune”, “Tomorrow” and “You Decide”. Henryk Lipp, the founder of the aforementioned studios, produced all the songs.

2oo4 was another year for another demo CD. This one I found about too on Popfakta. There were three songs on the “How It Begins” demo. They were “How It Begins”, “Don’t Want To Be Like You” and “Tomorrow”.

Then in 2005 they will release two records and it is must have been the year I discovered them. I believe the cassette album released by the Italian label Best Kept Secret came first. Self-titled, the tape had 9 songs: “How It Begins”, “Don’t Want To Be Like You”, “Tomorrow”, “Perfect Endings”, “You Decide”, “Easy Tune”, “Drag Me Under”, “All Night” and “Bothered”. It was kind of a collection of all their previously released songs plus a few new ones, including the classic “Easy Tune” that was going to have a promo video. It is strange now that I think of it. Today tape labels seem to be thriving. But back then, 10 years or so ago, I don’t think that was the case. People preferred CDR over tapes.

Later that year, in October, a new label that was making some noise in Sweden called But is it Art? was to offer them a CDEP release. I was much of a fan of this label when it appeared. They had released albums by Fosca and also by the fab Friday Bridge. Their output in the few years they were around is very very good. And thus is no coincidence that The Sorayas best work, their 4 song CDEP was released by them.

“Hours to Days” was released with four songs on it, “Hours to Days”, “Easy Tune”, “Tomorrow” and “How It Begins”. All great songs. I remember that at that time Youtube was kind of a new thing. Videos were mostly shared through websites, sometimes they were embedded or some other times you would just download the 50, or 60megs, and play it on your computer. I had downloaded the video for “Easy Tune” of course and played it so many times. But I did end up uploading it to Youtube and it is one of the few cases when a video I uploaded hasn’t been duplicated later by another upload by a band, a label, or another fan. Everytime I watched it I thought how cool they all looked, with their colorful clothes, Hanna’s green jacket,  Annika’s red jacket and white chucks and Soraya’s turquoise pants, on what looks like a derelict warehouse. The powerful guitars, and catchy chorus, resonate till these days, having had already almost 8000 views on Youtube.

Aside from those releases The Sorayas appeared on a few compilations:

• 2001 – Their song “Drag Me Under” appears on the “Populärmusik Från Göteborg” CD that was released by Studieförbundet Vuxenskolan.
• 2002 – This is quite the myster, a song called “-” appears on the CD comp “Demoscenen Hultsfred 2002”. I’ve never listened to this song.
• 2003 – Again they appear on a compilation by Studieförbundet Vuxenskolan called “Rokkulär – Fet Musik Från SV GBG 2003”. It was a double CD compilation and the song they contributed was “Boring Me Out”.
• 2004 – They will have their song “Easy Tune” on one of the beloved CDR labels of the era, Popkonst Recordings. It was going to happen on the label’s second release, “This is Popkonst and We Love You”. That same year a bigger label was going to notice them, Labrador included two of their songs, “Perfect Ending” and “Easy Tune”, on “The Sound of Young Sweden Volume 4”.
• 2005 – Discogs lists this compilation as their last contribution, and it was the one on “Bang Crash Boom!!! – A Popclub Compendium” that was released by the German label Little Teddy Recordings. On this CD compilation the band appears with “Hours to Days”.

But I do know of another compilation they were part of. I’ll come back to that later as it involves me. But now, I’m going through old information about them on the web, and I stumbled upon the press release for their CDEP. Here I read that the band played important festivals, like Hultsfred’s Demoscen or Ladyfest in Stockholm and Gothenburg. In their hometown they were locals at Pustervik and Liseberg and in Stockholm they played the classic Debaser.

I look on Google for more information about them. I don’t want to miss anything really. I do know that Annika had, a few years ago, put some songs up on Bandcamp as a solo artist. It was a 4 song EP titled “Slutet På Romanen” and had four songs produced by Stefan Larsson, “Slungas Ut I Rymden”, “Slutet På Romanen”, “En Dröm” and “Vita Nätter”. It is not The Sorayas, the sound has changed, but it is lovely anyways. The teenage angst is no more, but the energy is still in there, in a different way, in a more introspective manner. Before that, since the day she got her first electric guitar at age 16 and learned all the Hole songs, she had been in of course The Sorayas after she found an ad seeking for musicians at the music store Bengan’s, in This is Love and Vega.

I get very excited when I find a photo I’ve never seen of the band on an article dating from 2005 on the Gothenburg newspaper. Here they talk about why they haven’t put out an album. They say they couldn’t work under pressure. At the time of the article learn that Annika was working in Borås on a democracy project. Another newspaper mention dates from the same year but this time on the bigger newspaper, on Aftonbladet. Here the band mentions their rehearsal space which happened to be on a room upstairs a car garage in Fjällbo, 10 minutes away on bus from Gothenburg. At that moment of the article, the band was sure they were going to be offered a contract. It is not a surprise then that later that same year they were releasing something with But is it Art? and having a release party in November alongside the band Tokyo Eye at Uppåt Framåt.

There is a Q&A with Annika on the daily Metro newspaper for April 12, 2006. I’m using Google translate, so perhaps it is not the best translation though I can tell the topic for the questions is Easter.
1. It has got its own television program. It reaches success in the Melodifestivalen. Is the hair dryer back to stay?
The hair dryer has become increasingly popular, but the question is if it has not always been? When you thought it was gone, it was just lying out of the bush.
2. Easter is here. Hardcooked or toddy – How do you put your eggs in the feast?
Eggs do not feel so fresh, I’m jumping over them.
3. Mads Mikkelsen will be new Bond enemy on the white tablecloth. Which of your opponents to date do you like best? and why?
Jaws, he with the toothbrush. He likes me, we can become friends.
4. Where do you prefer to easter at Easter?
I’ll take care to relax now when I’m free, maybe go to some soft place with soft sofas and drink wine.

Another find is a PDF copy of the seventh issue of the Groove magazine. If you understand Swedish it is an interesting read from the time of their Dolores 7″ in 2001 on page 6.

Afterwards an entry on Lito Music. Gosh, do you remember that blog? I used to be in touch with the author, but can’t remember his name or anything now. I knew he was from Spain, but that’s about it. On his post he mentions a song that wasn’t  part of any releases like “Another Day Honey”.

Then something unrelated to Annika, but still related to the band. I found that in 2006 an International Cultural Exchange grant was awarded to Hanna. It says that the grant includes a tour of Great Britain for the band. Did this ever happen?

Another Annika mention is that of a March 2007 article on GP. Here it mentions Annika and Hanna were part of the Gothenburg Academy for the Popkollo, a summer camp for young music girls. Malin Dahlgren from Douglas Heart and Cecilia Nordlund were also part of it.

I find a Myspace for Annika’s band This is Love. Sadly I can’t stream any of the songs. How did they sound like? I’m curious. Anyone can point me out where there’s anything to listen to? And for Vega I could find just a small clip of the song “Sex Mayhem” and “Månen” on CDBaby. As I said previously, Vega was her last band and it was formed by her, Jonas Begtsson, Marcus Bergman, Malin Dahlberg, Torbjörn Johansson and Ramo Spatalovic.

That is about all the information I could find scattered on the web. But as I mentioned earlier there was another compilation where The Sorayas were part of.

Back in 2006, at the tail end of the year when I was still running the blog Mira el Péndulo, I had the “brilliant” idea to make a C-06 tape celebrating 20 years since the release of the NME’s C86. I remember the blog Indie-MP3 had done some sort of C06 compilation on their blog, but it was quite irregular for me, not the best of selections of the current bands. Also it was only a download compilation. I wanted to make a physical record, thus a tape, to have the same format as the original. Then 22 songs, 11 on each side. Same as the original. It was a tribute indeed but I wasn’t going to have the noisy and rockish stuff from the original. I was going to have only the indiepop sounding bands. And you guessed it. I asked The Sorayas for a track.

This tape run was very small. I made I believe 100 copies. 75 to sell, and 25 that went to the bands. I only have one single copy now. And I’ve thought about making these songs available on this blog for some time. If I find the original artwork it could be a good idea. I assume the reason that there is barely any information about this tape on the web, aside some few Spanish blog post, is that of the little amount of copies I made. Though I must say I’ve seen smaller releases on Discogs. But sure, there was no label behind the tape or anything. Today I wonder who still owns a copy of it?

This was the one time I was in touch with The Sorayas. I wrote to them on Myspace I believe. Or maybe it was through email. The band used to have a website I remember. I asked if I could include in my tape the song “Hours to Days” and explained them what the tape was about and all. It was all very straight forward I remember. Annika who answered my email was keen on it and gave me the green light. “Hours to Days” was included on the B side of the tape, the sixth song, in between Strawberry Whiplash and Foxglove. And I’m not going to lie now, it was one of my favourite songs on the tape.

I do know I mailed a copy of the tape to the band. I wonder if they still have a copy. Or maybe they made copies of it for all three. I wonder. It was a small enterprise, if not I would have mailed many copies. I hope they were happy about it and that they liked the selection. I never talked with Annika again. I wasn’t in touch with the band again. I thought the band was no more by the end of 2006, so I didn’t ask for a 3″CD on Cloudberry when I started the label. They would have fit nicely. Then I lost track of them.

Sadly I get to be aware of The Sorayas again with this terrible news. It wasn’t that long ago that I played one more time their CDEP at home, I think just before my trip to Spain. I don’t know what pushed me to play it. I don’t play many of my old records. I’m always playing new purchases. But I got back to this one. The energy of those 4 songs always bring a smile to my face. That must be the reason.

I don’t know when exactly the band stopped, and when did they start new music projects. I feel from the many articles on Swedish newspapers that the band wasn’t that obscure, that they earned a well deserved recognition.

I’m sad about this news. As I see some bands reunite these days, I think why not, I would have loved to see The Sorayas play live once. I never did in the past. Or what about them releasing a retrospective album with all their recordings. The truth is, I will forever be grateful for the songs they wrote, for the chance I had to DJ once “Hours to Days” in Hamburg many years ago, for the many years of me playing these brilliant songs. Thanks to The Sorayas. And many many thanks to Annika.

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Listen
The Sorayas – Hours to Days