Wow! It’s been like two weeks since the last update on the blog. I was on vacations and traveled to Germany for 10 days. Definitely one of the highlights was the Throw That Beat in the Garbagecan! gig, it was possibly the best gig for me this year. I never imagined I was going to see them.

But I don’t feel yet like going over my vacations here YET, I need some more time to process the good times, all the experiences, of my trip. I still haven’t gotten back to my regular schedule, I’m still jetlagged and waking way too early. I’m not used to it. In a way it’s good, at least today it has given me time to sit down and try to at least come up with a small update here.

I got a bunch of records also during my trip, many of them unknown to me, Uwe Firestation’s recommendations. I will go through them, maybe I find some interesting stuff that I’d like to recommend you here too. Bear with me. At the moment time is a bit precious for me as my daytime job is keeping me pretty busy. In the meantime, let’s get back on the rollercoaster and let’s dig some forgotten bands. This week, let’s find out a bit about Dan Dare!

Dan Dare is a British science fiction comic hero, created by illustrator Frank Hampson who also wrote the first stories, that is, the Venus and Red Moon stories, and a complete storyline for Operation Saturn. Dare appeared in the Eagle comic story Dan Dare, Pilot of the Future in 1950, dramatised seven times a week on Radio Luxembourg.The stories were set in the late 1990s, but the dialogue and manner of the characters is reminiscent of British war films of the 1950s. Dan Dare has been described as “Biggles in Space” and as the British equivalent of Buck Rogers. Dan Dare was distinguished by its long, complex storylines, snappy dialogue and meticulously illustrated comic-strip artwork by Hampson and other artists.

They took the name from the comic hero. They released 2 7″s. And then disappeared from the face of the Earth? What happened to the members of this band? Where did they go? Did they keep making music afterwards?

Their first release was on Meller Welle Produkte from Germany. It was titled “Top Quality EP” and it included the songs: “Hammerhead”, “Unfashionable”, “Laura” and “Martin Maverick”.

The back sleeve warns us “Dan Dare can seriously damage your baby’s health!”. The catalog number of the record is MEL 3 and came out in 1992. The record sounds like those days, pure guitar pop with influences from the C86 bands like The Wedding Present, and fitting along nicely with bands from their period like The Lovelies, Bulldozer Crash or the Gravy Train. All songs were credited to Henry/Barnes/Askew and they were recorded at Birdsong Studio in December 1991.

The second release came a year later, in 1993. I notice I need to buy this one! For some reason I thought I already owned it. Oh well… This time the then up and coming Elefant records put out their “Heavenmetal EP”. This time around there were 3 songs included: “Faceache”, “Yellow Yellow”, “Hello Cruel World”. On this release, catalog (ER-111) we get some credits: Cooper on guitars and vocals, Barnes on bass, Henry on guitars and vocals (and stylophone on Hello Cruel World) and lastly, Askew on drums and percussion. Sadly we don’t get to find their full names, maybe it would be easier to track them down online if that was the case.

The songs follow the same route of their first record though and they were also recorded at Birdsong Studio. The photos for the sleeve came courtesy of Virginia Calvo. Luis’ sister perhaps?

That same year, 1993, they participated in two compilations by Bliss Aquamarine. The first one was on the tape compilation “Peacock Blue” (BLISS 002). On it they collaborated with two songs: “Deceived” and “Mouth Almighty”. The second one was the tape compilation “Cerulean Sky!” (BLISS 005 and Grapefruit 007). On this second tape they contributed “The Man from U.N.C.O.O.L.”.

The next time we would see something from them would be 1997, on Meller Welle’s compilation tape “Caught by the Warmth” (MEL 17).  On it they also appear with three songs, “Disco Dwarf”, “Kill all Your Heroes” and “Another Cigarette”. Making a fast count, we have a total of 13 songs released. Enough for an album.

Keep digging. We find their old Myspace site. We find out they were from Scunthorpe in the UK. This town appears in the Domesday Book (1086) as Escumetorp, which is Old Norse for “Skuma’s homestead”, a site which is believed to be in the town center close to where the present-day Market Hill is located. It is the third city, after Lincoln and Grimsby, in importance in Lincolnshire.

On the Myspace site we can stream many of their songs, even other ones that I’m not sure if they were actually released like: “Shameless”, “Autumnfall” and “Old Four Eyes is Back”. Now we have 16 songs total. On GEMM then I find a tape for sale that I would dare is a demo tape. On it we have included “Shameless” and “Old Four Eyes is Back” and also another two songs not found anywhere else, “Henry Fonda” and “With A Another Angel”. 18 tracks now.

And this is where I hit a wall. Anyone know anything else about this great band? Had they been in bands before? Or after? Did they recorded (or released) any more songs? Would love to hear more from them!

Until next week popkids (with a longer post, promise)!

EDIT: Kim from Bliss Aquamarine has told me that at least one of the band members was also part of The Hoverchairs and that they also appeared on another tape compilation called “Burnt Sienna” (BLISS 004) with the songs ‘Nothin Bout You Baby I Like’ and ‘200 Miles’.

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Listen
Dan Dare – Hide and Seek

Some time ago I wrote a bit about a fantastic band from Wales that released the one 12″ single, the obscure and thrilling “Introducing Jane”. This single has been later re-released under the name of Johnny Dangerously on a CD. The band though had many more recordings, all of them top-notch and I hope one day they get released in some way. I was lucky that Justin Salmon, who was once part of the band contacted me and was happy to tell the story of this great band. Also he was so kind to share an exclusive song, “Ah My Luchia”! Hope you enjoy it!

The deBuchias story as told by Justin Salmon (guitar player from the band)

My brother came home from school with a tape that a girl called Jo had given him. It was her step Brothers band called “Ignition”, and a solo demo just marked “Johnny Dangerously”.

My brother played it all the time, and at the time, 1986-7 I was just learning the guitar as I had one for my 16th Christmas. I never had any lessons I just bought 3 guitar chord books. 40 Elvis’ greatest hits, A-Ha “Hunting High and Low” and the complete Beatles. As I grew up with Elvis playing I knew the songs really well, the same with the Beatles, and I never told Johnny but A-Ha too. I learned all the songs and was on my way to becoming an accomplished guitar player.
As the days rolled on I could hear this tape keep playing from Joel, my brother’s room and I was starting to get to know all the songs and was really surprised as at the time I think we had to hate whatever our siblings were into at the time. I was 16 and Joel 14. Then one day when he was out I made a copy of the tape and played it everywhere I went. I knew the songs inside out.

I asked Joel a few months later who this guy Johnny Dangerously was and he told me that this girl in school who fancied him gave him the tape because he had told her that I had a guitar. He then rang her up and she told us to come up the following evening and meet him if we were free.

So we wandered 2 miles to their house and were welcomed with open arms. It was very nice. So we met John Harrold Arnold Bramwell that evening and yes he got his guitar and played “You’ve got to hide your love away” by the Beatles and his new song, “Table and Chair”.

Then a couple of years later I left school and went to work as a postman here in my hometown of Monmouth. But all the time I was practising the guitar and set up my own band called “The Only One’s”, then we became The Paper People. We started off by covering Beatles’ songs and generally all our favourite and then I started coming up with some good songs and I sidereal that I too could write pretty good stuff. Here is one that I put on you tube recently:

This is the A side – Footloose and Fancy Free:
https://www.youtube.com/watch?v=w-bhkO8zRiw&list=UUOYAlwKskU71n4fdjf57MWg

Then the B side: Baby Jane:
https://www.youtube.com/watch?v=MdAaypW2ju8&list=UUOYAlwKskU71n4fdjf57MWg

This one I know you know – It’s an I Am Kloot Cover, “From your favourite sky”. There is also a live pic of us playing at The Hostery Inn:
https://www.youtube.com/watch?v=xvcEu0smcDs&index=3&list=UUOYAlwKskU71n4fdjf57MWg

I’m not the greatest singer as you are probably now aware.

Then one day my mum asked me if I could give her a lift to Abbergavenny and who should I see as we approached the town? Yes it was little John Bramwell with what looked like a huge guitar next to him. So I pulled over and went to have a chat. He was very nice and said he remembered me and invited me to come down and listen to his new band, The deBuchias in 3 weeks time. They were supporting a local band called The Partnership. Then in the next few weeks that passed my brother was going out with a girl from Abbergavenny who gave him a tape of this band called The Partnership. So I listened to it and loved it. How they never got a record deal I’ll never know, they were awesome. Then we found out that Mike Pritchard, the guitarist from The Partnership had left them to play with John’s new band. He was an amazing guitar player. He sounded similar to Johnny Marr from The Smiths. High end melodious riffs.

Then we heard that the guitarist from The Partnership had committed suicide by jumping in front of a train at Abbergavenny station.

Then by the time we got to the gig we could already see that something was wrong as there were groups of girls crying and hugging. I took a tape player to the gig to record it as I hadn’t heard any new stuff of his. So John went on with the band and announced the tragedy that was Mike’s suicide. I think he even joked and said he’s now left with a UK tour without a guitarist.

Then after the gig we saw him dancing with a short red haired girl who we later found out was his girlfriend. Flora Bradley her name was and she was a great singer. Then after we all sat on a table and I asked him for the chords to black and blue and he wrote them down on a napkin.

He was then telling us about the advertising his record company have spent on his forthcoming tour and he doesn’t have a guitarist yet. He was holding auditions at the moment but still haven’t found what he was looking for. Then my brother piped up, “get Justin in, Justin’s awesome”. or something along those lines and he said “OK come to 20 Ross Rd a week next Tuesday for my audition”. Wow were we all excited going back in the car.

So the first thing I do is play the tape on the way home in the car. I wasn’t great quality, but it was good enough for me to learn the songs. (don’t I ever wish I had a smart phone back then) Then I played it at home Monmouth noon and night, playing along with the songs and learning the chords and then writing my own guitar parts. So the evening arrives and I get to Abbergavenny and I am so very nervous. We went up to a bedroom and set up and he said lets start with this one, it’s called “Joe and Luchia”. It’s in D for you, but I’m using a different tuning. So he starts and I eventually join in with my riff and he says, “did you just make that up?”, I said yes and he said that’s good, remember that. Then after that we played “Ed deBuchia”, “On my life” and “Not like me at all”. I had learned the songs so well that I think I impressed. He then said ok, lets get a meet sorted for you to introduce yourself to the band and see what occurs yeh? I said yeah cool and we scheduled for the following week.

The rest of the band were from Cardiff. The drummer owned his own recording studio which was very handy as I would come to eventually play all my guitar riffs here. We recorded loads of demos down there. Audio matrix the studio was called. We arrived and John introduced me to Steve Perry on drums and Tig on bass. They were really nice guys, all a lot older than me. In face John was 26 at the time to my nineteen. So I lied about my age and said I was 23. Steve said to John before we started that a photographer from NME would be coming at 10pm to do the head shots.

So we are all plugged in and we start playing “Shot Amelia” which was sounding amazing with drums and bass and I was truly feeling it. We ran through all the songs we had done the week before and I had come up with a few new bits and pieces too and they sounded good to me at least. Then the buzzer went and the photographer guy was there and we went down into the photography studio beneath the recording studio to meet him. As he was setting up I heard him telling John that he wants head shots. Then Tig and Steve went over and the guys says to John, so it’s just the 3 of you, yea? Then to my surprise John says no Justin is in the band too. That was the first sign I had that I was actually in the band. We had the photos taken as you have a copy of them on your website.

Then we went on to tour the UK. I think The Green Room was my favourite gig as it was like a big cinema in there, but instead of a screen, there was us. Everyone was seated and I remember playing well that night as Flora told me later that John had said I was on form tonight…

Nottingham festival was also cool as half way through the set I saw my mum and brother about 500 yards away waving from the street. That’s a cool memory.

“Ah My Luchia” was probably my favourite deBuchias song as I wrote pretty much all the guitar parts. I think I recorded 7 over dubs with extra effects. But I have very fond memories of most of the songs which I am currently trying to upload on to Youtube, but I keep being blocked. As soon as they go up they get taken back down straight away.

One day we got to rehearsal in Cardiff and Tig didn’t show up. Then Steve said that he was leaving but he very much was still in. So Steve them played bass for a while on the recordings that we had half finished. We put an advert for a bass player but it just never happened. I wish I had this head on my shoulders back then as I’m sure I would have hung on a bit harder.John told me then one day to pick up our amps from the studio as we were dissolving the deBuchias. He said that we would continue to play as a duo from now on and I think we had just one gig at The Yorker in Nottingham and that was pretty much it. I had met a girl who I was besotted with who was going to University in September and it was mid August then. So I lost quite a lot that year. I had moved in with John’s step brother for the time I was living between Abbergavenny, Monmouth, Cardiff and Manchester. I left my job quite soon as we were gigging most nights and not getting home till 3 or 4 in the morning and I was starting work at 5am, so I left and went professional.

Although there are some really great moments in there which I will always cherish, but I got dumped with a grands worth of tee shirts and the bill for tee shirts for a band that didn’t exist anymore. I had moved back home for a while whilst I picked myself up for a few months and then met a girl from London and ended up moving in with her in Brixton. We were together for 4 years then I went back to Monmouth again and been here ever since.

I bumped into the singer from the Partnership, Paul Detheridge and asked him to be a guest on my radio show called Justin and Phils accoustic sessions. It was only local radio but he and many other local musicians came on.

I was in a band 15 years ago here in Monmouth with a guy who was an engineer at Rockfield studios. I was here when Oasis recorded the first three albums and as my mate Nick was engineer I had the chance to party with them which was also awesome. Again I wish we had smart phones back then. I saw Noel play the solo on don’t look back in Anger live, it was amazing. The band, The Dragonflies did quite well but the guy from the band Elbow asked him to build him a studio from scratch, so he left Monmouth and haven’t spoke to him much. He friended me on facebook not so long ago and typed, “Remember that night mate? Me and you were superstars with superstars”. Ah that was cool. Nick Brine his name is. If you check out your Oasis albums you should see his name on first 3. Mind you they called him Taffy a few times so it might say Taffy. Just because we live in Wales dosen’t make us all Welsh…

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Listen
The deBuchias – Introducing Jane
The deBuchias – Ah My Luchia

Good afternoon ladies and gentlemen, it’s just another week of August. I’ve been meaning for some time to catch up with some records I want to recommend you. It’s true that I don’t usually do this because I’m pretty biased when I review records, but it seems it has helped a band or two to sell some of their records and reach a new and happy audience. That’s a good thing isn’t it? Then I should doing more often. So, instead of doing an obscure band today from the past, let me go over a record I’ve listened a bunch this summer. Sounds fine to you? I hope so, because sounds fine to me.

“Flores de Europa” (Flowers from Europe), is the new album by one of Madrid’s finest bands: Los Lagos de Hinault. This is their second full length effort after “Vidas Ejemplares” (Exemplary Lives) released in 2011 on the same label, the Scandi-loving Fikasound Records from Spain. In between there was a split single alongside another Spanish band, El Faro. And earlier this year, in spring, there was another split with yet another Spanish band, the highly rated Doble Pletina.  Not forgetting of course the 3″ split earlier in their career with The Sunbathers released by yours truly.

After this fast recap of their discography, for those who don’t know, Los Lagos de Hinault are a duo conformed by Carlos Ynduráin and Matilde Tresca, though when I saw them live at Madrid Popfest they counted with support from a friend on drums. That was the one time I had the chance to catch them live and listen to fantastic songs like “El Correo del Zar” or “Las Chicas Rubias de Serrano” among others. I hope next year more festivals will give them a chance, how I wish to see them in NYC Popfest for example! Or the UK should take note too! Or Berlin?

Yes, I love them. If you think about it, there songs are the only ones I released in Spanish on Cloudberry (and of course the cover of the Fat Tulips by Zipper). That must say something. I love songs in Spanish, there’s a different style of lyrics that I really enjoy, a sense of humour that is very unlikely to be found in songs written in other languages. But of course singing in Spanish is a bit of a handicap, you reach a smaller crowd. It is definitely not true that bands from Spain can reach easily Latin America. Most of the times music from Spain stays in Spain. The day that this is fixed, there will be a bright bright future for indiepop!

Let’s go through some technicalities. Important ones. The album was recorded in December 2013 in the Caballo Grande studios in Barcelona. Cristian Pallejà and Ferran Resines produced the album whereas  Javier Roldón mastered it in Vacuum Mastering in  Zaragoza. All of the songs were written by Carlos but “A una Ventana Triste” that was jointly written by Carlos and Pablo Hernández.

In this new record, released in June, Los Lagos de Hinault present us 13 new songs. In general, the “lo-finess” of their earlier works have given to a more produced feel, nevertheless they haven’t lost any edge. The poignancy of the lyrics still carry, and powerfully so, the songs. The record opens with the small vignettes of daily life in “San Juan de la Luz”, with it’s summer evening feeling, the smell of sea salt, the soft crashing of Mediterranean waves and trumpets to close the song. Songs with trumpets are always winners!

So after that subtle start the record picks up with a more traditionally upbeat song. Los Lagos de Hinault are all about upbeat when at it’s best. And short, very short songs, usually getting to the minute and a half mark, and stopping right there. The second song follows that standard they’ve been crafting since day one. “Maria del (Mar Rojo)” is a funny title, I have a friend Maria del Mar, so I can’t help but think of her when this song plays. A short story of city life, one of those meaningless encounters that mean so much if you know what I mean.

I love the next song very much, “Futuras Licenciadas”. Of course I know Carlos is joking about it, but who am I to deny that I love girls in libraries wearing glasses. “I want to die condemned by Roman Law, and by the girls who study playing with their shoes”. What a beautiful song, sweet, fun, and ringing so true. Matilde’s backing vocals are delicious in this one.

The upbeatness continues and it seems there’s no way to stop it. “Poligono Industrial” opens with a superb line, “It makes me so sad the engineers and the bonsais”.  It’s not in any good person’s nature to go for Christmas shopping or just hang out at IKEA just for fun. That’s what it’s about, again Los Lagos de Hinault nails it with simplicity, they are true modern crooners of life in the city.

Talking about that, cities, I grew on one, and every time I’ve been in the outdoors, in the suburbs, in places far away from civilization, life has been close to miserable. I need this city life, even with all of it’s funny sides and the things that don’t make sense, to feel alive. I love though when someone can so smartly pinpoint these little details that make us angry, happy, sad, relieved, etc, in the city.

Social gatherings, having to hear other people’s pointless stories of great ambition, that’s what “Viajar No Lleva a Ningún Sitio” criticizes. With sarcasm it even gives us tips on how to avoid these people, why not just break the conversation asking, “is that my glass or yours?”. I reckon it will work.  Afterwards, song number 6 comes, with a play on words: “Panero y Yo”. This is a nod to a book I really hated when I was a kid, “Platero y Yo” by Juan Ramón Jiménez. I really didn’t enjoy it, wonder if I’d do now.

“Zumba”. I don’t know anyone that actually practices that. But I’d love to change the Zumba word for Yoga here in NYC. EVERYONE seems to be doing it, and I just don’t get it. I love how in this song Santiago Auserón from Radio Futura is being quoted, giving some advice to the Zumba enthusiasts. It doesn’t make any sense but it makes a lot of sense. This is the great humour and irony of Los Lagos de Hinault, even more ending the song by repeating “Semilla Negra“, on of Radio Futura’s classics.

We’ve listened already half of the album and we get into an introspective moment with “Los Faros en el Mar”, the lighthouses in the sea. But it’s an introspection into creepiness! so beware! A line like “if there’s something I don’t want to miss is seeing a daughter of yours turning sixteen” can tell you what this is about, right?!

Los Lagos de Hinault clearly are social observers, social critics, and they continue with this trend with their next song, “En un Hotel”. Like in other songs they tackle many “sins”, here they go on mocking vanity. A sort of useless vanity that a lot of people seem to strive for. Yes, who wouldn’t want to die with an English-speaking woman in a hotel? Right?

“Quemasangre” speeds up again the record, that by the way is not just a vinyl record. It includes a CD! So you can play it everywhere! Quemasangre are those sort of people that just get on someone’s nerves. Funny enough the character in the song has no clue about the meaning of it, and his girl keeps telling him he is like that!

I wonder by now if the album title has anything to do with every song. I start having a theory, as there are seven deadly sins, why can’t they be the thirteen traits that Los Lagos de Hinault want to point that are part of the nature of the European continent? Like ambition, vanity, banality, etc, etc, as they’ve been going through in every song? And as they are so ironic, instead of calling these Horrors from Europe, they just decide to call them Flowers? Could it be? Just an idea, but don’t let me get sidetracked.

“Metáforas que Hacéis” is a song that rings a bell to me. How many times I listen to these terrible songs on the radio (or more like I used to listen, I haven’t touched a radio in a long time). The terrible metaphors that make no sense at all, or obvious clichés, and suddenly these sort of people are celebrated, as original, cultured and groundbreaking. From the top of my head that awful Guatemalan singer called Ricardo Arjona comes to mind with his amazing metaphors, among them “come with me to be alone”. But of course, we could think of all the hipsters, and all of those who pretend by just using fancy words. Oh, just like that pretender who wrote the “Twee” book.

The record is about to end. Two more songs. Now it’s the happy-go-lucky number, “Simpático y vago”. A feel good song with it’s dose of reality, even if you are a simpleton, and you will blame television for not being smart, you can always offer love. Will the girl take him? I will guess that yes, she will. It’s too much of a happy song to have a bad ending!

“A una Ventana Triste” closes the album. After dissecting song by song, it feels sad to stop here. This song is the sad one of the album. Feels like the night is coming down. The day is over. Time to be melancholic. Time to think and meditate. Of course, that’s how the song feels. Los Lagos de Hinault always take even these feelings with humour. You can look out your window, try to be sentimental and no, suddenly there’s a big billboard there. See, life is not as simple as it appears, it’s definitely not Hollywood with it’s perfect landscapes and views. Everything is polluted, but at the same time, you need to be able to see the beauty (and the irony) in it.

The album is kaput by now. We can play it again. I’m at the office now so I keep streaming it on Bandcamp. But you should buy it here on Fikasound, because that will make yourself happy. It also includes a lovely pink totebag. It’s the first pink totebag I’ve ever owned.

Irony and wittiness, like a boy/girl TVPs of the 2000s, social critics, cultured in popular culture and the not so popular too, Los Lagos de Hinault have a very refined sense of humour, definitely not for the regular radio listeners out there, but if you want something a bit more challening that the Billboard 100, well, I won’t get tired of recommending you this album, especially if you can understand some Spanish. Beautifully crafted songs, in a lush packaged record, can you ask for more? Definitely one of the top releases of this year.

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Listen
Los Lagos de Hinault – María del (Mar Rojo)

Well, some updates this week on the website as some of you might have noticed. Of course you can now order the My Favorite record and I’ve slashed down the priced on the first 20 7″s we put out. I just need some space at home for future releases and even if I won’t make much money out of these sales, I prefer these records going to a good home. If you want to support, then buy 2 or 3 of them and then maybe a little money will come for me to fund new records in the months and years to come.

So that’s that. Secondly I’ve started taking some freelance work this month. Seems like label sales are not enough anymore for releasing new records. So there I am. A bit busier than before but with a very hopeful view on the future. Can’t leave all these gems I’ve been listening lately stay in obscurity, right? You have to keep going. At least a couple more years. I think the dream of 100 7″s by 100 different bands is far far away, but I think a realistic goal would be to make it to 10 years. Maybe organize a small farewell festival then. What do you say? Maybe host it in London? Or where else? Miami would be interesting because that’s where I started, but probably no one would go.

Thirdly, I need to start catching up with the new fanzine. It’s almost done but I haven’t been able to finish it. Also I have two CDs to design. So even though Cloudberry is quiet, I’m working. And I still go to the post office every single week, two, three times. And you know I keep blogging to keep everyone up to date.

Talking about being up to date, this Thursday here in New York I’ll head to Rough Trade to see The Clean. They played like two years ago here too but I missed them. Looking forward to them. I believe next week Joanna Gruesome is playing in town too. Might as well check them out. I always miss them in UK when I’m there. They’ve played twice at Indietracks and I have been doing something else that I can’t remember. I did catch them last year in Brooklyn and they were really good. At least with them I don’t feel bad not living in UK.

Aside from that it seems that the indiepop scene is a bit quiet, isn’t it? But I’ve been doing some discoveries.

I have to say that the songs that are on the soundcloud of The Fabulous Artisans are a delight. Best thing I’ve heard in ages! Really a beauty. I’m in love. The 4 songs, “However Much I Love You, I Love Lloyd Honeyghan More”, “A Week of Wednesdays”, “The Nearly Man” and “The Night I Met Tracey Emin”, are just top class. I especially like the first one. And this is just a “demo”! Crazy. These songs would make one of the classiest 7″s I’m sure. If you are reading this, all you Artisans, I’M HOOKED! I play it so very often these songs (especially now that my work computer doesn’t let me play CDs!).

Another interesting band is Glasgow’s Bodyheat. There are two songs in their soundcloud, “Silhouttes” and “Upside Down”. As anything that I feature in this blog, they are quality (ha ha!). Perfect jangle pop, luminous, shiny shiny, I enjoy these songs very much! Would love to hear more from them. Don’t you just love this sort of elegant indiepop? True, it’s harder to sell, everyone wants the raucous, fast paced, ramshackling sort of pop these days, but who cares about that, this is just beautiful and those who can’t see it (or hear it), are just plain dumb!

And of course the best news lately is that the Persian Rugs are releasing a record. Oh dear. I want to listen to that. If you haven’t yet heard the promo single for the album then you are lucky because I’m going to share the link with you. No, it’s not secret. But I’ll help you and save you some seconds of looking for it online. The song is called Bedhead and it’s a proper indiepop GEM! Right? Now you trust me. Enjoy it! Those fuzzy guitars at the end and Kaye’s voice are brilliant in this song!

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So a couple of days ago Joel writes me asking me about some songs by a band called Chrysalids. No, not the UK Chrysalids that had members of 1000 Violins. Not them. But an Australian Chrysalids. Have you heard about them?

My first encounter was many years ago with that compilation Peter Hahndorf from Twee.net made on CDR called The Sound of Glen Waverley. A compilation that I’ve written about many times here in the blog. It was a sort of an Australian Leamington Spa series.Well, it was supposed to be that. It was never released and as far as I know, Peter only gave some copies to some of his friends.

On that compilation this Chrysalids were included with a song called “Sunny Guitar Pop”. Guess what, the song sounded just like the title. It was bright, shiny, fresh, and proper guitar pop. Jangly and jangly. I liked it so much that I waited many years, maybe 5 or so years since I got the compilation, to finally find a 7″ by them on eBay. A double A side with the songs “Stop the Clock” and “Them”. And guess what, “Sunny Guitar Pop” wasn’t really “Sunny Guitar Pop”, it was actually called “Them”.

This record was produced by Chrysalids and Jeremy Smallhorn. Engineered also by Smallhorn and recorded at Pyramid Studios in Brisbane in 1987. The enigmatic artwork was made by Cathy Stephens. The record label was Mighty Boy Records and the catalog number was MB20047.

Thankfully inside the 7″ a insert is included. On it we know the first names of the band members. Cameron on drums and reverb, Alex on vocals and guitar, Graham on guitars and vocals, and Bruce on bass guitar. There are some special thanks but none of those names ring a bell to me sadly. On the insert some very high contrast black and white photos of each band member are included too.

That’s all I could gather from this fantastic band. But then googling I found out a more recent band called Generation Jones. Alex seems to have been part of this band, and I finally learn his last name: Waller. This band seems to have been closer to Wilco than indiepop, but there’s a small bio in the site that mentions a bit about the Chrysalids:

Brisbane power pop indie rock band. Three quarters of Ducks in Formation moved to Sydney and changed their name to Peso Kim, and with one eye gazing at their shoes and the other on the filthy lucre, released the single “Run for Cover”. One quarter (Alex Waller) stayed behind and formed The Chrysalids, releasing the “Texas” and “Stop the Clock” singles. Guitar pop rarely sounded this good. When Presidents Eleven split McDonald secured the bass playing services of Bryan Batley (McQueen and Waller partner in crime) in his new band The Spiny Norman Conspiracy. Just after recording the 4 track CD “Firm but Fair” (arguably the first CD release by an independent Brisbane band) Alex Waller jumped ship from the rapidly sinking Chrysalids and joined. Catherine Addow of Who’s Gerald (later Custard) was briefly on drums. Still stubbornly wearing stovepipes when the world went op shop and baggy, the rest of course was complete tragedy but that’s another story… various members are currently in oz indie group “Generation Jones”

Interesting. I could find on Youtube some stuff by Ducks in Formation. It was pretty melodic post punk, kind of like Echo & the Bunnymen. From Peso Kim I couldn’t find any of their songs online. But for me the biggest mystery is seeing that the Chrysalids released another single, “Texas”. I can’t seem to find anything about it! Because it’s listed before “Stop the Clock” I would guess it’s an earlier effort. “Stop the Clock” was released in 1987.

Sadly that’s all I could gather online about this band that made really nice songs. The three that I have heard are super. Perhaps you know a bit more about them and would like to shed some light about them? I’d love to know more and solve some of these mysteries about this obscure and fantastic band!

EDIT: My friend Andreas, such a good Sherlock he is, found out that the first 7″ of the Chrysalids, the one with “Texas”, was a split single released in 1986. It also included the song “Call Me”. This 7″ was shared with a band called Spiders and the Flys who on the B side appear with two songs: “Love Dance No. 1” and “Simple Needs”. It was released by Tombstone Records.

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Listen
Chrysalids – Them

I’m going to move onto happier things this week. Did you know a new Popfest has sprung out of nowhere in Lima, Peru? I assume it will be very difficult for people from North America or Europe to go there, but think about it, maybe you can make a good vacation out of it! You know, go to Lima, enjoy the best food ever, attend Lima Popfest, and then head to all the touristy places of Peru, from Machu Picchu to the Amazon, the Nazca Lines, Lake Titicaca and beyond.

The festival is taking place this October as a two-day festival. The 17th and 18th (ending of course at 5am on the 19th) the Embassy club in Lima’s downtown will host a bunch of bands from three countries: Argentina, Chile and Peru. This is a true achievement as the scene in South America, because of the big distances, is really fragmented. Also for those wondering, aside these three countries, perhaps only Brazil is the other country with a decent amount of indiepop bands. So all in all, most of the indiepop scene in South America will be represented. For a first edition, it’s quite a success!

I’ve dreamed about such a festival happening in my home country for years, so as soon as I knew my friend Daniel was starting to brainstorm and work on this project I offered my help. I suggested some bands that sounded pretty exciting, and came up with some ideas that I have seen in other Popfests and festivals I’ve attended. Also thought it’d be nice if some Cloudberry Records were given away to those 50 or so who are first to buy tickets. I was also happy to work on the look for this years festival, under Daniel’s vision, and created the flyer/poster for the festival.

Lima Popfest most importantly will introduce indiepop to a new crowd. Lima has some fans of course, and the best example is the good crop of new bands that have appeared like Eva & John (which Daniel is part), Almirante Ackbar and Gomas to name a few. They are familiar with indiepop. But their fans might not. So this is a true exciting moment, and I dare to say that the dancefloors will be packed and sweaty both nights stomping to the sounds of Talulah Gosh and The Wake! Why not!

The lineup of the festival includes three bands from Argentina: Diosque, Las Ligas Menores and La Ola que Quería ser Chau. From Chile we get two bands: My Light Shines for You and Trementina. And from Peru we get Eva & John, Almirante Ackbar, Gomas, Los Zapping, Submarino, Ciudad Gragea and Catervas.

This is not the first South American Popfest though. The first was hosted by Sao Paulo in 2012. But Lima feels a bit more international with the appearance of bands from other countries. Also I’ve noticed people coming from other South American countries on the Facebook attendees list. That is definitely a factor to be excited about. It means people in the region are willing to travel just to be in the middle of an indiepop party. It’s heartwarming.

At this point the tickets are not yet for sale but I’ve been told they will be next week or as the latest in two weeks time. There might be also another announcement for the lineup, one final one, that will definitely be a surprise for the Peruvian crowd. As I’ve been in close contact with the organization, I can tell this has been taking care of in a way I haven’t seen yet anywhere else. I’m very proud on how things have been developing so far so I can only hope that this Lima Popfest will be a triumph. And I wish too that there will be many more to come!

As soon I have more news, I’ll be sharing with you!

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But instead of going south for Lima Popfest, our obscure band comes from the north. From England most probably.

This week again I want to share another favourite song that Heinz has shared on his Youtube account. How many treasures does he has in his collection?! Happily he is keen to share with all of us.

So I heard this beautiful song “Cast a Stone” and I was hooked. The name of the band was just way too mysterious not to catch my attention: North by North West. Of course I get reminded by the classic Bats’ song, North by North. But no, they sound totally different. This is classic indiepop with girl vocals, so beautiful! In the vein of PO! or The Popguns. I couldn’t stop smiling the first time I heard it. It was just way too beautiful!

As it’s so usual with these obscure bands the information we have is way too little. The only clue we have is that this song is that it was released on a tape called “Shiver Me Timbers” that was released in 1991 by the always classy Rutland Records home of course of my beloved PO!

The catalog was RUTT 16. The tape was intended to show Rutland Records’ favourite bands from England and abroad. They couldn’t have them all, but they included these, according to the few lines written on the tape insert.

I’m having a bit of a hart time figuring out the cover artwork for this tape. Where does this illustration come from? Seems familiar. Any of you have a clue? In any case, as I was saying a bunch of fabulous bands appear on the tape, you can find classic bands like The Cudgels, The Spinning Jennys, Home & Abroad, White Town, or also some Aussie bands like The Honeys or the Widdershins. Germany is represented by The Jesterbells, whereas Spain with Aventuras de Kirlian. Favourites of mine Me and Dean Martin also appear. There ware also bands I’ve never heard before like Floorshow, The Shebeen, The Brickfields, Burton Diaries, Futile Coats and more. Time to investigate them.

North by North West also include another song on the tape called “This England”. I haven’t listened to it, and if you happen to have it on MP3, please share it! If it’s just anything close to “Cast a Stone”, I will love it.

So time for questions, who were North by North West? Where does their enigmatic name come from? Did they record anything else? Why didn’t they release anything else? Answers please!

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Listen
North By North West – Cast a Stone

Thanks so much to Del Kwai for this great interview! I wrote some time ago about his band Mexico Red, trying to find more information about them. Happily Del was kind enough to get in touch and answer a bunch of questions and so retelling the story of this great mid-80s guitar pop band from London! Time for you to discover them!

++ Hi Del! Thanks so much for being up for this interview. The first question has been hunting me for ages, have you ever been to Mexico?

Hi Roque. No I’ve never been to Mexico but would love to get there one day.

++ So where was Mexico Red based back in the 80s and where are you based now?

We were based in London. I am still living and working in London.

++ And are you still making music these days?

Unfortunately not.

++ Let’s go back in time, when did Mexico Red start? Who were the members of the band? And how did you all knew each other?

We formed in 1986. The band members were: John Richies, Drummer, from Canning Town in East London; Mike Danks, keyboard player, from somewhere near Manchester; Simon Wring, base player, from Tredegar in Wales, sadly Simon died in April 2011 age 45; and myself, guitar and vocals, from Poplar in East London.

++ Where does the name of the band come from?

In the 80’s the Ford Car Company had a popular car called the ‘Escort 2000 Mexico’ and one of the car colours was called Mexico Red. John found the name in a Ford catalogue and we all agreed it was a name that suited us.

++ Was it your first band ever?

No, my first band was called Graphic. I formed it when I was 17 with a group of friends.

++ During those days there were many guitar pop bands in the UK. Did you feel part of a scene? Were there any other bands from that period that you followed?

We were part of the live scene, playing gigs in most of the known venues in and around London travelling around the country when possible.

There were a few bands playing around then: The Hurt, Icicle Works, Scarlet Party, Danny Wilson to name a few.

++ Talking about guitars, what was your first guitar? How old were you when you learned to play?

I started to play guitar when I was about 12 at school. My first guitar was a cheap Strat copy. I managed to get a real Strat at 17 which was another world for me.

++ And who would you say were the biggest influences of Mexico Red?

None of my family were musical in the least. However growing up I was a big fan of Bill Nelson.

++ You only released one record, in 1988. It was a fantastic 7″ with two songs, “Eternal Flame” and “Follow Me To Heaven”. Care telling me in a few sentences the story behind each song?

I wrote Eternal Flame in 1986 on the way home from a trip to Wales. While we were there everyone was walking along some cliffs and an enormous wave came over the top of us. The whole group got soaked but somehow the water never touched me which gave me an invincible feeling (sounds corny now) but that’s the truth.

I wrote Follow Me to Heaven in 1985. It was my attempt at writing a ‘commercial/chart’ song and it was the only song which was not recorded live.

++ What do you remember from the recording session for the single?

We were determined to record Eternal Flame live. Not having much money for studio time we managed to record it on the second take.

++ Were there any other recordings made by Mexico Red? Why weren’t any more releases by the band?

Yes we recorded other material. There was only ever one other song released on a compilation LP called ‘Vox Nouveaux’. The song is called ‘Colour Field’ and was recorded at Abbey Road Studios in London.

We were working towards releasing our own album but unfortunately we did not have the funds to complete all the recordings.

++ The 7″ came out on Hummingbird Records. Who were they? And how may copies were made?

Hummingbird was the band’s own record label. Once we established a good ‘live’ following we also attracted a few con men. We tried hard to get a publishing deal and a recording contract with all the London based labels, Polydor, EMI, etc, but most of the companies would not entertain us without official management. From our negative experiences of PR men we decided to get a bank loan, create our own label and release our own record, which we did. We pressed 2000 copies of Eternal Flame and had an official release gig at the Hackney Empire in East London which was a sell out and packed to the rafters. We sold 1500 records at the gig (which paid for the venue). Most of the other copies were distributed to radio stations and record companies.

++ I really like the artwork for the single. What’s it about and who made it?

The artwork is by Carl Jenkins from Tredegar in Wales. He was a friend of Simon’s. Carl had his own band and we would meet up with him on our trips to Wales. He is a great artist and his work appealed to us and he offered his work for free. He also designed our name logo and the artwork for posters and t shirts.

I hadn’t seen Carl for 25 years but met him recently when he turned up at my workplace as he is now working as a roofing contractor. It was great to see him again after all that time.

++ So, what’s the best song you’ve written? and why?

My favourite song, because of the guitar solo, is ‘Sailing on the Ocean’. My most memorable songs are ‘Colour Field’ and ‘Brave New World’ because in 1987 we were invited to compete in Battle of the Bands competition organised by the Arts Council which was held at an open air music festival in East London. There was 10,000 people there and it was a real buzz to get all the crowd to jump at the same time. We won the Battle and our prize was 2 days recording time at Abbey Road Studios in London, where we recorded these 2 songs.

++ Tell me a bit about gigs, did you play many? Which was the best one? Any anecdotes that you can share?

We played over 200 gigs and I honestly enjoyed all of them (apart from one) but the one that stands out to me the most was one of the gigs we had at The Rock Garden, Covent Garden, London in 1987. It was packed with a great crowd who were all up for enjoying themselves. We were the support band to (can’t remember) and when we came off the stage the lead singer of the headline band said to me “how the f*** are we supposed to follow that”. I jumped off the stage and played guitar and danced amongst the audience. It was a fantastic night.

Another one which stands out is one at the Cranbrook in Ilford, London. One of our roadies got into an argument with a gang of mods and knocked out a guy’s front teeth. The place erupted while we were playing and the only way I could stop it was to offer everyone in the venue a drink. The fighting stopped but it cost me a week’s wages paying for everyone’s drinks. We never used that roadie again!!

We even went down well at known rock venues and were asked back on several occasions even though we were considered to be a ‘pop’ band.

The one gig which was an absolute nightmare was in a large tent at an open air music festival in Wales in 1987. There was an awful sound delay and we couldn’t wait for it to finish. Never again! Simon was destroyed by that experience as it was his home town so lots of his friends came and we sounded crap. He was so embarrassed.

++ I haven’t seen the single, but on a website it says that it included an insert. What was in this insert?

I’ve attached a copy of it. I sketched and wrote it so as to give more information about the band.

++ And then what happened with Mexico Red? When and why did you split?

By 1989 we were all skint and in debt. John and Simon had finished University and we all needed to get proper jobs. We were becoming disillusioned by all the promises and bullshit from various directions and so in 1989 we decided to split up. Me and (I think) Mike would have carried on but John and Simon were adamant that they had had enough. There were no massive arguments or any bad feelings, we just all went our separate ways.

The music was mine so I could have formed another band and carried on but I just didn’t have the heart to start all over again.

++ Were you involved with music afterwards?

No. I still strum the guitar most days but I’ve never written another song.

++ And all in all, what would you say was the biggest highlight for the band?

Definitely releasing the single. Last year we were going through old boxes and I discovered my collection of old (some limited edition) LP’s. I asked my sons to get on the computer to find out how much they were worth out of curiosity. Turned out our record was the most valuable and rare, go figure?

++ Thanks so much Del for everything, anything else you’d like to add?

I’ve attached a photo of the band from left to right Simon, Mike, me and John.

I’ve also attached a copy of the cover of the Vox Nouveaux compilation LP. I’ve attached a recording of ‘Colour Field’ hope you enjoy.

Its been great to reminisce and I really appreciate your interest.

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Listen
Mexico Red – Colour Field

I have so many mixed feelings after coming back from Indietracks. I had a good time as I always do. There’s no better place for indiepop. That’s a given. I get to see all my friends and spend with them so much time in the beautiful Midland Railway Centre. We get to drink warm beers, sometimes with ice on it, and sit for hours in the stationary train next to the shed. We have greasy hamburgers from the immortal lady or badly wrapped burritos, or even curry from our friend Brian and Heather. And we eat dust to wake up with our noses full of black matter. All in all, it’s a good time, isn’t it?

The problem is the music, that’s the only problem. Everything else is just plain perfect. You know, as I said lines above, I can put up with having to drink warm cans of beer even though it doesn’t refresh you at all in a hot summer day. I can put up with kids playing football and creating a whole dust storm to everyone that is trying to enjoy The Popguns. Even dancing in the marquee among another dust storm I can take it. That the festival has to stop at midnight and can’t continue unless you have to pay 5 pounds to get into the beautiful campsite, well that’s ok too of course. But having 6 to 7 good bands out of 50 or something, is a bit too much. That’s why I’ve decided to take a break.

Yes, a lot of people at the festival were telling me that of course they’ll see me next year, that I’m just talking like this now but I’ll change my mind. And hey, believe me I wish they were right. I actually feel like going. But it’s way too expensive to fly in the summer to the UK and get to a festival were all my expenses don’t make it worth it. I remember years were I barely had any time to talk to friends, that I had to run from stage to stage not to miss a band. Years were I collected 10 or more setlists from bands compared to the meager 5 from this year. Of course it’s pretty nice to have extra time to spend walking around, catching up, being at the merch tables promoting the label, but I didn’t travel this far to not see some exciting new bands. Right?

As I said it’s a bit of a catch 22 this year’s Indietracks. I have a blast, I love being there, but I feel this is not the same festival I used to go. Even I took less photos this year. I bought less records too. I did enjoy a lot going back to the Alfreton Travelodge, definitely the hotel to be for me. Great conversations late at night, great friends to go out for breakfast in the morning too. And the Tesco being close by is perfect. Or Matloob procuring beers from the convenience store at the gas station from his Punjabi friend late at night. Those sort of things are what make me feel like I can’t miss my sixth Indietracks next year. But I think it all comes dome to priorities and seeing I was perhaps the only person from the US there this year (right?), I think I’m a bit nuts to keep going when only got to see 3 or 4 bands I’ve never seen before. That’s way too little. Especially when the UK still produces a lot of quality indiepop.

I’ve been previously critical of Indietracks about the bands they’ve been booking. I’m not blind and I did see less people in the crowd this year. Of course these sort of things go in cycles. Probably next year it will be packed, who knows. This year may have been a bit of a transition period, with some members of the organization leaving. Could be. I’m not going to judge that, they know best if that was the case. I did ask one of the organizers why was Gruff Rhys booked. The answer was “because I love him, he is great”. Yeah well, I was looking for another kind of answer. I guess that motto “an indiepop festival” is a bit forgotten.

I sent interview questions to team Indietracks before the festival. Sadly I didn’t get answers for them. I asked many questions that would have cleared up many of the doubts I had for this year organization.

All I’m saying is, and I don’t want to get deeper on this topic because there’s a lot of people that get very susceptible to any criticism is that Indietracks is the best festival for indiepop. The atmosphere is fantastic, the food options every year get better (though still no sign of the roast pork), and all the friends that come make up for a fabulous time. But the bands, come on. This was a festival that used to showcase small and up and coming bands back in the day. It celebrated a scene. It introduced me to so many new bands and also let me get to catch bands that would never cross the Atlantic. It was special what the organizers did, even bringing back classic bands like Friends or the McTells back to life. Where did all that energy, ideas, hope and good taste go? I don’t know.

Next week I’ll go over the festival, the anecdotes, and the bands I loved. I just wanted to explain why I’ve been saying why I won’t go next year. If it was a 100-200 dollar flight, as it it’s from many places in Europe, I would definitely repeat. But 1300 dollars flight, to get to see 6 or 7 indiepop bands, 3 or 4 I’ve never seen before, well, it doesn’t make any sense. I’ll be jealous of everyone going next year because it’s impossible not to have a good time, even if the quality keeps going down. Anyways, see you next week!

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This week’s obscure band comes from a tape called “A Prospect of the Sea”. I heard about this band from Heinz’s Youtube channel. It seems this happens often. Heinz has a fantastic collection and top taste. Heinz, you should organize Hamburg Popfest!

The band was called Kindergarten. The song I heard was Jellybelly. This song was the 8th on the B-side of this tape that was released in 1991. The label seems to be Cloud Production, the catalog number was “Smile 3”. Question for everyone out there reading. What was Smile 1 and 2? Was there a number 4?

There was also another song included by Kindergarten in this tape. On the A side, track number 14 is “Everything You Do”. I haven’t had the chance to listen to this one but if it’s anything like “Jellybelly”, well, I will like it!

The song is a classic slice of 80s indiepop, in the vein of The Fat Tulips or The Penny Candles, though the sound is much rougher, like of a very flimsy flexi single. Could be the quality of the tape too. It does sound like taken from a demo tape. Boy/Girl vocals, catchy choruses, and nice jangly guitars. It reminds me a lot of another band I’ve featured here. Heaven’s Above. It’s no surprise then that they also appear on this tape.

Yes, it’s a tape done with a lot of good taste. In it you can find bands like The Suncharms, The Lovelies, They Go Boom!!, Dreamscape, Saturn V, The Sweetest Ache, White Town and more. Even Heavenly is in it! Pretty classic lineup!

But there are a couple of obscure bands too like this one. For example I have no clue about Gyroscopes, Poem by Rachel, Howard, Cradleyard, Huckleberry Pie or Spectral Alice. Seems I should investigate!

But now, let’s try to find answers and more information about Kindergarten. Who can help?!

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Listen
Kindergarten – Jellybelly

Germany are the World Cup champions. Next week it’s Indietracks. Damn. And in between this week where I’m already busy packing and mailing records to UK. Resting seems to be not an option right now.

There are also a few interesting things happening this week. Tomorrow will go see Camera Obscura. On Friday tickets for the NYC Slowdive show will be on sale. How much? I have no clue. But I’ll pay. I sometimes remember my days in Miami when nothing happened, when I could just stay in and rest for the whole weekend, or almost always staying home after work. NYC has this power over you that really squeezes all your energy. And that I think is a good thing, I think only when I sit down to write on the blog I start thinking that I need a rest. Because on the rest of the day, there’s no time to think about having it easy!

Last weekend I also went to see Franny & Zooey. It will be some time now since they will play NYC. They are returning soon back to their home country in Dominican Republic. Also headlining were a very popular Argentinean band called El Mató un Policía Motorizado. They were fine. A bit too shouty to my taste, at points a bit too rocky, but they were truly entertaining. They are very popular throughout Latin America and are seldom compared to Los Planetas. I don’t see the comparison, but my fellow latinamerican bloggers have better ears for sure.

I got an email earlier today about a show here in NYC about if I had any ideas of any local bands that could support this gig. And honestly I will have to dig deep and perhaps do some research! Aside from the most fabulous Pale Lights and the up and coming Gingerlys, I can’t think of any. There are a couple of 60s influenced bands but they seem to be not excited of being part of this indiepop scene. Well, yes, there’s The Pains and The Drums, but we are talking of a small show in Brooklyn. So let’s be reasonable. Who else?

From the top of my head I think of The Pontoons who recorded two GREAT 7″s back in the 90s. “Landslide” is such a beautiful song that one can’t believe it’s not an indiepop classic. Their other single, “Juncos and Robins”, is also timeless. I know that in 2012 they came back together and released first a digital single called “Antidote” and later an album called “Slow”. All of them that you can stream and buy on Bandcamp.

Then googling around I found a band called Overlord is Not Metal. A bit less of the classic jangle, with more influences from 60s and 70s, perhaps. But still quite nice. Remembers me a bit of long gone NYC band The Baskervilles. First time I hear about them and it seems they have already recorded an album worth of songs called “In Soviet Russia, My Heart Breaks”. Definitely will keep an eye if they ever play any shows.

Kept digging and found a band called Free Cake for Every Creature. Katie Bennett seems to be the driving force of this band writing all the songs and singing. This is more on the lo-fi spectrum of indiepop. Reminds me a lot of early 2000s Sweden, with the likes of Evergreen Days, Tidy Ups, Free Loan Investments and Crime Time. Even the song titles (like “it sucks hanging out with you (“It Sucks Even More When You Leave” or “Too Old to Be a Punk Rock Prodigy”) remind me of that fantastic time of indiepop. I hope to hear many of her songs properly recorded. Check their bandcamp, there’s a lot of potential here!

And across the Hudson, in Jersey, I find Makeout Vertigo. Just finished listening to their latest EP called “Slumber Party Wounds”. It’s quite alright. It does recall the 90s American indiepop bands. A bit of Tiger Trap perhaps, but I mostly listen bands of the kind of Corndolly, Beanpole or Holiday Flyer. My two favourite tracks from this band that hails from Hopatcong, are “Nervy” and “Downstairs”.

Do you know any other indiepop bands in the area? Recommend me some!

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So as Germany are the champions I thought checking out some old obscure German bands. So I grabbed that compilation album called “19 Goldene Hits” that was released ages ago by the Smuf label and the Happy to Be Sad fanzine of out old friend Uwe.

This compilation included 19 songs by 19 different Berlin bands. On the blog I’ve already presented two of them with interviews, The Groovy Cellar and Milchblumen FC. Then I remembered that years ago I tracked two other bands that appear here, Tumbling Hearts and Pleasure. So I thought, why not bring up some interest in Pleasure? The song “Shut Up” on the compilation is really nice and I’m sure everyone out there will enjoy it!

Some years ago Uwe did write a little write up about the compilation. Here’s our first hint about the band:
PLEASURE – Shut Up ( Shoegazer – singer Sascha formed JAKETHIVE two years later)

It is a bit of a shoegazer tune. It sounds British and not German at first listen too. The Charlottes, The Nightblooms, The Bollweevils, come to my mind. For some reason, perhaps the vocals, I think of The Darling Buds and Eggplant.

The booklet included in the CD tells us that the Berlin band was formed by: Selda Kaya, Julia Schultz, Dorian Schultz, Sascha Niemann and Oliver Niemann. Two sets of siblings.

It’s terribly difficult to google a band name with the band Pleasure. But luckily many years ago as I was saying I got in touch with Selda through Myspace. I have some correspondence from 2010 still on my Gmail. On there we agreed to do an interview but it seems she never had the time to get around to answer my questions. She did tell me a couple of interesting facts about the band.

The band lasted for 6 years but they never released anything at all. She said that they were sort of a student band and whatever they recorded was only on tape. She mentions that they were always a bit conservative concerning music and that she only bought her first cd player in the year 2000.

They played mostly in Berlin, almost every club, and only a few gigs outside the capital. Sadly she says that at that time she wasn’t in contact anymore with the rest of the band.

Maybe some of you remember them from Berlin? Attended their gigs? Or maybe even own one of their tapes. Would love to hear more from Pleasure and their sweet sound. If the rest of their songs are like “Shut Up”, then I’m sure would love it!

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Listen
Pleasure – Shut Up

What a difficult summer this has been for Cloudberry. I am a bit sad to say that the fanzine won’t be on time for Indietracks. Aside from not receiving answers for two of the interviews that are supposed to appear on it, I’m also missing a couple of songs for the CD. So it will have to wait a bit longer. Also sales have been very terrible this past June. I know summer is usually pretty terrible, but this might be the worst. I am allowed to complain about this, right?

I’m not in the best of moods about this of course. I feel that at Indietracks things might get better, I feel it’s one of the few times when indiepop fans are happy to support the bands and labels they love. Also of course they are saving on the steep postage prices. I’m hoping then that at that point I can look with a more positive view the near future for indiepop. Right now I’m a bit cynical once again.

This doesn’t mean that I think that indiepop will die. There are new bands appearing all the time! So it won’t! But at the same time these bands are not getting the right outlets for their music. Labels are scheduling less and less releases. Also there’s this stupid hip ideal of buying vinyl only. Wake up indiepop kids, indiepop was not about that sort of hipsterism. Wasn’t Sarah releasing on 45s as they were a cheaper medium than 12″s? There’s a point there. I think a CD right now is a totally fine format. I’m even more terrorized when a band only and solely demand that their releases have to be on vinyl. Some people sometimes need a reality check.

This of course has hit hard those who release on CDR format. I remember when Cloudberry started, I was burning and putting out a bunch of them. It was a great format. Many labels were doing it as well. These days, even though this format still is cheap, has almost disappeared. Nowadays bands and labels have found the cheap alternative to be tapes. The thing is, nobody is playing them. They come with a download code, and that’s what people are using it. So what about the phyisical copy, that cassette? It’s just a piece for the collection. To stand there, to look proud on a bookshelf perhaps. Is that really the point of us loving indiepop? To buy stuff that we won’t really have any sort of interaction with? Just to store it? Feels terribly fake.

I know these things come in circles. That ten years from now probably everyone will be buying CDs again. It’s always this sort of joke that happens within the music industry. I don’t take it seriously of course. I still support labels, bands, festivals, etc. The question I ask myself, because perhaps I’m failing at it, is how do I convince people this is the way to go? That instead of buying a download they should buy a record? That instead of owning an ipod they should invest in a nice turntable. How does one go against the current?

Perhaps then it’s time for self-releases and self-promotion. And self-distribution. Bands doing the whole process, those who are better at the business part, and not necessarily at the music part, will succeed, will get the people listening. In a way this is fair, but I feel that it will be harder to find the beautiful music, and the sort of filtering that exists through labels will be gone. It will just be a war of tags on bandcamp and soundcloud, where whoever who wants it, can call their music whatever genre or style it is. It will all be blurred. Here’s when I might start losing all hope.

Maybe I’m just jumping into conclusions. Maybe this is just a hiccup, but seeing a very quiet scene at the moment, a bunch of not-indiepop bands being booked at Indietracks, the lack of opinions, of voices on social media, low sales, and so on, could make anyone weary.

I do have a theory though of what may be causing this whole thing, and that’s the World Cup. Though I don’t remember how the World Cup affected 4 years ago, this year this might have been a bit of a game changer.

The fact is, I’m following it as well, only missing 2 matches so far. And my head mostly thinks about football every day. I even have made several groups with friends on facebook and whatsapp to just chat about each game. But Sunday this will be over, and I’ll cry for football being over, but perhaps indiepop fans will turn back their eyes into their other passion, indiepop!!

What do you think? What’s the state of indiepop as of July 2014?

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Alfie is a 1966 British romantic comedy-drama film directed by Lewis Gilbert and starring Michael Caine. It is an adaptation by Bill Naughton of his own novel and play of the same name. Alfie tells the story of a young womaniser (Caine) who leads a self-centred life, purely for his own enjoyment, until events force him to question his uncaring behaviour and his loneliness. He cheats on numerous women, and despite his charm towards women, he treats them with disrespect and refers to them as “it”, using them for sex and for domestic purposes. Alfie frequently breaks the fourth wall by speaking directly to the camera narrating and justifying his actions. His words often contrast with or totally contradict his actions.

Safe to assume that the name of the band comes from the 1966 movie? I think so.

I think the first time I heard “Play On” by Alfie was during Indie Pop Days Berlin in 2011. It was on the night that wasn’t at the Wasserturm in Kreuzberg. It was a smaller venue that I can’t recall the name now where Bart played and Renée played a solo Liechtenstein show. Between the bands Jörgen was DJing. He brought original records, his own vinyl. This I always admire as I’m a bit of a chicken to bring them abroad to DJ! What if they break? Or I spill beer? Or they get scratched? Or stolen? No, no, too many risks!

And then suddenly Jörgen shows me a black and white sleeve. And he tells me: “These are the Swedish Orange Juice”. And kaboom! “Fool to Fall” is filling the venue with it’s fantastic rhythm. I’m awe-struck. How come I’ve never heard this before. I ask him for more information about the band. He told me he was lucky to find this record before the Japanese knew about it. Nowadays they know about it mind you, so of course I’ve never come upon a copy yet.

It’s been many years since that time. And I only noticed today that for some reason I never went out of my way looking for more information about this obscure Swedish band. So I started digging on Google see what I could find about this mighty band that only released the one 7″ but seems to have many more recorded songs. Maybe someone out there in Sweden should do a retrospective CD! Why not!

Alfie’s “Play On” was released in 1987 by the Enjoy label (catalog number JOY-8701). The label seems to have been the band’s own. Self-release then. The A side was the Pa-pa-pa filled jangle slice indiepop heaven of “Play On” while the B side was the more Scottish, Postcardish and utterly fabulous for any dancefloor “Fool to Fall”. Both songs hitting the 3:30 minute mark, they are true should have been classics! On Discogs the Enjoy label also has another Alfie release, a live tape.  This one has the catalog N-8912. Of course the first two numbers in both releases are the year when it was released. Was the two second numbers the month perhaps? Or maybe there were 12 releases in between?

This live tape is a total mystery for me. It was recorded live at the Roxy, in Visby, on March 11 1988. The A side was the concert whereas the B side was the encores!! The songs included on the A side were “Evil Woman”, “Promises”, “Another Girl”, “Little Friend of Mine”, “It’s You (Y.O.U.)”, “So To Speak”. On the B side it looks like covers: “Ticket to Ride”, “All Day and All of the Night”, “Manic Monday”, “Whole Lotta Rosie”, “Twist & Shout”, “Just Can’t Get Enough”.

The next stop to find some clues about the band is of course the back of the sleeve of the 7″. Here it is clear that the band hails from Visby.

Visby is a locality and the seat of Gotland Municipality in Gotland County, Sweden with 23,576 inhabitants, as of 2012.[2] Visby is also the episcopal see for the Diocese of Visby. It is the only locality with historical city status on the island of Gotland. The Hanseatic city of Visby is arguably the best-preserved medieval city in Scandinavia and since 1995, it is on the UNESCO World Heritage Site list. Among the most notable historical remains are the 3.4 km (2.1 mi) long town wall that encircles the town center, and a number of church ruins. The name “Visby” comes from the Old Norse Vis, (genitive singular of Vi) meaning “(pagan) place of sacrifices”, and by, meaning “city”. In the Gutasagan (mid 14th century) the place is referred to as just Wi meaning “holy place, place of worship”. Visby is sometimes called “The city of roses” and/or “The city of ruins”

That comes a bit as a surprise to me.I don’t think I know any other guitar pop bands from Visby. Was there perhaps a thriving scene in the late 80s?

The record was recorded at Sandkvie Studio in January of 87. The engineer was Micke Lyander. The record was later remixed by Alfie & Micke in September. The record was produced by Alfie, Micke and Kjell.

Below these credits a nod to Postcard Records and Orange Juice: “The Sound of Young Gotland”.

The band was formed by:
Tore Höghielm: bass, harmonica
Mattias Ek: vocals
Stefan Häglund: guitar
Johan Arvidsson: guitar
Magnus Häglund: drums

All songs were written by Stefan.

Then there’s this label that seems to have closed some years ago but was active around 2006 until 2012 or so. Seems to have been a CDR label and was called Bendi. I’ve tried getting in touch with no luck. This label has released a lot of quality stuff that was long out of print and would be great to be able to buy these things! Among these records there’s a compilation called “Recycled: Inhouse”. On this compilation the brothers Häglund contribute 18 songs! That is Stefan and Magnus from Alfie and Kjell from Biliardakademien. Alfie in this compilation contributes one song called “Another Girl” that was recorded in 1989 and was originally included in a tape called “Home Again, Finnegan” (Mate M8-8 1992).

This same label in 2006 was giving away a long lost recording by the band called “(A Lovely Day for) Goalkeeping”. The story  about the says:

Alfies “(A lovely day for) Goalkeeping” have been disappeared but was recently found on an old tape cassette, only a couple of days before kick off. Furthermore, it’s exactly 20 years since Alfie was formed! We celebrate all this by giving away Alfie’s last recording for free!  “(A lovely day for) Goalkeeping” was recorded in 1992 spelades in 1992 and became the last song they did together. The band had already gone from a quintet to a trio: Stefan Wesley (guitar, keyboards) and Magnus Háglund (drums, programming, keyboards) recorded demos on a four channel Fostex, and now and then called for Mattias Ek to come from Stockholm to add the vocals.

From the previous compilation we can say that Stefan had been involved in many bands like Spencer Hill, Eucalypso, Season’s Greatings, Doublheader, M.O.M.S., Control Addicts, Castro and Lord Protector & The Commonwealth. Magnus also was involved in Doubleheader, Trumslagarpojkarna and Doubleheader.

From the other members it must be noted that Johan Arvidsson was also part of Red Leg who released two 7″s, “Who Nose” and “La Fé Baisanté”, both in 1988, and Tore Höghielm was part of Blue Velvet who released “Backalirs Höskollektion -92” in 1992, and also part of the band Solicium (1994-2012) that recorded three albums “Solicium” (1994), “Follow” (2004), and “A Box Full of Boxes” (2008).

I found out that Stefan used to have a blog called Unga Moderna. It hasn’t been updated since 2010 though. In there I found a mention of Alfie and his friendship with Tore:

“I met Tore Höghielm first time in high school when we went had German class together. Then he was mostly a fun little guy who could “småtjafsa” with (in a nice way). Then when I started high school I shared a studio with my big brother Kjell for a while, and I was at home when he and Niklas would auditioned in search of a singer. And there was little Tore … They had chosen a song by The Church which he had received on tape to audition for (probably “Almost With You”). He did not get the job in Biljardakademien, but he suddenly had a new favorite band (The Church). We never hung out in high school, more than that we ran into each other at times. I played in my band (which was good) and he played in various bands (which was not very good), but when, a few years later needed a bassist for Alfie, I came to think of Tore. Maybe he played slightly too much at times, but he fitted in perfectly with the band.“

And that is about all I could dig about the band. If you know anything else that you’d like to share, or you have the songs from the tapes, or anything else, you know what that comment box below is for!

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Listen
Alfie – Fool to Fall

As I’ve done for the past few years, I post on my personal facebook my Indietracks schedule: the bands I want to see, the ones I’ll skip, the ones that clash, and so on. Last year I shared it here on the blog and I thought this year I should do the same. So here it is!
But now, it’s also your turn to share with me what are you looking forward to see? Who do you think is missing in this year’s lineup? Are there any major clashes this year aside from the Manhattan Love Suicides and the Blue Minkies? Please comment away!

So finally was announced the rest of the lineup and the stage times and as I’ve made a bit of a tradition I’ll share my schedule for Indietracks. This year I’m a bit less excited about the festival but there are still some bands that I want to see. Also this year I did my homework and have listened to every single band that has been invited unlike other years. Having so much free time this Indietracks might be a good thing as I’ll get to hang with friends that I probably won’t see in a while because I plan to take a break from Indietracks next year and possible the one after. Anyhow…

Friday

I will arrive to Alfreton at 8pm, take a cab to the Travelodge to leave my things and head to the festival. Realistically I’ll be there around 9:20pm or so. Hopefully before. And so I will miss The Chills. Happily I did buy tickets for their London show the day before. How come The Chills are not headlining this day is a question that I can’t find answers for. Maybe they wanted to go to bed early? I don’t know!! So yeah, no bands for me this day. Just hanging. No dancing either, Come Again DJs are a mystery to me. They seem a bitter, but maybe they play good tunes?

Saturday

14:00-14:40 – Wolf Girl. I think the best discovery for me in the lineup. Good job here team Indietracks! Poppy and a classic indiepop sound!
14:-40-15:20 – The Royal Landscaping Society. One of my favourite new bands to come from Spain. I saw a little gig by them sans the drummer in Seville a couple of months ago, and it was really beautiful. One of the concerts that can’t be missed. I’ll run for lunch after them!
15:40-16:10 – Thee Ahs. Saw them at NYC Popfest last year and they were a lot of fun. The Canada band should bring an air of fresh air to the festival. Will Sarah wear her bikini t-shirt?
16:15 – Marc and Graeme Elston. This is indeed a treat. Half Bulldozer Crash and the great man behind The Love Parade. Graeme already played the train before and that has to be the best performance ever on the steam train at Indietracks Festival. With his brother he should top it?! Or make it better?!
16:40-17:00- Linda Guilala. Another repeat for me, I think they played Indietracks 3 editions ago? They have now a new album and won’t count with Adria or Paulita joining them. But still will they bring some guests to the stage? Sadly I will only catch them for 20 minutes.
17:00-17:40 – Dorotea. Okay, I’ve seen them before at London Popfest but I don’t mind seeing them again as they are one of the few bands I won’t get bored seeing time and time again. I wonder though if that big Swedish contingent of last time will make an appearance in the crowd this year to sing every song from the top of their lungs!
18:00 -18:40- Blue Minkies (Manhattan Love Suicides). Will have to choose the Blue Minkies as my chances of seeing them any other time is very small. I love this band. I really like The Manhattan Love Suicides as well. I really do. I don’t understand why this clash exists when there’s a lot of space for them not to clash with good bands. You can just make them play on Sunday too! Please?!
18:40-19:20 – Spook School. Third gig I’ll see by the Edinburgh band this year. Yes, I like them.
19:20-19:40 – Joanna Gruesome. I saw them last year here in NYC and they were quite fun. But only 20 minutes for me as I need to move for the cherry on the pie.
19:40-20:40 – Popguns. Another repeat, but this one is also worth it. Their gig at NYC Popfest as my favourite this year so far (along the My Favorite one). Hopefully after the Popguns I can still find dinner.

DJs, will check out Ready Steady Girls definitely. The other DJs are not of my liking.

Sunday

12:40-13:20 – Axolotes Mexicanos. This is also very awful. So early they have to play? Seriously? They are a fun, energetic band, and they will play to people that just woke up and are hangover? I think their time to play is a mistake, but what can you do. I’ll try to save some energy to be excited at their show.
13:20-14:20 – Thyme Machine. They have nice tunes, nothing super special but proper indiepop at least. Lunch afterwards.
15:00-15:40 – Wendy Darlings. Another repeat from a previous Indietracks, but Baptiste and Suzy’s band I really like, I will be there front row.
15:40-16:00 – Bordeauxxx. Another fine band with nice tunes. Definitely worth checking out for me while drinking my warm beer.
16:00-16:40 – Hobbes Fanclub. More repeats though to be honest last gig I saw by them was cut short by the sound person. Well, okay they did play the day after a longer show. in any case this is one of the bands not to be missed at this Indietracks, great songs, the right attitude, and the always charismatic Leon. Will their album be ready? Would be cool to get a signed copy.
16:40-17:20 – Very Most. Saw them last year at NYC Popfest. Repeat again 🙂
17:20-17:40 – Cosines. Saw them last year in London. More repeats.
17:40-18:00 – Flatmates. Saw them just two months ago. Let’s continue.
18:00-18:40 – Night Flowers. One of the best bands to come out from UK in recent times. I will say though that the first songs they put online were my favourite. Ive been liking a bit less the new material. Let’s see them live.
18:20-19:00 – Screen Prints. The best announcement today. I love this band!!!

Dinner time then. And it seems Indietracks ends very early for me on Sunday!! Of course will go see my friend Alex dj as 7iete Pulgadas at the marquee, if anyone is going to play the good songs at Indietracks it will be him! I look forward the Spanish gang dancing here as well!

And that’s it. Too many repeats to be honest (12 bands!!!) but well, let’s try to be positive and hope for some exciting surprises. Still the best about the festival is seeing friends and eating terrible burritos. Chin up!

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I saw Storsegel’s single on Popsike for 62 dollars. Then I found it for 4 dollars. I always say, just keep looking and you’ll find it. There’s no need to spend big bucks on a record. The only problem is my 7″ is still in Sweden with Andreas from Alpaca Sports who was kind enough to win the bid for me on a Swedish site! But I cannot wait to share this fantastic song with you!

This is a beautiful slice of jangle in Swedish. The “Last Bus”, that’s what the A side means. “Sista Bussen” is such a great song that reminds me of classic early 90s bands like This Perfect Day, Merry Dance, Hip Horace or Amanda Om Natten. I read somewhere only 500 copies were pressed too.

The record was released in 1990. It was a self-release and the B side was “Vanmakt” (Powerlessness). Still waiting for my 7″ to hear this B side. Will pick it at Indietracks when I’ll see again my good friend Andreas!

Lyrics and music on the record are credited to Klas Öhling. The record was recorded at Match Town studios by Mats Siltberg between October and September 1990. It was also produced by him with the help of the band. The only other credit on the back sleeve is for the black and white photo of the band, the girl who took the cool pic was Nastasja Jovic.

Googling around I found that the members of the band were:
Klas Öhling: guitar and vocals
Klas Andersson: guitar and backing vocals
Anders Lind: bass, accordion, backing vocals
Janne Lindblom: bass and backing vocals
Jonas Ander: drums

Storsegel, in English by the way means “mainsail”. The mainsail is the principal sail of a ship, especially the lowest sail on the mainmast in a square-rigged vessel. Were they into seafaring, sailing, or just the seas? It’s an interesting question. The band hailed from Jönköping in Sweden. The city is not on the ocean but it lies on the coast of Lake Vattern. This is the second largest lake in Sweden and the sixth in extension in Europe.

I also read that there was a promo video for the song Sista Bussen, but I haven’t been able to find it. I also read that there was an album released by the band, a CD album. Any information would be greatly appreciated.

I found out that they contributed a song also for a compilation called Projektet. The song included was “Kanske Stannar Tåget” (“Maybe the train stops’ seems they really liked mass transit!). This record was released by Matchtown records in 1991 (catalog MTR2003). In this compilation the Mop Tops also appear as well as Meatbox. It’s a fine bet to guess that this compilation includes bands that recorded at the studios based in Huskvarna. On this record there’s a little info about the band that says that the band started in 1989 and the bandmates have been into music for around ten or twelve years before.

In 1992 they played the Amazonas stage at Hultsfred Festival. That same year the band split when Klas decided that it was time to leave the city. In their city they had payed venues like Palais and Kulturhuset. But it wasn’t until 2011 when he returned to Jönköping when the band reunited for a one-off gig on April 16th of that year at a venue called Lingon. And that was it. That’s when I lose the trail of the band. If you know anything else by them, it would be great to know! Share the knowledge 🙂

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Listen
Storsegel – Sista Bussen