Tuesday, October 05, 2021

Vinegar Joe - The Island Recordings 1972-1973

Before his days as a solo artist, Robert Palmer, along with Elkie Brooks (a successful solo jazz/rock/blues vocalist in her own right in the UK, but lesser known in the US) and guitarist Peter Gage, were the core of the British rhythm and blues based rock band Vinegar Joe.  Formed from the ashes of Dada, a twelve-piece band that counted the three of them amongst their members, although Palmer joined the band after their one album was released, Vinegar Joe released three really great albums that along with four bonus cuts can be found on Finer Things: The Island Recordings 1972-1973.

On their self-titled debut the band starts things off showcasing alot of their bluesier influences.  After opening the disc with Palmer's lead vocals on “Rusty Red Armour”, a catchy tune with a bit of a Stones-y R&B swagger, Brooks takes the mic for a couple songs with “Early Morning Monday”, a rocking blues tune that showcases her powerful vocal chops that remind me a bit of Janis, and the laid-back “Ride Me Easy Rider”, a cut that also spotlights some excellent slide guitar from Gage.  Next up the band shows a bit of a early 70‘s Southern California vibe with the beautiful ballad “Circles” and with “Leg Up” you can hear alot of where Palmer would go a few years later with his solo career.  The most interesting track is the keyboard driven “See The World”, which finds the band delving into a very prog sounding direction and definitely sets it apart from everything else here.  “Never Met A Dog (That Took To Me)” is a great, straight-ahead rocker with more stellar slide guitar work from Gage and “Gettin’ Out” is a jaunty, piano driven soul tune that really let both vocalists shine and is another standout.  The last two songs give Brooks the opportunity to show her softer side with the bluesy ballad “Avinu Malkenu” and the slow, jazz of “Live A Little Get Somewhere”.  Closing out the first disc is the bonus track ”Speed Queen of Ventura”, a soulful, psychedelic acid rocker  that was originally the flip side to the “Never Met A Dog” single and is definitely unlike anything found on the album.

With album number two, Rock And Roll Gypsies, blues are still a big part of their sound, but the band does start shifting a little away from that in favor of a more rock direction. This is evident from the opening tracks “So Long”, an all out rocker that is full of swagger and finds Palmer and Brooks trading off vocals, something that really didn’t happen much on their debut, and the infectious southern rock-tinged “Charley’s Horse”.  They slow things down a bit on the next couple songs, the title track, a laid-back, bluesy tune with a bit of a country vibe as well as “Falling” with it’s laid-back funk groove.  Other highlights on this disc are “Buddy Can You Spare Me A Line?”, a blues song with a bit of a shuffling beat, harmonica and piano, “Forgive Us”, a really nice ballad with Palmer and Brooks trading off vocals again along with their strong harmonies in the chorus, and a really strong cover of Hendrix’s “Angel”.  The single version of the title track is added on to the end of disc two as a bonus cut.  

For their final record, Six Star General, the band once again moved in an even more rock direction as evidenced right out the gate with the straight ahead rocker “Proud To Be (A Honky Woman”) highlighted once again with Brooks’ bluesy vocals and Gage’s slide guitar work along with some rollicking piano work.  The band also got a little experimental at times on a couple tracks like “Food For Thought”, with it’s funk groove and strong vocal interplay between the two vocalists, but with some squiggly keys that give it a bit of an early prog sound and can be a little distracting, and also with Gage’s use of the talk box on “Talkin’ Bout My Baby”, a slinky blues tune with some raw, gritty vocals from Palmer.  Some of the other standout tracks include the country flavored rocker “Dream My Own Dreams” with it's great honky tonk piano, “Stay True To Yourself”, a funky rock tune with a touch of a reggae bass and some synths, “Let Me Down Easy”, a blistering rocker with Brooks Joplin-esque wail and Gage tearing it up on guitar, and “Fine Thing”, another really good bluesy rocker that once again shows a glimmer of Palmer’s future solo work.  Lastly is “Black Smoke Rising From The Calumet”, a track that I think is probably the best song of the band’s career - a beautifully arranged tune shifting throughout from jazz to blues, showcasing the band’s musicianship as well as Brooks diversity as a vocalist.  Closing out disc three are a couple more bonus cuts, one is just the single version of “Black Smoke...”, but the other is “Long Way Round”, a funky rocker with a bit of a Joe Cocker vibe that really would have been a welcome addition to the album.  

All the tracks have been remastered for the first time from the original Island Records master tapes and sound great.  Rounding out this outstanding box set is a booklet full of pictures and memorabilia along with exclusive interviews from both Gage and Brooks.  

(Esoteric Recordings)

Sunday, September 26, 2021

Interview with Black Light Animals

After several years and the release of a single and EP, the Kansas City band initially known as Instant Karma! have rechristened themselves Black Light Animals and have released their outstanding debut album Playboys Of The Western World.  I recently interviewed lead singer Cole Bales about the name change, the new album and alot more.

The band was originally around for several years under the name Instant Karma! before you changed it last year to Black Light Animals.  Can you give me a bit of a band history and also why the name change?

Sure, Cody (lead guitar player and co-writer) and I started Instant Karma! up in High School for a talent show where we played a cover of “While My Guitar Gently Weeps”. There were three guitar players on stage and no bass player because none of us wanted to be relegated to bass. I'm pretty sure we didn't win.  From there, Cody and I bonded over our shared love of The Rolling Stones, Led Zeppelin, and The Band and started playing covers at a local bar every Thursday night, including one memorably bad and ill advised instrumental cover of “Black Dog”. We eventually started writing our own tunes and sprinkling them into our cover sets, heavily inspired by songwriting teams like Jagger/Richards and McCartney/Lennon. We released an EP and a 45 on Sunflower Soul that got a little bit of attention, but we always realized in the back of our minds that we would have to change the name. For one, we were third in line in the search engines behind the John Lennon song and some pretty entertaining "Instant Karma Fails" videos, but we also felt that we had grown out of a name that we had come up with on the fly for a High School talent show, and we thought this record would be the perfect time to turn a corner. 

The album notes say it was recorded in a series of basements.  Can you elaborate on that?

I can! With the exception of one song on the record (“A Ballad”), this entire record was cut and mixed in our former drummer's basement. He moved houses in the middle of recording, hence the basement(s). We had never really been fond of our experience in studios and feeling like we were on the clock of an engineer that would rather not be there. So, with our collective interest/experience recording at home, we decided we would do this album DIY. 

Can you tell me a little about your songwriting process?

Honestly, since we started writing songs when we were 16, very little about our process has changed. One of us usually brings in a chord progression or melody, maybe a full hook, and Cody and I flesh out the lyrics together. Then we bring it to the band and usually completely turn it on it's head arrangement wise (the bass player, Branden Moser, is a genius at arranging.). Typically we're very "first take" in nature when it comes to performances and melodies come pretty quickly, but the lyrics, especially on this record, were the painstaking part. Cody and I would spend hours just chatting before we'd even attempt to dive into writing.  

I absolutely love “Dark Fantasies” with it's twists and turns.  I don’t really have a question about that song, but is there anything enlightening you can tell me about it?

Thank you! "Dark Fantasies" is definitely a favorite of ours as well. That was actually the first song we wrote for the record and it pretty much set the stage for everything else vibe wise. Cody and I basically took two completely different ideas for songs and merged them together on this one, which is probably what gave it it's schizophrenic feel. 

While “Montage” still fits in with the other songs on the album it’s also set apart from them with it’s reggae beat.  Can you tell me about where that came from?

“Montage” started from a jam session that we had that I recorded on my phone. When I went back and listened I thought the groove was too cool not to end up a full song. Plus, I've always really dug some of the dub stuff from guys like Lee Scratch Perry, so this was also just an excuse to play around with that. 

The album closer “Burning Cathedral” is very stripped down compared to all the other songs.  Was there any reason you went that direction on that song?

We briefly toyed around with having the full band come in halfway through on this one, or having some kind of string section, but I think ultimately the rest of the album was so dense that it made a stronger statement to keep this one bare. 

Your songs have a real cinematic quality to them.  Have you had anyone interested in using them in films or on TV?  You would've been awesome as one of the band's playing in Twin Peaks. 

That's high praise! I'm a huge David Lynch fan, especially of the last season of Twin Peaks, so that would obviously be a dream. So far we haven't had any takers, but I did hear that David is working on a new project so...fingers crossed. 

There is alot of depth and layers to your sound.  Is that difficult to pull off live?

That is definitely something we've had to contend with. We really didn't want to consider whether or not we could play the songs live when we were writing and recording them and it's definitely something we are paying for now. But, due to the pandemic, most of our live shows were put on hold and it's given us plenty of time to figure out how to get the vibe across with a 4 piece band, and I think we are finally finding our footing. 

I read some things that mentioned the album being released July 3, 2020, but then it says it was released on August 20, 2021. What happened there?  Was anything re-recorded for this latest release date or is it the same?

We had basically gotten tired of waiting to release the record and did a soft release last July, but the pandemic put the kibosh on any chance of touring or getting any vinyl pressed. But now that things are slowly opening back up and we have the record on vinyl,  we decided that we would do a proper release. We also added a remix of Halo to the digital album. 

Did the band come up with the concept for the “Halo” video?

We did! We have never necessarily loved the idea of music videos that just revolve around the band looking cool, lip syncing to their songs, with their hair blowing in the synthetic wind. So, we decided to do just that, but to have the masked killer basically act as a proxy for our feelings about those kinds of music videos. It fit well with our self-deprecating sense of humor and also allowed us to tip the hat to some of the Giallo influences that inspired the record. 

I love the “Love & Mercy” cover you did last year.  Can you tell me a little about that?

Thank you! That song has always meant a lot to me, and after the death of George Floyd we were angry and wanted to say something, but didn't know how we could meaningfully add to the conversation. Recording this song seemed fitting and therapeutic to us in some way. 

How did the pandemic affect the band?

Like most touring artists it completely upended our plans. We were fortunate enough to all have day jobs to keep us afloat, but we had just quit touring for a year to make this record, and as soon as we were ready to come up out of the basement and show it to the world, the pandemic hit. 

Things are still pretty hard to work around with the pandemic.  What kind of plans do you have to help support the recent release of the album?

We've been playing some shows locally, but we are hoping to get the album out on the road this Spring. But, as you said, booking shows is still very much a fluid situation right now, so we are just waiting to see. 

I read that one of your old Instant Karma! songs, “Shine On”, was used in a Sling TV commercial.  How did that come about?

The label that we released that tune on, Sunflower Soul, got us in with a licensing/sync company and companies have taken a liking to that song. We've had that song played in commercials for everything from TCM to a THINX Period Underwear commercial, which has been entertaining. I still think our crowning achievement might be getting the Instant Karma! tune "Give Me Freedom" licensed for a Cheech and Chong commercial. 

You and Branden are also in The Freedom Affair.  Are there any other side projects that any of you are involved in?

We've all just started sharing a studio together so we have a lot of production projects in the works. Right now, we are backing and working with Jass and Geraldine Glenn, both incredible artists from KC. Branden and I also cut a 45 with some members of The Freedom Affair called “The Chase”, as Los Santos Caballeros. 

Is there anything else you would like to share with readers?

I think we've pretty much covered everything. Thank you for the great questions, and thank you for listening to the record! 

(Black Light Animals - Facebook)

Saturday, September 25, 2021

Gypsy - Comes A Time - The United Artists Recordings

Initially forming as Legay in 1965 and releasing a really good psychedelic freakbeat single in 1968, this Leceister five-piece changed their name to Gypsy in 1969 and shifted musically towards a more West Coast rock sound releasing two albums for United Artists.  The new two CD set Comes A Time - The United Artists Recordings compiles newly remastered versions of both releases along with the two non-album tracks from their 1971 single.  The self-titled debut opens with a bang with “What Makes A Man A Man”, a straight-up rocker with a touch of an Allman Brothers vibe in the vocals.  They slow things down next with “Keep On Trying” and “I Don’t Care Do You Mind”, a couple of tracks that showcase their strong vocal harmonies (four of the five members contribute vocals) with a sound that often brings to mind Crosby, Stills and Nash (very evident on the latter).  The pace picks back up with “Turning Wheel”, an eight minute plus track that sounds very heavily influenced by Neil Young all the way down to the outstanding guitar jam, and is my favorite song here.  Some of the other highlights on the debut are the slow groove of ”Standing Alone Feel So Bad” and the somewhat laid-back rocker “Let Me Take You Home”, both of which showcase more excellent guitar work, and the Status Quo flavored boogie of “Pony Ride”.  Closing out the first disc are the tracks from the aforementioned single - “Changes Coming”, a hard charging tune that ended up being banned by the BBC for being too political, and “Don’t Cry On Me” a twangy, super infectious barnstorming country tune.

The second disc contains their sophomore release Brenda and the Rattlesnake, which was produced by John Anthony, who at that time had produced the likes of Genesis, Van der Graaf Generator and Lindisfarne, and had Ray Martinez replacing Rod Read on guitar.  Musically they at times moved a little more in the country and even Southern Rock direction and the production seems a little too polished and more often than not lacking the punch of the debut making it the weaker of the two, but overall still another really strong album. Highlights this time around include “Midnight Fighter”, a tune that’s almost a little too close to The Allman Brothers’ “Midnight Rider”, “Who’s Cheating”, which at times has a bit of a swampy CCR groove, the beautiful West Coast country of “Without You” complete with pedal steel, the boogie woogie groove of “Let’s Roll” with rollicking organ and horns and “Comes A Time”, another Neil Young like rocker.  Gypsy is another great band that never got their fair chance, but hopefully Comes A Time - The United Artists Recordings will give them more deserved recognition. 

(Esoteric Recordings)

Wednesday, September 22, 2021

Doublepluspop - Too Loud, Too Fast, Too Much

Back in the late 90‘s or early 2000‘s frontman Paul Averitt wanted to form a pop band and with Jon Lenzer on guitar, Mike Bowman on bass and Neil Saunders on drums the Denton, Texas based Doublepluspop was born.  Over the next couple of years they recorded some tracks in various studios in the area, but broke up before they ever saw the light of day. Those tracks ended up in a vault in 2002 and sat there until March 2020.  At that time Paul got a message from Coy Green, the studio engineer who worked with them, saying he came across the tapes and was going to see what he could transfer and mix digitally.  The results of his labors are now Too Loud, Too Fast, Too Much, twelve tunes of classic power pop full of biting guitars and melodies overflowing with hooks, bringing to mind artists like Matthew Sweet and Fountains of Wayne with a touch of The Beatles popping up here and there.  While most of the songs stick to the core foundation of this sound (I was going to single out some highlights here, but there really aren’t any tracks that I would leave out) there are a few that veer off that path a little including the slower “You Can’t Be Serious”, which does a great job of showcasing Averitt’s vocals and has some excellent bluesy-tinged rock guitar work, the ragged “What A Wonderful Time” (probaby my favorite cut of the bunch) and a great cover of Todd Rundgren’s “Couldn’t I Just Tell You”, which has more of a rock edge than the original and also includes some great guitar work.  While it’s a shame that these tunes weren’t given their due back when they recorded, thankfully they have now been given the chance to be heard and Doublepluspop is getting the recognition they deserved all those years ago. 

(Kool Kat Music)

Tuesday, September 21, 2021

The Sweet Inspirations - Let It Be Me (The Atlantic Recordings 1967-1970)

Initially know for their incredible work backing the likes of Aretha Franklin and Van Morrison on songs like "You Make Me Feel (Like A Natural Woman)" and “Brown Eyed Girl”, Cissy Houston (Whitney’s Mother), Myrna Smith, Sylvia Shemwell, and Estelle Brown hit the studio in April 1967 to record their first session as The Sweet Inspirations.  Over the next three years they recorded five albums for Atlantic Records, all of which can be found on Let It Be Me (The Atlantic Recordings 1967-1970). Listen to any of the sixty-six songs found on these three discs and you would be hard pressed to find anything remotely close to a weak cut, which makes it even more surprising that while they had eight songs that charted on the R&B charts, they only had one that was a top 20 pop tune (“Sweet Inspirations”).  Included amongst the songs that they tackle are a wide variety of covers, like “To Love Somebody”, “Knock On Wood”,  “When Something Is Wrong With My Baby”,  “Unchained Melody” “Alfie” and “Make It Easy On Yourself” and whether it’s one of these or other lesser known covers, a gospel hymn or an original written for them, they always give it their own spin with their rich, soulful lead vocals and stellar harmonies.  Along with the album tracks there are also twelve non-album cuts, including eight that were recorded with Ann Williams replacing Cissy Houston after she left the group.  These were originally intended for release as an entire LP, but were never released in full until their appearance here.  The package is rounded out with a CD booklet containing an outstanding essay on the band’s history and numerous photos of the group and album and single sleeves.  

(Soul Music Records)

Monday, September 20, 2021

Mother Ghost - Somnámbulo

After a few setbacks including the death of producer James Vehslage, who worked with the band on their previous release Rivers, and had recorded their new one before passing away prior to mixing it, this Houston duo comprised of brothers Oscar and Thomas Flores have finally released their latest full-lengther Somnámbulo.  Overall the songs here have a darkness to them while also showcasing alot of diversity with elements of everything from new wave, industrial, techno and punk to darkwave, goth and even some Franz Ferdinand / Modest Mouse flavored rock.  Lyrically they cover alot of issues that are very timely and often have a political slant, dealing with topics like immigration (a common theme in several songs), economic inequality and drug addiction, but also touching on things like the emotional lows after the end of a relationship in “Le Petite Mort”.  There’s really not a bad cut in the bunch, but highlights include the indie rock opener “Hiding in a Dumpster Waiting for ICE Agents to Leave I”, “Ungraceful”, with it’s moody guitar and bass that is reminiscent of The Cure, the synth-driven darkwave of “Brundlefly”, the heavy, industrial-tinged “Avarice”, “Criminal”, an aggressive combo of industrial and noise rock and the dirty industrial techno of “ RAICES (dirt)”.

(Geodesic Records / Mother Ghost - Bandcamp)

Wednesday, September 08, 2021

Tintern Abbey: Beeside – The Complete Recordings

In 1967 British band Tintern Abbey released their debut single, which contained a couple of psychedelic gems in the swirling, early Pink Floyd reminiscent “Beeside” and the more uptempo “Vacuum Cleaner”, a tune that features some impressive drumming and a killer effects and feedback laden guitar solo.  Despite the single being far from successful, the band recorded a few more songs for the next single and had plans for a full-length release to follow, but unfortunately the planned single and album never saw the light of day. Over the years a few of these tracks have been released, including an EP with four songs from an 1968 acetate that was released in 2006, and a couple others that have popped up as compilation tracks, and ironically that single became much sought after and today sells for large sums of money. 

Now, after over twenty years of research and transferring demos, masters and reel to reels, the full picture of Tintern Alley has been compiled into the outstanding two-disc collection Beeside - The Complete Recordings.  Collecting together everything the band is known to have recorded, Beeside is an absolute treasure trove of never before heard gems that show just how much potential this band had.  Alongside the infamous single and the cuts from the aforementioned EP, some of the highlights on disc one include  “Snowman”, a fantastic, yet bizarre musical soundscape full of haunting vocals and backwards masking that was considered for the next single, “Black Jack”, another early Pink Floyd flavored tune, “Tanya”, which shows a folkier side to the band, a feedback-heavy guitar instrumental “Bodmin Blow”, “Hookah”, a psychedelic rocker with some “Purple Haze”-like guitar work, the Arabic flavored “My Prayer” and “Busy Bee”, which was the original take of “Beeside” and has a sound more reminiscent of Love. 

Over the course of their two year history the band had it’s share of disagreements and personnel changes (the essay in the 24 page CD booklet does a great job of covering the band history) and the second disc here, with the exception of a stellar second version of “Snowman”, is comprised of songs that were recorded in 1968 with the later version of the band.  While not quite as strong as the first disc, there are plenty of really great songs amongst the eighteen, all previously unreleased, tracks.  Some of the highlights on this disc include the bouncy, upbeat “Nightfall”, two versions of the poppier “Mrs Daisy”, which evolved from earlier song and almost single “How Do You Feel Today", “People Can’t See”, a slower tune with a bit of a Doors-like vibe, “My Zoo”, which sounds like it was influenced by the psychedelia coming out of San Francisco at that time, the straight-on psych rocker “My House” and a great second version of “My Prayer”. 

With thirty-six songs (twenty-eight of which were previously unreleased) and the aforementioned CD booklet full of pics, memorabilia and a detailed essay, Beeside - The Complete Recordings is a wonderful, never before heard trip into the wonderful, yet short-lived, world of Tintern Abbey.  

(Cherry Red)

Interview with Smokeheads

Drawing from a very diverse array of influences, the French four-piece Smokeheads have recently released a very impressive debut EP entitled Never Prick My Pickles.  I recently had the chance to interview the band as we talked a little about their background, the EP, their future plans and more.  

Can you give me little bit of a band history?

Philippe our drummer and David C, our lead guitar have known each other for years since they played together in several bands (Abyss, Miss Irma and HBS). Alain, our bass player, played in a band (LRM) in the same geographical area and he also played in the same AC/DC tribute band (Powerage) as Philippe.

As for David Z, he had been rehearsing in the next room for about ten years with his ex-band (Sinorma). When his band split up, the guys asked him to come and try out as a singer at first, then a friend of the band who was playing second guitar left for scheduling reasons and David Z took over the guitar at that time. That was in 2019.

I couldn’t find any songwriting information.  Do you write the songs as a group and how does the songwriting process tend to work?

There is no real writing process. When we started the group, the situation was "normal". David C and David Z, the two guitarists, would bring riffs to rehearsal and the goal was to play them together until something good came out. Just before the pandemic, we had started recording demos, then everything was stopped. We had to adapt like every band to a new style of work. The demos we had started were still there and thanks to them we could "fix" the structures and review what we didn't like. We had to start working on our own. Fortunately today the working tools are much more accessible in terms of ease of use. We were then able to see each other again during the deconfinements. The lock-down times helped us in some way, we had to anticipate what we wanted to record and prepare ourselves to be as efficient as possible. It was really a group work even if we were not physically together. 

Today we can see each other again and we will surely start working together again, but we know that once we have found the structures and the atmospheres together, we will record them right away because in the end it was a very good technique for us.

Did the band produce the album or did you work with an outside producer?

The album was produced by the 5th member of the group, Yannick V. He and Philippe are old friends and Yannick has always been the manager, sound engineer, producer... in all the bands where they were together. 

For our EP he was in charge of the technical aspect but he was also a real producer, he made us question ourselves at many moments and also pushed us to redo what was not useful for the songs. He is an essential element for the band, without him our first EP would surely not have had this quality. For the mixing and the mastering, we worked with Rob Carson, (CSS Studio in Chambéry). David Z had worked with him with his previous band. He totally understood our expectations.

Did you record the EP during the pandemic?  (If so, were you able to record as a group or did you have to record remotely?)

As I told you before, we started just before the pandemic. In France the first lock-down lasted 2 months and as soon as it was possible, we gathered in the house of our drummer to continue recording. We decided to do it in his house because our rehearsal studio was not open. We didn't want to do the final takes each in our corner, it was important for us to be together. So we did everything together but re-recorded anyway. The living room and the kitchen of our drummer became our recording studio in a way!

There are alot of interesting dynamics in your songs with shifting tempos and styles throughout every song.  Is that something you set out to do or did it just evolve that way?

When the band started, there wasn't really a guideline, a defined style or anything like that. We just knew it wasn't going to be Death Metal and it wasn't going to be Rock Blues. We had to " use " a lot of riffs in rehearsal so that at some point we could say together that it was good. In our band biography, we gave our different influences, Devin Townsend, Tool, Porcupine Tree, Mastodon, Toto, Gojira, but so many others. It's clear that we didn't want to do Classic Rock even though we love that too but I think we needed to challenge ourselves.

We don't start a new song by saying we want a change of tempo or mood at such and such measure, we make sure it serves the song according to our criteria of course. We can say that it is the song that takes us to where we need to go in a way.

I love the opening of the song “One Million Ways”.  Can you tell me a little about that?  

Thank you very much! This song is the first one we finished and especially the one we kept! The riffs were brought by David C (lead guitar). At first we had a "classy" intro, with drums but Philippe (drums) wanted to modernize it, so he took a lot of time to assemble samples together. When he came with it in rehearsal and made us listen to it, it was obvious that it would become the intro of the song. When David C was recording his guitars, he had the idea to add the slides and it was also obvious to us, it was not possible to go back! For the story all the text of the song was written by Philippe.

I don’t usually ask, but is there a story behind such an odd album title?

LOL!!! Yes there is a story, but it's complicated to explain and after that we would surely get a trip to a psychiatric hospital!!! All we can tell you is that we had a lot of laughs about the event that led to this title.

Do you have any plans yet for the next release?

We currently have 2 new songs recorded but for now the plan is to meet again in rehearsal to be able to play all the songs together and continue to work on new material. We haven't defined an exact plan, maybe we'll release a new EP or if the situation and the inspiration allow it why not an album.

We had our label (Wormholedeath Records) listen to the 2 new songs and they seem to like them, which is quite encouraging and motivates us to continue.

Have you been able to play live?

Unfortunately, we did not have the opportunity to play live for the moment. As I said before, one of our plans is to work hard so that if the situation allows it, we can play live in 2022.

Do any of you have any other projects?

No actually we are all 100% in Smokeheads. We all have busy family and professional lives, I think it would be complicated.

How is the metal scene in France?  

The French metal scene is very productive, there are a lot of very good bands in all styles, unfortunately not enough highlighted. France is not a "Metal" country at the base, even if there are bands with an international influence like Gojira for example. But for someone who is interested, there are a lot of very good discoveries to make.

Anything else you would like to share with readers?

Our EP, Never Prick my Pickles, is on streaming on all the usual platforms (Spotify, Amazon Music, Deezer...), it's possible to download it but also to buy the physical version on www.musicforthemassesdistro.com and on www.auralwebstore.com.

Our first video clip, "One Million Ways" is on Youtube and you can follow our news via our Facebook page (Smokeheads Band | Facebook), we also have a website (www.smokeheadsband.com) where you can order our merchandise. 

Monday, September 06, 2021

Dreams Divide - Milk and Leather

After initially hitting the UK live music scene in 2011 and playing with the likes of Public Service Broadcasting, Clan Of Xymox, Covenant and VNV Nation, and releasing the albums Puppet Love in 2011 and Tears From the Night Sky in 2014 (both compiled and released digitally in 2017 as Five Years), Dreams Divide took a four year hiatus before returning with an expanded lineup and their outstanding new EP Milk and Leather.  The overall sound here is very upbeat, 80‘s Depeche Mode like synthpop, never lacking in hooks, but with a bit of a punk edge that really sets them apart, especially on “Jam The Transmission” and “Freedom” (during their hiatus, original members DJ and Gemsy both played in an actively gigging punk band and brought some of that influence to Dreams Divide).  Having said that the title track does slow things down a bit and has a darker side to it both musically and lyrically as it deals with cruelty of the meat industry, while closer “Hunter” has more of a swirling dance groove.  Milk and Leather is a very welcome return from a band that hopefully we won’t have to wait another four years to hear from.  

(Analogue Trash)

Fire - Father's Name Is Dad - The Complete Fire

Before joining The Strawbs, Dave Lambert was the leader of Fire (originally known as Friday’s Chyld).  The three CD boxset Father´s Name Is Dad -The Complete Fire compiles all the known recordings of the band including singles, demos (most previously unreleased), their lone studio album The Magic Shoemaker and the live album from 2007 where the reunited band performed The Magic Shoemaker album along with a handful of other songs.  

Disc one opens with the two cuts from their first single “Father’s Name Is Dad”, an infectious mod-era Who-like song (this song is so catchy that every time I hear it I find it running through my head for days) and “Treacle Toffee World”, which also brings to mind The Who a little, but with more of the quirkiness of a John Entwistle song.  At the time the single was released the band was signed to Apple Publishing and a month after it came out, Paul McCartney had it pulled so they could record a new version.  This fuller sounding new version is included as the last track on this disc.  Following the release of that single the band went back into the studio and recorded some demos that can also be found here and really show the diversity of what they were doing.  Among the highlights of these are “Happy Sound”, a tune with a bit of a jangly glam vibe, “Spare A Copper”, which was originally going to be their second single, “Will I Find Love”, a soulful tune that at times strangely sounds a little like Deep Purple’s “Hush”, the stripped down “It’s Just Love” and powerhouse “I Know You Inside Out”,  both of which do a great job at showcasing Lambert’s vocals, the ten plus minute multi-part rock mini rock opera “Alice In Wonderland”, “Green-Legged Auntie Sally”, an almost nine minute long blues rock jam with some outstanding guitar work, and covers of Moby Grape’s “Can’t Be So Bad”, which stays pretty close to the original and J.A. Freedman’s “Man In The Teapot”.  Also included on disc one are the four cuts recorded by the aforementioned pre-Fire band Friday’s Chyld and the tracks from the debacle that was their second single.  While the band had several really strong songs for this next single, Mike Berry, who was the head of Apple Publishing, rejected all of them and told them they needed to record a song he had written called “Round The Gum Tree”.  The whole band was opposed to this and refused to play on it, even though Lambert did reluctantly agree to contribute the vocals.  When they were told that the flipside would also be a non-Fire song (“Toothy Ruthie”), and was actually one written by Berry along with the band’s two managers John Turner and Derek Savage, the band refused to contribute at all, so Savage and Turner handled the vocals resulting in a song that was credited to the band, but actually had no band members on it.  Both these songs are nothing more than novelty songs and really have nothing in common with the rest of the band’s work

The second disc starts off with the band’s only studio album, The Magic Shoemaker, a song cycle of sorts about a cobbler and a pair of magic shoes.  The songs on the album are tied together with Lambert reading the story to a group of schoolchildren who were actually recorded at a birthday party.  Once again the diversity of the band is on display with highlights including the psychedelic tinged “Tell You A Story”, a tune that also has some prog elements, the extremely catchy pop sounds of “Magic Shoes”, which also has a bit of psychedelia and some excellent guitar work from Lambert, “Reason For Everything” and “Only A Dream”, a couple of songs that slow things down and show a more dramatic side to their sound, “Flies Like A Bird”, a straight-ahead rocker with some great garage rock guitars, “I Can See the Sky”, which again has a bit of a Who vibe and “Happy Man I Am”, a short little country jugband tune complete with banjo from Lambert’s future bandmate and Strawbs leader Dave Cousins.  In addition to the album cuts there are also 4 demos that were recorded for the album, including “Mama When Will I Understand”, a really strong blues tune with a powerful, very emotional vocal performance.  After the lack of success for the album, Lambert fired the whole band and then got a whole new group together to record the last two tracks here - the R&B flavored “Live to Live” and bluesy “Back There Again”.

Wrapping things up with disc three is the band’s live album The Magic Shoemaker Live!.  After getting together with the rest of the band for a Christmas meal at the end of 2006, Lambert told them that he had been thinking about doing a live performance of the album for a while and the rest of the band jumped on board.  Recorded in late 2007, the band sounds in fine form, almost like they had never been apart, making it a very fitting ending to the box set.  In addition to performing the album in it’s entirety they also sprinkled a few other songs into the set including great versions of “Father’s Name Is Dad" and “Treacle Toffee World" the two songs that really started it all, and a haunting reimagined version of “Mama When Will I Understand”.  

Rouding out the box set is a great CD booklet with a comprehensive essay detailing the music and the band's history along with pictures and memorabilia.  

(Cherry Red)

Tuesday, August 31, 2021

Incognito Theory - Incognito Theory 

Although they’ve been around since 2009 and their new self-titled EP is their third release, somehow New Jersey’s Incognito Theory has flown under my radar.  That has all changed with their new self-titled EP, which is one of those releases that will have you backtracking to check out what else you’ve been missing. Strongly reminiscent of Zakk Wylde in  southern rock mode, the EP is definitely heavy, full of thick crunchy guitars with some killer solos (check out “Smokin’ Gun”), strong melodies, a rock solid rhythm section all topped with Dave Incognito’s powerful vocals.  They also manage to keep things fresh with enough diversity from track to track, while keeping the root of their sound in place.  While there’s not a bad cut in the bunch, highlights include “Fired Up”, “Smokin’ Gun” and “Set It Off”.  

Thursday, August 12, 2021

 Interview with CALICO

CALICO initially got it's start as a batch of songs written by Tony Cecchetti and then evolved into a full blown band who have now released their debut Under A Sudden Sun.  In a recent email interview Tony discussed this along with the recording process for the album, their plans for more albums, touring and more.

The foundation of the band started with a set of songs that you wrote and then it evolved from there into CALICO.  Can you give me a little background on this evolution?

CALICO was really formed out of the pandemic. Like you mentioned, I had written a number of songs over the years that were just sitting around. I had never recorded them and quite frankly didn’t have concrete plans to record them. It was a distant aspiration of mine that seemed unattainable. When the pandemic began it gave us the time that I don’t think we would have had otherwise in the fast paced nature of our lives. Not to mention we are in different cities. 

When the Pandemic began, I had a zoom call with good friend and co-founder, Chris Couto, and we decided to start a project and take all these songs that I had written and try and do something with them. We had a friend in Portland originally that was interested in playing bass on the tracks. That plan fell through, so we reached out to a couple other close friends in Vancouver, Will Lloyd, and Jeanse Le Doujet, to see if they were interested in joining the project. They agreed and that was how CALICO formed. From there everything has just naturally evolved and the music has really taken on a life of its own. 

How does your songwriting process tend to work?  

My songwriting process has changed over the years. When I first started writing songs I didn’t really play the guitar so most songs were poems that were strictly lyrics. I took a song writing workshop in 2016 where a mentor of mine pushed me to pick up the guitar and from there I started to pair chord progressions with my poems. Over the last few years, as I have become more comfortable playing the guitar, my song writing process has evolved but still changes from song to song. Some are still written as poems and then I match guitar to the words. Some are written with chord progressions first and then words are added after the fact. I try to have each song come to me naturally. I’ll sing melodies into my phone or sing lines that come to me that I think would be nice choruses. Songwriting is a part of me and my everyday life, so it follows me everywhere I go. 

Can you elaborate on where you tend to get your lyrical inspiration?

I tend to write best when I have something that I am specifically writing about. My songwriting derives from experiences in my life. They are stories with messages and memories intertwined and engrained in them. Many of them are deeply personal and nostalgic. 

When I first started writing, I resonated with free writing from a stream of consciousness place.  I would sometimes perform without any lyrics or songs prepared. I would go to an open mic that my friend ran and meet fellow musicians, get on stage, and depending on what direction the music went I would just start free versing. 

My lyrical inspiration nowadays is a little more refined than when I was younger. I really try to hone in on the emotional aspect of experiences and convey that through my words. Often I write based on prompts that a friend will give me. I’ve written songs about art pieces, conversations, losses, my guitar.. the sky is the limit when it comes to what you can write songs about.

With the band coming together during the pandemic were you able to record together in the same location or was everything done remotely? (Also, can you tell me a little about the recording process?)

Everything that CALICO has released to date was recorded in home studios doing our individual parts separately. We didn’t get together in person until just before Under a Sudden Sun was released on August 6th. The project had already been a thing for a year and a half before we finally got together to play the songs in person. 

Each song started with me recording the rhythm guitar and vocals. That was then passed on to Chris Couto, how laid down percussion and drums, off to Jeanse Le Doujet next, who played bass, and lastly, Will Lloyd, who played electric guitar. Once we had the foundation of the songs completed, Chris Couto would complete the arrangement and and we would send the tracks off to Braeden Rangno, who mixed the album, and lastly, Stuart McKillop, who mastered the album. 

The album has a very relaxed, laid back groove to it.  Was that what you were striving for?

Thank you. The goal, from the beginning, was to make easy to listen to music. I think for many musicians that is what you strive to create. Music that is friendly to the ears and resonates with people. More than anything, my hope is that people connect with the music. Like I mentioned above, these songs are deeply personal to me and I hope people listen to the album as a whole. I wanted to create an album that was an experience where more than just one song was played.

The other guys added alot of really cool musical flourishes throughout the disc, whether it’s a certain drum sound or some of the guitar work.  Is there anything in particular that you feel took any of the songs to a completely different level beyond what you envisioned when you wrote it?

The complimentary pieces and additional instrumentation took each song to a completely new level. I’d say well beyond what I ever envisioned these songs sounding like. I am so fortunate to have some of the best players Vancouver has to offer playing in this group. I mean that sincerely. They are incredible musicians and part of what made the recording process so much fun is that everyone had complete freedom. There were minimal instructions on where the direction of the songs should go. We are all good friends and there is a built in trust over the years that whatever each person adds is just going to make the song sound better. 

I read that there were already two albums worth of songs when you guys started recording.  I know that Under A Sudden Sun just came out, but have you given any thought to recording more?

Definitely. We have our second album finished and already recorded and our third is under way. We wanted to space out the releases a bit but there will be a lot more music coming soon from CALICO. 

Now that there is a band do you think you will still handle all the songwriting in the future or do you think there will be more input from the other band members?

There will always be space for everyone to bring forth ideas. I think for the most part I will handle the lyrical side of things but we have played together and written over the years and that process will always be evolving. I enjoy putting down the guitar and just singing and letting Will Lloyd take it away on the guitar. 

I read that you sometimes play live music during yoga classes.  Can you tell me a little more about that?

A couple friends of mine used to own a Modo Yoga studio in Squamish, BC. That was my first introduction into playing live music and playing songs that I had written. I would play the Friday night live music class and sit in the back of the room while the class went through their yoga practice. It was an incredible place to start playing live music and allowed me to share my songs in a safe and supportive environment. 

Do you have any plans to do any live shows?

We can’t wait to play live and are hoping to get our first booking once the opportunity presents itself. We hope that is soon especially now that live music and shows are beginning to happen again. That’ll be a dream come true. 

Is there anything else you would like to share with readers?

Thank you for taking the time to read this interview and listen to our music. I hope that our new album takes you to a special place of your own. We appreciate the support so much and can’t wait to start playing live shows for you. Stay healthy and safe. 


Monday, August 02, 2021

The Sorrows - Pink, Purple, Yellow & Red: The Complete Sorrows

Although they did manage to have a minor hit in the UK with the song “Take A Heart”, hitting number 21 on the charts in 1965, for some reason The Sorrows were one of the lesser known bands in the freakbeat scene and were virtually unknown in the States.  Throughout the course of their initial run from 1963 to 1969 the band went through quite a bit of a revolving door members-wise and there were two distinct phases of the band.  Pink, Purple, Yellow & Red: The Complete Sorrows is an extremely comprehensive four-CD box set that collects all of their recorded work along with a multitude of bonus tracks, many of them previously unreleased.  

Opening up disc one is a collection of the band’s first singles (many of these tracks combined with a few more that are included after the singles on this disc make up the mono version of their debut album Take A Heart) which do an excellent job of laying out their upbeat R&B laced garage rock sound.  Also included here are nine more unreleased songs,  four that were recorded at this same time as the album and five that were recorded in 1964 by the legendary producer Joe Meek that showcase the blues and R&B foundation of their sound (included in these are covers of “Hoochie Coochie Man”, “Georgia On My Mind” and “Smoke Gets In Your Eyes”).  

Disc two starts off with the stereo version of the Take A Heart Album followed by a slew of bonus cuts including several German and Italian language versions of their songs from singles released in those countries and a few more unreleased tracks.  Ironically at the same time as these foreign language versions were taking off lead vocalist Don Farden and bassist Phil Packham both left the band.  At this point the band soldiered on as a trio with guitarist Pip Whitcher also picking up lead vocals and rhythm guitarist Wez Price moving to bass, and with the success of these Italian language singles they became huge stars in Italy, starting phase two of the band.  Following this success they recorded two versions of the song “Pioggia Sul Tuo”, which were taken from a promo only soundtrack to the movie Come Imparai Ad Amare Le Donne and are included on disc two.  These are notable because they were collaborations with the legendary composer Ennio Morricone.  The first is a beautifully arranged version with an stellar string arrangement, while the other is closer to the band’s garage rock sound.  One other soundtrack tune can be found here in the form of the outstanding feedback laden “Ypotron”, which was the theme to an Italian spy movie of the same name.

Kicking off disc three is Old Songs New Songs, the band’s second (and final) album that was recorded for the Italian label Miura.  This time around the freakbeat sound of the early days has largely been replaced with a disc full of Cream and Vanilla Fudge styled psychedelic rock mixing originals with their covers of the Small Faces (“Rollin’ Over”), Traffic (“Heaven Is In Your Mind”, “Dear Mr Fantasy”) and Family (“Hey Mr Policeman”, ”Old Songs New Songs”). Another handful of bonus cuts are also on this disc including some single versions of cuts from the album (a couple in Italian), three demos recorded in 1968 by band members Pip Whitcher and Roger Lomas that are more on the pop side of things (two of these songs show up here again performed by Lomas’ band The Eggy, but this time around they have much more of a freakbeat sound to them).  Closing the disc out are two more songs from Whitcher and Lomas, a couple of stomping glam rock tunes from their 1974 single from their band Renegade.  

The first half of disc four contains a nine cut acetate demo originally recorded for Old Songs New Songs.  Alongside alternate versions of four songs that did end up on the album are covers of “Don’t Let Me Be Misunderstood", The Bee Gee’s “New York Mining Disaster 1941“ and The Beatles “We Can Work It Out” and two originals that didn’t make the album.  Quite often the sound on these cuts has more reliance on the keys that gives them a little more of a prog rock vibe.  The remaining eleven tracks are from a 1980 Sorrows reunion show in Coventry featuring Pip Whitcher, Wez Price, Phil Packham and Bruce Finlay.  Although the sound quality is a little weak and the set is primarily covers they do include really enjoyable versions of their songs “Let Me In” and “Take A Heart”.

Rouding out the box set is a 32 page book full of pics, detailed track listings and an essay covering the band’s history. Pink, Purple, Yellow & Red: The Complete Sorrows is an extremely comprehensive collection of the history of the band and should definitely please fans of the band and bring some new ones to the fold as well.  

(Cherry Red Records)

Sunday, July 25, 2021

The Sarandons - Outrunning EP

On their latest EP Toronto five-piece The Sarandons present six well-crafted songs that are entrenched in indie rock (opening cut and should be hit “Lately I Believe” has a really cool Kurt Vile vibe to it) with a little roots rock and some psychedelia (see “Rake The Bay”) thrown in.  With the exception of the slow, haunting "Caught In A Dream", everything here is full of shimmering guitars, glistening keys, strong vocal harmonies and infectious beats all layered together with never ending hooks that make this EP an absolute winner from start to finish.  

(The Sarandons)



Patto - Give It All Away – The Albums 1970-1973

As the 60‘s psychedelic pop band Timebox evolved over their 5 year career they eventually split with 4 of the 5 members moving on to form Patto.  With Give It All Away – The Albums 1970-1973 Cherry Red has compiled a box set containing remastered versions of Patto’s four releases along with a handful of bonus cuts (for those interested the label has also in the past released each of these albums in individual expanded editions with more bonus cuts).  

On their eponymous debut the band lay out a sound that has a foundation that is largely bluesy rock that’s reminiscent of Free and Humble Pie, but is often fleshed out with some jazzier elements especially in Ollie Halsall’s guitar work (extremely impressive on “Red Glow”) and John Halsey’s drumming.  Mike Patto’s vocals are right up there with the likes Paul Rodgers and Rod Stewart and the musicianship is top notch throughout with production that’s kinda raw, giving the songs a more spontaneous feel (the liner notes say that the production for this first disc was rushed, which definitely added to this raw sound).  A couple of real notable cuts are “Money Bag” and bonus track “Hanging Rope”, both of which delve into some extensive free jazz passages.  

With their sophomore release Hold Your Fire the band treads a similar path as their debut, but things are a little less raw and the production is a little more polished.  Halsall’s guitar playing continues to impress throughout and he also shows his prowess on the keys on a few cuts (the extremely strong title track and “How’s Your Father” showcase this) as well as the vibes on “Magic Door” (it’s a mystery to me that he isn’t mentioned in conversations as one of the greatest guitarists).  Closing out this disc are a couple of bonus cuts “Beat The Drum”, which is a largely instrumental track showing their free jazz sound again and featuring Halsall on piano and vibes, but no guitar and “Bad News”, another solid bluesy rocker with some jazz elements.  

For the third album Roll ‘Em, Smoke ‘Em, Put Another Line Out the band took a definite left turn all the way around.  Since they were known to have a bit of a humorous side to their live show they decided to do the same on the album, but often went a little too far.  Musically they also shifted gears with alot more emphasis on keys and less on guitar.   “Singing The Blues On Red” sounds like a James Brown tune, ”Turn Turtle” is a good bluesy rocker with some Jerry Lee Lewis style piano, and then there‘s “Mummy”, a strange spoken word track with no instruments that leaves you wondering what they were on and how it ever got on the album and then there’s the closer “Cap'n' 'P' and the Atto's (Sea Biscuits Parts 1 & 2)”, which is a sea shanty. Having said all that there are tracks like the ragged, stripped down blues swagger of “I Got Rhythm" and the raw, powerful “Loud Green Song”, where Halsall’s shredding guitar work sounds like something from the future, and are a couple of the best songs the band released. 

When the band went into the studio for what would be their fourth and final album, Monkey’s Bum, Halsall wasn’t happy with the direction Patto had the band going and left the band halfway through recording.  In order to finish the album the band brought in saxophonist Mel Collins to fill in the gaps, but once it was completed, since there wasn’t a band to support it, the album ended up being shelved. Several times over the years there were poor bootleg copies of the album released until it was officially released in 2017.  While the basic sound of the album is definitely along the same lines of their previous efforts and Halsall’s presence can really be felt in the guitar work of songs like “My Days Are Numbered”, “I Need You” and “Hedyob”, as well as being the vocalist on “Sausages”, there is a more commercial feel to album as a whole.  To me the horns that were added to some of the songs give an interesting twist with “Sugar Cube 1967“ even coming off a little reminiscent of early Chicago. Overall, Monkey’s Bum is a solid release, but when put up against the first two albums it is the most mainstream of the four and loses a little of what set them apart.  

My only real complaint with this box set is that I would like to have seen more of the bonus cuts that are on the individual expanded versions of each release included, but if like me you were unfamiliar with Patto before now, Give It All Away – The Albums 1970-1973 is a great way to get to know this underappreciated band. 

(Cherry Red Records)

Friday, July 23, 2021

Yur Mom - Tropical Fuzz

With nothing more than the fuzzed out, speaker rattling bass of frontwoman Anelise Kunz and the classic rock flavored drumming of Fabio Couto, Tropical Fuzz from Brazilian (now London-based) band Yur Mum somehow manages to come across like Kyuss and Fu Manchu getting together with L7 and putting on a punk show in the middle of the desert.  Having said that there is an everpresent melodic groove and plenty of diversity throughout the whole album from the extremely infectious blast of opener “Banana Republic”, the hard-rock sounds of the title track and the almost pop-like hooks of “Dig Deep” to the angry punk aggression of “Crazy”, the darker, slightly doom-like “Black Rainbow” and the laid-back moodier, tropical beats in “Rio 69“.  From the bass blast at the beginning to bass drone fadeout at the end Tropical Fuzz is an outstanding album.

(Yur Mum)


Saturday, June 26, 2021

Interview with Lucy Francesca Dron

Brisbane, Australia's Lucy Francesca Dron recently released an outstanding EP entitled Leftovers. I recently did an email interview with her where we discussed the EP, having her brother in her band, her upcoming plans and more.  

Can you tell me a little about your musical background?

I grew up surrounded by music, mostly classical music. My mum is a music teacher and Dad is a classical pianist and they were always encouraging my brother and I to be involved in music at school and in our spare time which we did. My first instrument was the cello which I played from the age of 6 until I was 15 where I was then drawn to the guitar.

You just released an EP called “Leftovers" and I read that it’s called that because they are songs you feel don’t fit into concepts that you have for albums.  Can you elaborate a little on that?

I just felt these songs were all strong on their own but felt out of place within my other concepts. The songs I imagine for my other albums flow within the album together and I feel like they create their own little world and soundscape. The Leftovers EP ended up flowing well though but the tracks just stuck out a bit within the other albums

I read that these songs have been around for a few years.  Did any of them change drastically once you recorded them?

The songs developed a lot in the way I performed them. When I originally wrote them I would sing the songs in a much more emotional and loose way and the tempos were changing around. The songs pretty much tightened up a lot through time and practice and I've been exploring singing with more of a jazz technique.

I love the contrast of your vocals, which have a strong jazz feel to them, with the more indie rock sound of your music.  Having said that, a couple of the songs on the EP “Mirrors” and “Epilogue” (both of which I really like) definitely swing more towards the jazz side.  Have you considered doing more songs with that vibe?

Yeah I have a fair amount of songs that have a more jazzy vibe, I’ve definitely within the last two years been really into jazz vocalists and it’s been helping to refine my vocal technique a lot.

Can you give me a little background about your two bandmates - your brother Tom and Tex Keane?

Tom is my older brother and he taught me the first few songs I ever
learnt on guitar. He was writing music well before I started and I was always so in love with his songs so he would teach me them as well and we’d play his songs together. As I grew up and explored song writing myself he was getting really into bass and we just jammed and he's been my bassist ever since. I was looking for a drummer for ages and I heard about Tex from my old principal of Music Industry College because he was studying there. When I heard him he was 16 and absolutely phenomenal and we had a jam, connected and continued working together.

How is it working with your brother?

It is amazing and we work so well together. He understands my music really well and always comes up with the right basslines to complement what I’ve written and is a lovely person overall.

Do you do all the songwriting yourself or do either of them contribute at all?

Yeah I write all the songs on my own but they come up with their parts to go with the song unless I have a specific idea that I want them to play. 

You released your first EP “Eloqium” in 2017. How do you think your music has evolved since then?

They were the first songs I had ever written so they were quite undeveloped and simple. I've explored so many other angles to approach songwriting with now and of course I have a band to expand the sound even more.

You recently released videos for “What Is Next" and “Liquid Numbing Pain". What kind of input did you have in the music videos?

For “What Is Next?” I had no idea what I was doing because it was my first time so I let my team explore the concept and what they wanted to do with it. The more I got into it though the more I fell in love with making music videos and I was so determined and inspired to do my own concept for "Liquid Numbing Pain" and make it really good. I was extremely involved in the music video for "Liquid Numbing Pain" and it was a crazy experience.

You have quite a few other songs floating around between stuff on Soundcloud and various videos on Youtube and elsewhere.  Do you expect to have another release out anytime soon?

I don’t have anything officially lined up but I've been recording some stuff and plan to record a big project next when the time is right.

You have a demo for an almost 10 minute song on Soundcloud called “Tae”.  Can you tell me about that?

Tae was the person who recorded the song, the track is actually called "Venus Lake". This song is actually the title track for my biggest album I have planned, “Venus Lake” which I am so excited to start working on. I wrote the song when I was 18 in three different parts and it was a really, really special and therapeutic experience to me creating it. The album I envision this song on has all my favorite tracks that I have written and they are very ethereal, intricate and experimental. 

What can we expect from you now that the EP is out?

I’ll be playing some shows around Brisbane and going down to Melbourne later in the year, but nothing official is coming up.

Is there anyone in the Australian music scene right now that you think readers should be checking out?
Sammm, Kiri and Nicole Mckinney