THE BEST 55 NEW ALBUMS OF 2015-PART SIX.
THE BEST 55 NEW ALBUMS OF 2015-PART SIX.
THE WOODBINE AND IVY BAND-SLEEP ON SLEEPING ON.
Four years after releasing their eponymous debut album in 2011. The Woodbine and Ivy Band return with their new album Sleep On Sleeping On. It was released in March 2015, on Static Caravan Recordings, and sees The Woodbine and Ivy Band head in a different direction from their eponymous debut album.
Sleep On Sleeping On, which partly, was inspired by G.I. Gurdjieff’s theories on what he termed “waking sleep,” sees The Woodbine and Ivy Band combine folk, psychedelia , progressive rock, jazz and country rock. Seamlessly, they switch between musical genres. Sometimes, they fuse several genres within the same song. Whether its traditional ballads, cover versions or new songs, The Woodbine and Ivy Band are at the top of their game. Especially, their twin vocalists Jenny McCormick and James Raynard.
Both have the ability to breath life, meaning and emotion into songs. Especially Jenny McCormick. She sounds as if she’s lived some of the lyrics. Jenny’s vocal is variously ethereal, tender, hopeful, needy and heartfelt. Jenny McCormick is one of The Woodbine and Ivy Band’s secret weapons on Sleep On Sleeping On. It’s almost unfair to refer to someone as the star of The Woodbine and Ivy Band. After all, everyone played their part in the sound and success of Sleep On Sleeping On. They’re responsible for an album that’s well worth the four year wait, Sleep On Sleeping On.
TUXEDOMOON AND THE CULT WITH NO NAME- BLUE VELVET REVISITED.
Peter Braatz was looking for just one artist to provide the soundtrack to his Blue Velvet Revisited project. Originally, he chose the Cult With No Name, one of his favourite bands. Then he heard a stunning trumpet piece. Erik told Peter that it was played by Luc Van Lieshout of Tuxedomoon. For Peter, this was another coincidence. He was also a fan of Tuxedomoon’s music. So, one became two, and Tuxedomoon and The Cult With No Name cowrote and produced the soundtrack to Blue Velvet Revisited. It was released by Crammed Discs in October, and was Volume 42 in Crammed Discs long established Made To Measure series. Blue Velvet Revisited is worthy addition to the series, and is proof that sometimes, two heads are better than one.
Tuxedomoon and Cult With No Name have penned and produced a score that’s variously ambient, beautiful and dreamy, to ethereal, erring and evocative. It also veers between moody and broody, via dark and disturbing to joyous, melancholy, rueful and wistful. It’s an emotional roller coaster. Incredibly, Tuxedomoon and Cult With No Name have managed to create such an evocative score without drawing inspiration from Angelo Badalamenti’s classic soundtrack. That took some doing. After all, Blue Velvet and Angelo Badalamenti’s soundtrack were like yin and yang.Hopefully, that will be the case with Tuxedomoon and Cult With No Name’s Blue Velvet Revisited score and Peter Braatz’s film.
It will provide a remarkable insight into the making of Blue Velvet, while Tuxedomoon and Cult With No Name take viewer on a genre-hopping musical adventure. From ambient and contemporary classical, to electronica and experimental via jazz, neo-classical, post rock. It’s a captivating, musical journey, where Tuxedomoon and Cult With No Name continually toy with the listener’s emotions on the suite of musical soundscapes that comprise the emotional roller coasters that’s Blue Velvet Revisited.
WILLIAM FITZSIMMONS-PITTSBURGH.
Like many artists, William Fitzsimmons draws upon personal experience for his songs. That has been the case since William released his 2005 debut album, Until When We Are Ghosts. Since then, William has released a further five albums.Each album has proved a compelling insight into William Fitzsimmons’ life. That’s the case with Pittsburgh, which was released by Grönland Records in May 2015.
Pittsburgh has been a long time coming. It was ten years ago that William first thought of the album, and the two themes that run through Pittsburgh. William describes Pittsburgh as: “It’s a memorial for my grandmother, who lived her whole life there, and it’s an honorarium to my hometown.” This makes Pittsburg a hugely personal album from the William Fitzsimmons.
Most of Pittsburgh’s arrangements are understated. Some are atmospheric. Often that’s down to William use of washes and waves of guitar. They play a part in framing William’s vocal. Quite rightly, they take centre-stage. Each of William’s vocal is heartfelt, and full of emotion, sadness and regret. His lyrics are variously beautiful, cerebral, melancholy, poignant, thoughtful and touching. Often, it’s possible to relate to the lyrics. Especially when William deals with death, and the loss of a loved one on what’s a beautiful and poignant album.
WILLIE NILE-IF I WAS A RIVER.
It seisms that with every album, Willie Nile releases, his music was being heard by a much wider audience. If I Was A River, Willie’s tenth album was something of a game-changer. Released in Britain on January 2015, If I Was A River introduced a new generation of music lover’s to Willie Nile’s music. No wonder. If I Was A River, was a very different album from Willie Nile.
If I Was A River was a much more understated album from Willie Nile. The piano was at the centre of If I Was A River’s sound. So were ten captivating songs and a tight, talented band. They played their part in an album that was released to critical acclaim. It lead to a new generation of music lovers discovered Willie Nile’s tenth album, If I Was A River It’s one of the best albums of his career.
Mostly, If I Was a River is an album of songs that are variously beautiful, heartfelt, introspective, poetic, soul-baring and soul-searching. They’re also tinged with melancholy, sadness and joy. Tales of love and love lost, sit side-by-side with tales heartbreak and hurt. If I Was A River is a very personal album from Willie Nile, one that’s best described as an emotional roller coaster.
ZACHARY CALE-DUSKLAND.
Before embarking upon a solo career, Louisiana born singer-songwriter Zachary Cale was a member of several college bands. By Zachary’s own admission, most were short-lived, and none of them were particularly successful. However, they taught Zachary Cale about stagecraft and songwriting. So when Zachary embarked upon a solo career, he was more than ready. He was ready to step out of the shadows, and take centre-stage. However, success didn’t come easy for Zachary Cale. It was only after releasing nine albums that his music began to reach a wider audience.
Blue Rider, which was released in 2013, was a game-changer for Zachary Cale Following the success of Blue Rider, Zachary Cale’s thoughts turned to his fifth album, Duskland. It was released on No Quarter in August 2015.
On Duskland, Zachary Cale seamlessly flits between Americana, country, country-rock, Neo Folk and rock. He’s just as comfortable singing country, as he is singing Neo Folk. Zachary Cale is a truly versatile singer, one whose capable of writing incisive, cerebral and cinematic lyrics. They tell stories, stories of people’s lives, their happiness, hopes, hurt and heartbreak. These songs come to life on Duskland. It’s a career defining album from Louisiana born troubadour, Zachary Cale who musically comes of age on Duskland, which is a near flawless opus.
That’s what I consider to be the fifty-five best new albums of 2015. As you can see, it’s an eclectic list; featuring everything from ambient and avant garde, to electro, experimental and folk, free jazz, through indie pop, progressive rock, psychedelia and rock. That’s not forgetting folk rock, post rock and space rock. The music on each of the albums is innovative, inventive and influential. Mediocre isn’t in these musicians dictionary. Leave that to the third rate Nu Soul singers and hip hoppers. They don’t feature on the fifty-five best new albums of 2015. Never will. Instead, the artists on the fifty-five best new albums of 2015 are the musical creme de la creme. They come from far and wide.
This includes Norway, Sweden and Finland. That’s not surprising. The Nordic Wave movement features some of the most most talented and innovative musicians. There’s also artists and bands from elsewhere in Europe, including Germany, Romania, Scotland and England. Then there’s artists and bands from North and South America. American and Canada represent North America; with Argentina and Peru represent South America. A man whose travelled even further afield, is the former wedding singer, Omar Souleyman. His star is still in the ascendancy, and for the second time in three years, makes the list of best new albums. He’s not alone.
Other bands and artists have graced the list, and doubtless will do so again. We’ll know who, once 2016 draws to a close. Before that, there’s a lot of music to listen to. Enjoy.
THE VELVET UNDERGROUND-LOADED (IMPORT).
THE VELVET UNDERGROUND-LOADED (IMPORT).
For The Velvet Underground, 1969 had been a turbulent year. They had released their third album The Velvet Underground in March 1969. It featured the debut of Doug Yule, who was brought in to replace John Cale. This was meant to the start of a bright new future for The Velvet Underground.
After two albums which had failed commercially, Lou Reed decided that The Velvet Underground had to change tack. They had to release music that was much more pop oriented and therefore, commercial. John Cale however, didn’t agree with how Lou Reed’s master-plan.
This had been a bone of contention between the pair for some time. John Cale wanted The Velvet Underground to continue to innovate, and create experimental music like White Light/White Heat, The Velvet Underground’s sophomore album. Lou Reed didn’t agree.
Lou Reed believed that The Velvet Underground’s music should become more pop oriented. This he felt, would broaden their appeal. No longer would they be an art rock group whose music appealed to discerning music lovers. Eventually, Lou Reed won over the rest of The Velvet Underground. For John Cale this was hugely disappointing. So, he decided the only option was to leave The Velvet Underground.
Following the departure of John Cale, The Velvet Underground began looking for a replacement. Eventually, Doug Yule was chosen as John Cale’s replacement. He made his Velvet Underground eponymous third album in November 1968, at TTG Studios, Hollywood. The Velvet Underground recorded ten songs penned by Lou Reed. By December 1968, The Velvet Underground was completed it was released in March 1969.
Before that, critics had their say on The Velvet Underground. The majority of the critics were won over by The Velvet Underground’s new sound. Some critics went as far as to say that the album was The Velvet Underground’s finest hour. They were impressed The Velvet Underground’s much more accessible sound. The Velvet Underground were congratulated on the quality of songwriting, and the delivery of the lyrics. However, there was a but.
Some critics felt that The Murder Mystery was an experiment that hadn’t worked. Others ant further, lamenting that The Murder Mystery fell short of the quality of White Light/White Heat. Other critics remarked that The Velvet Underground lacked the eclectic sound of its predecessors. Even the quality of recording was criticised. Mostly though, critics thought that The Velvet Underground were on the right road. However, as usual, record buyers had the casting vote.
When The Velvet Underground was released in March 1969, the album crept into the US Billboard 200, reaching just 197. This was a disaster for The Velvet Underground. Lou Reed’s decision to embrace a more commercial sound had backfired.
Following the release of The Velvet Underground, the band headed out on tour. They spent much of 1969 touring America and Canada. Night after night, they reworked tracks from their first three albums. The audience watched as a tight band fought for their very future. Some nights, The Velvet Underground debuted new songs.
New Age, Rock and Roll and Sweet Jane found their way onto the set list. This trio of songs found their way onto Loaded, which was released in 1970. Loaded has been reissued by Rhino, to mark the forty-fifth anniversary of Loaded’s release. It proved a landmark album in The Velvet Underground’s career.
As The Velvet Underground’s seemingly never ending tour continued, they continued to hone their sound. They were a very different band to just a few years previously when they were Warholian disciples. That was the past. Now The Velvet Underground were willing to forsake what many thought was their true sound, for commercial success. That proved ironic.
After three albums that had failed commercially, MGM were starting to loose patience with The Velvet Underground. It didn’t help that MGM had been haemorrhaging money for a couple of years. They had too many loss making acts on their roster. Something had to give.
During the night of the long knives, executives at MGM decided to cancel the contracts of eighteen loss making acts. This included The Velvet Underground. They were invited to the headquarters of MGM, and told that their contract had been cancelled. However, was the decision to cut The Velvet Underground loose purely a business decision?
Since then, there has been speculation that The Velvet Underground were dropped just because they were losing MGM money. Maybe, it was more to do with The Velvet Underground’s image being at odds with MGM’s corporate image? That proved to be the case. In 1970, an executive of MGM said: “it wasn’t eighteen groups, Mike Curb was misquoted. The cuts were made partly to do with the drug scene—like maybe a third of them had to do with drug reasons. The others were dropped because they weren’t selling.” It seemed that MGM’s mattered more than selling records. MGM it seemed, only wanted artists whose lifestyle they approved of.
Many thought that being dropped by MGM must have been devastating for The Velvet Underground. It seems it was, and it wasn’t. When Lou Reed was interviewed in 1987, he admitted: “we wanted to get out of there.” That may just be bravado. After all, the music industry is a small village, and word would’ve spread like wildfire why The Velvet Underground had been dropped. Some critics however, thought the situation was ironic.
Back in 1968, The Velvet Underground had made what many regarded as the ultimate musical sacrifice. They had changed direction musically on their eponymous third album. No longer were they seen as an art rock band by championed by many critics and cultural commentators. Instead, the move towards a more populist sound was seen as the ultimate betrayal from The Velvet Underground. This resulted in John Cale’s departure from the band. Now that The Velvet Underground had been dropped by MGM, the loss of one of their main creative forces, had been for nothing. Given what had happened, it was the ultimate irony.
Now without a record contract, The Velvet Underground headed back out on tour. Touring was now their main source of income. So they spent much of 1969 on the road. Mostly, it was the tight version of The Velvet Underground that took to the stage. Other times, they revisited their past.
The Velvet Underground decided to reinvent songs, during lengthy improvisations. This mixture of art rock, avant garde and free jazz showed that the old Velvet Underground weren’t dead. Some critics believed it was merely being suppressed in the search for commercial success.
During their gruelling touring schedule, The Velvet Underground made occasional forays into the recording studio. Some of the songs The Velvet Underground recorded, were seen as having potential. However, they couldn’t be released, as The Velvet Underground were in dispute with MGM. With no recording contract, and locked in what could prove a biter, lengthy and expensive dispute with MGM, things looked bleak for The Velvet Underground.
By November 1969, The Velvet Underground arrived in San Francisco, and were due to play at The Matrix and The Family Dog. These shows were recorded, and were meant to be released as live albums. However, that didn’t happen until the next millennia, when Bootleg Series Volume 1: The Quine Tapes was released in 2001. 1969 was fast proving to by The Velvet Underground’s Annus horriblis. Surely, things would improve as when the new decade dawned.
That proved to be the case. 1970 saw The Velvet Underground’s luck improve. They were signed by Atlantic Records, and told to record an album: “loaded with hits.” This would be a first.
Commercial success had eluded The Velvet Underground. Three albums into their career, and they hadn’t enjoyed a hit single. The nearest they came to commercial success was when their 1967 debut album, The Velvet Underground and Nico reached 129 in the US Billboard 200. It was all downhill from there. In 1968, White Light/White Heat struggled into the US Billboard 200 at 199. Then when The Velvet Underground was released in 1969, it stalled at 197 in the US Billboard 200. The Velvet Underground were faced with a mammoth task to produce an album: “loaded with hits.”
With these words ringing in his ears, Lou Reed went away and wrote the ten tracks that became Loaded. Then recording began at Atlantic Recording Studios, New York with Geoff Haslam, Shel Kagan and The Velvet Underground producing Loaded. However, one member of The Velvet Underground was missing.
Maureen Tucker missed the Loaded recording sessions. They took place between April and August 1970. Her only contribution was singing on the outtake I’m Sticking With You, and adding drums on a demo of I Found a Reason. Loaded was the first Velvet Underground album Maureen Tucker.was missing from.
Various musicians replaced Maureen Tucker on Loaded. Engineer Adrian Barber, who played on Who Loves the Sun and Sweet Jane. Tommy Castagnaro then played drums on Cool It Down” and Head Held High. Billy Yule, Doug Yule’s brother deputised on drums on Lonesome Cowboy Bill and Oh! Sweet Nuthin.’ Even bassist Doug Yule played drums.
Although hired as a bassist, Doug Yule played fuzz bass, piano, keyboards, lead guitar, percussion and added backing vocals. He added the lead vocals on Who Loves the Sun, New Age, Lonesome Cowboy Bill and Oh! Sweet Nuthin’. Sterling Morrison played lead and rhythm guitar. Lou Reed, who was now The Velvet Underground’s main creative and driving force, played lead and rhythm guitar, plus the piano. This depleted version of The Velvet Underground, plus a few friends eventually, finished recording of Loaded in August 1968. The release was scheduled for 15th November 1970. A lot would happen before then.
With Loaded completed, usually, The Velvet Underground would’ve been readying themselves for the usual round of promotion that takes place before an album is released. Not this time.
Lou Reed called time on his career with The Velvet Underground on 23rd August 1970. This left The Velvet Underground like a rudderless ship.
With The Velvet Underground having lost their leader and creative force, others took charge of final mix of the album. That was fatal. Lou Reed should’ve handed Atlantic Records the final mix, and then left.
When Lou Reed saw and heard a copy of Loaded, he was in for a shock. The claimed that Loaded had been re-sequenced. This hadn’t been authorised. That was bad enough. No longer would Loaded flow as it was meant to. Much worse, was that some of Lou Reed alleged that some of the songs on Loaded had been edited.
Lou Reed railed against the edited version of Mary Jane. So badly edited was the song, that it was bereft of its very melody. A heartbroken Lou Reed described the melody as: “heavenly wine and roses.” Sadly, it was gone. New Age was another song that had fallen victim to the razor blade in the editing suite. However, one of the remaining members of The Velvet Underground disputed Lou Reed’s claims.
It was newcomer Doug Yule who spoke out. Despite being a relative newcomer to the band, he disputed what Lou Reed said. Doug Yule claimed that it was Lou Reed who edited Mary Jane, before he left The Velvet Underground. This essence of his explanation was that Lou Reed edited the song so that it would be a hit. However, it was claim and counter-claim. If Lou Reed edited the song, why did he edit the “heavenly wine and roses” of the melody from the song? The editing was just one of several grievances Lou Reed had.
The ten songs on Loaded came from the pen of Lou Reed. However, when Lou Reed received his copy of Loaded, he discovered that the songs were credited to The Velvet Underground. What made this worse, was that Lou Reed was third in the credits. He felt he wasn’t receiving the credit he deserved. Rubbing salt into the wound was a large photograph of Doug Yule playing the piano. The Velvet Underground’s creative force was overshadowed by the newcomer. Was this a deliberate slight seen Lou Reed had left The Velvet Underground?
As Lou Reed studied Loaded album’s cover, he discovered that Maureen Tucker was credited as the drummer. She hadn’t played on Loaded, as she was pregnant. It was the only Velvet Underground she didn’t play on. Ironically, many critics felt Loaded was one The Velvet Underground’s finest albums. However, even another member of the band didn’t agree with this.
Sterling Morrison had been ever-present on the four albums The Velvet Underground had released. This made him well qualified to critique the album. He had mixed feelings on the absence of Maureen Tucker and Doug Yule’s increased influence on Loaded. Without Maureen Tucker: “it’s still called a Velvet Underground record. But what it really is is something else.” Then when asked about Doug Yule playing a bigger part on Loaded he said: ”the album came out okay, as far as production it’s the best, but it would have been better if it had real good Lou vocals on all the tracks.” It seems the newcomer hadn’t convinced The Velvet Underground guitarist. What did the critics think?
Most critics were won over by Loaded. It followed in the footsteps of The Velvet Underground, which showcased a much more populist, commercial sound. Among Loaded’s highlights were the hook-laden, Sweet Jane and Rock and Roll. Even without the “heavenly wine and roses” of the melody, Sweet Jane was a timeless classic. Along with Rock and Roll, they became favourites on American FM radio stations. Other tracks that were mentioned in dispatches by critics were the soulful infused I Found a Reason and New Age. However, not everyone was convinced by Loaded.
Rolling Stone magazine wasn’t impressed by Loaded. They were the highest profile critic of Loaded. Ironically, they’ve performed a volte face, and nowadays, Loaded is one Rolling Stone magazine’s 500 best albums of all time. However, Rolling Stone weren’t being contrarian, like some critics.
While Loaded is indeed, a minor classic, it could’ve and would’ve been a better album. Especially, if Lou Reed took charge of all the lead vocals. Sterling Morrison had a point. Lou Reed was The Velvet Underground’s best vocalist. Having written the lyrics, he was able to bring them to life. From Sweet Jane and Rock and Roll, to Cool It Down, Head Held High, I Found A Reason and Train Round The Bend, Lou Reed unleashes a series of vocal masterclasses. Sadly, he only sung six of the ten vocals. That proved to be a a mistake.
In another group, Doug Yule would’ve been a more than adequate replacement. However, he couldn’t quite live the lyrics like Lou Reed. That’s not to say his performance is disappointing on on Who Loves the Sun, New Age, Lonesome Cowboy Bill and “Oh! Sweet Nuthin’. Far from it. Instead, they’re just not as good as The Velvet Underground’s worldweary leader, Lou Reed. Those were big shoes to fill. Even Sterling Morrison agreed.
Similarly, Maureen Turner was missed. While her replacements are more than adequate, it could be argued that there’s no continuity. Each drummer has their own sound and style. Despite that, Loaded came to be regarded as a minor classic. Very few people thought that would be the case in 1970.
When Loaded was released on 15th November 1970, the album failed to chart. It stopped just short, reaching 202 in the US Billboard 200. So near, but yet so far. This was a familiar story for The Velvet Underground.
Their fourth album Loaded deserved to fare better. They had sacrificed and suppressed their true sound to deliver an “album loaded with hits.” Loaded had everything going for it. It benefited from a much more commercial sound, and plethora of hooks. This meant that Loaded was The Velvet Underground’s most accessible album. Surely this was what record buyers wanted The Velvet Underground reasoned?
Record buyers had shied away from The Velvet Underground and Nico and White Light/White Heat. Then on The Velvet Underground, which was released in 1969, Lou Reed and Co. moved towards a more populist, accessible sound. This came at the cost of John Cale. Still The Velvet Underground failed commercially, and MGM dropped the Velvets. This proved the ultimate irony.
Just under a year later, and Lou Reed was gone too. This left just Sterling Morrison and the returning Maureen Tucker. Sadly, The Velvet Underground were a shadow of the band they once were. Loaded proved to be what many regard as their swan-song.
Despite its flaws, Loaded is a minor classic from The Velvet Underground. Nowadays, it’s regarded as one of the best 500 albums by Rolling Stone magazine. Loaded also belongs in every self-respected record collection. For those who have yet to discover Loaded, now is the time to do so.
Loaded was reissued by as an import on Rhino on 8th January 2016. Sadly, the release of Loaded was the end of an era for one of rock’s most innovative bands, The Velvet Underground.
Never again would Lou Reed join with Maureen Tucker, Sterling Morrison and Doug Yale again as The Velvet Underground. Squeeze which was released in 1972, was a Velvet Underground in name only. Only Doug Yule, who was using The Velvet Underground name featured on Squeeze. It’s not worthy of bearing The Velvet Underground name. That why for many, Loaded marked the end of The Velvet Underground story.
Their recording career had started in 1967 with The Velvet Underground and Nico, 1968s White Light/White Heat, 1969s The Velvet Underground and Loaded in 1970. Nowadays, each and every one of these albums are regarded as a classic; and The Velvet Underground are remembered as one of the most important, influential and innovative bands in the history of music. However, one can’t help wonder what direction The Velvet Underground would’ve headed if they hadn’t changed direction musically?
The Velvet Underground and Loaded would be very different albums. However, maybe, The Velvet Underground had no option. MGM were losing money hand over fist. They needed bands to sell vast quantities of albums, not release albums that would find favour with discerning music lovers. Maybe, if The Velvet Underground had known they were going to be dropped, they would’ve stuck to their musical principles? That wasn’t to be.
Instead, The Velvet Underground sacrificed their musical soul at the altar of populist music. John Cale couldn’t bear to watch this sacrifice, and walked away with his principles intact. Lou Reed desperate for the band he formed find commercial success as well as critical acclaim, played the game. After two albums of The Velvet Underground suppressing what they stood for musically, Lou Reed walked away.
He left behind one of the richest legacies for any group who only recorded four studio albums. Each is a classic. From The Velvet Underground and Nico to Loaded, each album features shamanistic performances from those musical shape shifters and high priests of music, The Velvet Underground.
THE VELVET UNDERGROUND-LOADED (IMPORT).
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 1.
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 1.
For the last few years, Norway has one of the most vibrant music scenes. Gradually, groups from other parts of the Nordic region are beginning to make waves. So it makes sense to add a new category to this 2015’s best of series, the best Nordic albums of 2015. Each and every one of the albums on the list would be worthy additions to any self-respecting record collections. Indeed, anyone looking for new and innovative music should work their way through the following list.
ANNELI DRECKER-ROCKS AND STRAWS.
In July 2015, Anneli Drecker released her long awaited, and much anticipated third solo album, Rocks and Straws on Rune Grammofon, It marked a welcome return from Anneli Drecker. Her recording career began twenty-eight years ago, with Bel Canto when she was just seventeen. Since then, Anneli Drecker released six albums with Bel Canto, worked with Röyksop and released her third album, Rocks and Straws.
For Rocks and Straws, Anneli Drecker penned eleven new songs. These songs are based on lyrics by cult poet Arvid Hanssen, and were translated into English by artist and writer Roy-Frode Løvland. Arvid Hanssen´s poems have been strongly influenced by the mysterious and powerful nature of this arctic region, including the works of writer of Knut Hamsun. Despite the lyrics being based on Arvid Hanssen’s lyrics, the songs on Rocks and Straws are personal to Anneli Drecker. She describes them as an “ode” to the town and region she was born and brought up. Helping Anneli Drecker, who also produced Rocks and Straws, were some of the great and good of Norwegian music.
The result was a captivating album that showcased Anneli Drecker’s ethereal vocal. It’s complimented by understated, acoustic arrangement. They frame Anneli Drecker’s vocals, as effortlessly, she breathes life, meaning and hope into lyrics. Other times, her vocal veers between tender, dramatic and powerful. Occasionally, Anneli Drecker’s vocal and tinged with sadness. Always, it’s heartfelt and impassioned. That’s because each of the eleven songs on Rocks and Straws are personal to Anneli Drecker. They’re about Anneli Drecker’s life and formative years. These years shaped Anneli Drecker, and made her what she is now. That’s one of the most talented singers in Europe.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS.
One of the real finds of 2015 was As The Tired Trains Cross Europe’s debut album Lucid Moments. It was released on CD and heavyweight vinyl by Big Pink Records and showcases a truly talented singer-songwriters. So much so, that great things are forecast from As The Tired Trains Cross Europe. No wonder.
As The Tired Trains Cross Europe is the perfect showcase for the the multi-talented Vegard Eggum. He wrote, recorded, produced and mixed the ten tracks on Lucid Moments. It’s a musical roller coaster, where As The Tired Trains Cross Europe flits between and combines elements of country, electronica, folk, jazz, Krautrock, Nordic Wave, pop, post rock, psychedelia, reggae and rock. The result is a musical journey that all music loves should experience and embrace.
Over Lucid Moments’ ten tracks, Vegard Eggum becomes storyteller and troubadour. He embraces these roles, delivering vocals that are variously cathartic, heartfelt, hopeful, hurt-filled, impassioned, needy and soul-baring. Lyrics come to life, as Vegard Eggum lives them, on Lucid Moments, the debut album from his latest musical vehicle, As The Tired Trains Cross Europe. Essentially, Lucid Moments is a musical journey through the mind of musical adventurer and explorer Vegard Eggum.
ASAMISIMASA PLAYS THE MUSIC OF ØYVIND TORVUND.
Øyvind Torvund was a composer that Asamisimasa had long admired and been inspired by. So, Asamisimasa decided to record an album of Øyvind Torvund’s compositions. The result is Asamisimasa Plays The Music Of Øyvind Torvund will be released by Norwegian Aurora Contemporary on 11th September 2015. However, this is no ordinary album.
Asamisimasa Plays The Music Of Øyvind Torvund features four lengthy soundscapes. Two of them, feature several movements. Wilibald Motor Landscape is a five piece movement, while Neon Forest Space features seven movements. Both tracks tell stories, and have a cinematic quality. Just like the two lengthy tracks, Wolf Studies and Plastic Waves, these tracks see Asamisimasa a disparate and eclectic selection of musical genres and influences.
During the four tracks on Asamisimasa Plays The Music Of Øyvind Torvund, elements of ambient, avant-garde, classical, electronica, experimental, free jazz, industrial post rock, psychedelia and rock melt into one. Somehow, though, this ambitious and pioneering fusion of disparate musical genres hangs together, and make perfect musical sense.
BLACK MOON CIRCLE-THE STUDIO JAMS VOLUME I: YELOW NEBULA IN THE SKY.
Norwegian psychedelic space rock band Black Moon Circle are one of the rising stars of the Norwegian music scene. Their previous album Andromeda was released to critical acclaim in October 2014. A great future was forecast for the Trondheim based trio. No wonder. Black Moon Circle are one of the most talented bands in the Nordic music scene. They’re also one of the most ambitious, as they plan to release a trilogy of studio jams. The first instalment is The Studio Jams Volume I: Yellow Nebula in the Sky. It was be released on limited edition vinyl, in August 2015, on Crispin Glover Records, and is the perfect introduction to Black Moon Circle.
They’re, essentially, a power trio, who create their unique brand of psychedelic space rock. The basis for this, is the classic rock of the sixties and seventies, psychedelia and space rock. To this, Black Moon Circle add elements of electronica, experimental music and free jazz. Seamlessly, these disparate musical genres and influences merge into something new and innovative. It’s cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says, “intense.”
This intensity is deliberate. It comes courtesy of the three members of Black Moon Circle. They deploy layers of fuzzy guitars, spacey, lysergic synths and a mesmeric rhythm section. When all this is combined, the result is the next instalment in the Black Moon Circle story, The Studio Jams Volume I: Yellow Nebula In The Sky. It’s without doubt the best album of Black Moon Circle’s three album career. That’s why, for anyone yet to discover Black Moon Circle, The Studio Jams Volume I: Yellow Nebula In The Sky is the perfect introduction to the Norwegian psychedelic space rock pioneers at their hard rocking best.
CHRISTIAN WALLUMROD-PIANOKAMMER.
Christian Wallumrød’s recording career began nearly twenty years ago, in 1996, when the Christian Wallumrød Trio released their debut album Birch. Released to widespread critical acclaim, Birch launched the career of Christian Wallumrød. Since then, Christian Wallumrød star has been in the ascendancy.
To the onlooker, it seems Christian Wallumrød has done everything in music. He’s worked with the great and good of Norwegian music on a variety of groundbreaking projects, and formed the Christian Wallumrød Trio, who have released five albums. Their last album, Outstairs, released in 2013, won a Spellemannspris, Norwegian Grammy. However, there’s one thing Christian Wallumrød rectified last year, when he realised his debut solo album Pianokammer on Hubro Music.
Pianokammer is a spellbinding album, of innovative, groundbreaking and genre defying music. Christian combines ambient, avant-garde, blues, experimental, free jazz and jazz. The result is a captivating collection of six songs, that are variously ambitious, bold, dark, dramatic, ethereal, haunting, hopeful, irresistible, joyous, ominous and uplifting. That’s why, Pianokammer is, without doubt, such an ambitious and captivating album from musical innovator and adventurer, Christian Wallumrød.
DALINDEO-KALLIO.
It was back in 2003, that Dalindèo, the Finnish jazz-sextet were founded by composer and guitarist Valtteri Laurell Pöyhönen. Since then, Dalindèo have released a trio of albums. Their debut was Open Scenes in 2007. Three years later, Dalindèo returned with Soundtrack For The Sound Eye. By then, Dalindèo’s star was in the ascendancy. Then in March 2015, Dalindèo released their third album Kallio on BBE Music.
Kalindèo are just the latest in a long line of hugely talented Scandinavian artists who are making groundbreaking music. Previously, many of these artists have come from Norway, which currently, has some of the most inventive and innovative musicians in Europe. This Nordic Wave has resulted in Norway becoming one of Europe’s musical cultural capitals. That looks like continuing for the some time. No wonder. Some of the best, and most groundbreaking music of the last few years has come out of Norway. This includes everything from ambient and avant-garde, to jazz, fusion and rock. Norway it seems, is at the vanguard of musical revolution. Will this musical revolution sweep across Scandinavia?
Let’s hope that’s the case. Hopefully, in the coming months and years, a new generation of Finnish artists and groups will produce equally innovative and ambitious music. Maybe, Kalindèo, will be the first of many Finnish artists and groups to enjoy commercial success and critical acclaim? That’s could to be the case. Especially, if they can produce music as groundbreaking and atmospheric as that on Kallio, Dalindèo’s third album.
ELEPHANT9 WITH REINE FISKE-SILVER MOUNTAIN.
For their fourth album, Silver Mountain, Elephant9 have once again joined forces with Swedish virtuoso guitarist Reine Fiske. This tantalising pan-Scandinavian collaboration has resulted in a genre-melting album of rock ’n’ jazz, prog rock and psychedelia, Silver Mountain. It was released on Rune Grammofon, and is the finest album of Elephant9’s four album career.
Not only is Silver Mountain the finest album of Elephant9’s career. It features music that’s ambitious, bold, exciting and innovative. Continually, Elephant9 push musical boundaries. To do this, they combine musical genres. Everything from ambient, the classic rock of the late-sixties and seventies, electronica, experimental, free jazz, Krautrock, prog rock, psychedelia and space rock can be heard on Sliver Mountain. It’s a captivating journey through musical genres and influences. Listen carefully, and you’ll hear everyone from Can, Hawkwind, Jimi Hendrix, Klaus Doldinger, Kraftwerk, Led Zeppelin, Neu!, Pink Floyd, Ry Cooder, The Doors and Tubeway Army. Some of these influences can be heard only briefly, while others are more noticeable. Closer to home, another of Norway’s leading bands Motorpscycho also seem to have influenced Elephant9, as they take listeners on journey through twists and turns.
Continually, Elephant9 take twists and turns throughout Silver Mountain. They lead you down blind alleys, only to find an escape route. Out of a blistering slice of rock comes an ethereal ambient soundscape. That’s what you quickly come to expect from Elephant9 on Silver Mountain, musical pioneers extraordinaire.
ERLAND DAHLEN-BLOSSOM BELLS.
Back in 2012, drummer and percussionist Erland Dahlen released his long-awaited, and much-anticipated debut album Rolling Bomber. By then, the forty-one year old was a veteran of the vibrant Nordic music scene. Erland Dahlen was a veteran of countless bands, including HET, Boschamaz, Kiruna, Morris, Piston Ltd, Batagraf, The Sonic Codex Orchestra and Stian Westerhus and Pale Horses. This however, was only part of the story, as Erland Dahlen was also one of Norway’s top session musicians. Somehow, Erland Dahlen found time to record Blossom Bells, which was released on Hubro Music.
Blossom Bells is a near flawless fusion of ambient, avant garde, electronica, experimental, Krautrock, Nordic Wave, post rock, psychedelia and rock. Genres melt into one, on an album that’s variously moody and broody, to dark and dramatic, to lysergic, otherworldly, spiritual, haunting, atmospheric and ethereal. The music on Blossom Bells is definitely cinematic. That’s the case throughout Blossom Bells. It sounds like the soundtrack to a film that’s yet to be made. Other times, the music on Blossom Bells becomes anthemic and up-lifting. Always, though, the music on Blossom Bells is captivating, cerebral, cinematic, inventive and innovative.
FINLAND-RAINY OMEN.
Playing an important part in the rise and rise of the Norwegian music scene are the three members of Finland; Ivar Grydeland, Pål Hausken, Morten Qvenild and Jo Berger Myhre. They’ve been members of various bands and worked with numerous artists on a variety of projects. Given the schedules of the various members of Finland, they could be forgiven for sticking to their “day jobs.” There was no chance of that. The members of Finland love music, and formed what can only be described as a multitalented supergroup. Finland’s debut album Rainy Omen, released in July 2015, by Hubro Music.
Finland was like a meeting of minds. Each of the members of Finland’s musical raison d’être was to make groundbreaking music. They wanted to push musical boundaries to their limits, and sometimes, way beyond. That’s what they do on Rainy Omen. The music in innovative, inventive and genre-melting. Elements of avant garde, experimental, industrial, jazz, psychedelia and rock are combined to make music that’s veers between atmospheric and cinematic to dark and dramatic. Other times, the music on Rainy Omen flits between beautiful to ethereal, and between lysergic and trippy. Always, though, the music on Rainy Omen is captivating, and I eagerly await Finland’s sophomore album.
GEIR SUNDSTOL-FURULUND.
Prolific. That’s a word that is often used to describe musicians. Often that’s an exaggeration. Not in the case of Geir Sundstøl. Since his career began in 1988, Geir Sundstøl has featured on 260 different albums. This includes the albums he recorded as member of Rovers, and then Morris. Mostly, though, Geir Sundstøl has worked as the musical equivalent of a hired gun, playing a multitude of musical instruments on albums and live. Geir Sundstøl has done just about everything. That was apart from release a debut album. He rectified this in September 2015, when Furulund was released on Hubro Music.
The music on Furulund is variously atmospheric, beautiful, broody, cinematic, dramatic, dreamy, ethereal, melancholy and moody. It’s capable of taking the listener on a journey. All the listener needs to supply is their imagination. Geir Sundstøl supplies the music. Sometimes, the music sounds as if it belongs on a Spaghetti Western. Another track, Punsj, sound as if they belong on a Wim Wenders soundtrack. Other influences include the Cocteau Twins, Brian Eno, and Buddhist music. Add to this, ambient, Americana, blues, country, folk, post-rock and rock. Each and every one of these influences are part of the sound and success of the cinematic and cerebral Furulund.
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 1.
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 2.
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 2.
GORAN KAJFES SUBTROPIC ARKESTRA-THE REASON WHY VOLUME 2.
For the last three decades, Goran Kajfeš has been a key figure in the Swedish music scene.There’s a reason for this. Goran Kajfeš has constantly been releasing groundbreaking, genre-melting music. To do this, Goran has pushed musical boundaries to their limits, and sometimes, way beyond. This resulted in Goran Kajfeš Subtropic Arkestra’s The Reason Why Volume 1 being nominated for a Swedish Grammy in 2013. Goran Kajfeš’ “acid rock with horns” was winning friends and influencing people. Two years later, and The Reason Why Volume 2 was released on Headspin Records.
The Reason Why Volume 2, which was out on April 6th 2015, on Headspin Records, surpasses The Reason Why Volume 1. That took some doing. After all, The Reason Why Volume 1 was nominated for a Grammy Award. However, two years later, the multitalented Goran Kajfeš Subtropic Arekestra have come of age on The Reason Why Volume 2. They seem to have matured as a band. What’s more, the music on The Reason Why Volume 2 is even more eclectic and almost flawless. That takes some doing. However, Goran Kajfeš is a musical innovator. With Goran at the Arekestra’s helm, they’re definitely destined for greater things.
HUNTSVILLE-POND.
For nine years, musical alchemists Huntsville have been creating groundbreaking, genre-melting music. They released their fifth album Pond on Hubro Music. Pond was a Joycean sonic voyage of discovery, where Huntsville combine disparate musical genres and influences on four epic tracks. With Huntsville supplying the music, all the listener needs to do is let their imagination run riot.
What follows is akin to a four part play, where Huntsville supply a musical backdrop. The music can be melancholy and thoughtful. Other times, it’s moody and broody, but can just as easily become crystalline, elegiac and ethereal, as musical influences and genres melt into one.
This includes elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, post rock, psychedelia and rock. Huntsville also draw inspiration from some of their musical heroes, including Miles Davis, Steve Reich, Ennio Morricone and early Tortoise. Other influences include Brian Eno, Can, Harold Budd, John Martyn, Mind Over Midi, Neu! and Pink Floyd. That’s an eclectic mix. However, all these influences can be heard on Pond, a truly captivating and innovative album from musical alchemists Huntsville.
JOHAN AGEBJORN-NOTES.
Since 2006, Johan Agebjörn, has released a quartet of albums and a dozen remixes. Each of these releases are very different. Johan has refused to stand still, constantly reinvents his music. Johan it seems, is a musical shapeshifter. That’s been the case since 2006, when Johan released his debut album. Nine years later, and Johan Agebjörn released his fifth album Notes on the Paper Bag label on February 2015. It’s the latest
Throughout his career, Johan has constantly reinvented his music. He’s released he’s everything from ambient and electro, right through to Italo disco, 8bit and classical piano music. Eclectic, it seems, is the best way to describe the Gothenburg based musical chameleon. This is the case on Notes, Johan’s fifth album.
Notes is best described as cinematic, dramatic, dreamy, ethereal, melancholy and even, mesmeric. Sometimes Notes is beautiful, emotive, sensual and sultry. Other times Notes is bold and dark. Always, Johan Agebjörn’s fifth solo album, Notes, is a captivating and compelling album, that, full of surprises aplenty.
LABFIELD-BUCKET OF SONGS.
Five years after the release of their sophomore album Collab, LabField, one of the leading lights of the European improv scene make a welcome return. They returned in 2015 with their genre-melting third album, Bucket of Songs. It was released on Hubro Music. Bucket Of Songs marks the start of a new era for LabField. Not only have they changed direction musically, but Norwegian percussionist Ingar Zach had joined the band. Bucket of Songs was his debut.
And what an album Bucket of Songs was. LabField combined elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, Latin, post rock, pop, rock and world music. However, at the heart of Bucket Of Songs’ sound and success, was LabField’s trademark brand of improvisational music. As LabField improvise, they visit a variety of disparate musical genres. Somehow, though, this fusion of all these disparate musical genres hangs together, and make perfect sense on what’s akin to a magical musical mystery tour.
LabField take their music in a new and unexpected directions. That’s why you should never, ever, try and second guess LabField. That would be impossible. They’re mavericks, and sonic explorers who manipulate sound, and take their listeners on other groups can only dream of. In doing so, LabField create music that’s variously ambitious, challenging, cinematic, dramatic, inventive, innovative minimalist and urgent. It’s also music that’s guaranteed to make you think. Sometimes, the music on Bucket Of Sounds sets your mind racing. Don’t fight it, enjoy the ride. LabField will take you to places you’ve never been before. Just let your imagination run riot. If you do, LabField will richly reward you, as you experience Bucket Of Songs’ nine captivating and groundbreaking soundscapes.
MORTEN QVENILD-PERSONAL PIANO.
Over the last twenty years, Morten Qvenild has been at the heart of the Norwegian music scene. The thirty-seven year old pianist and keyboardist is one of the most versatile and creative musicians of his generation. That’s why, when anyone in the Norwegian music scene was looking for a pianist or keyboardist, they gave Morten Qvenild a call. This has resulted in Morten Qvenild playing on over fifty albums. However, he hadn’t released a solo album That was until he released Personal Piano on Hubro Music in September 2015.
Featuring seven improvised soundscapes, Personal Piano is a mesmeric fusion that’s guaranteed to captivate and compel. Morten Qvenild takes the listener of a seven musical adventures. The sonic sorcerer throws musical curveballs, before springing a series of musical surprises. Nothing is it seems. Using a myriad of effects, sounds are transformed. They become something very different. As a result, one minute the music is dramatic, the next it’s dreamy. Other times, it becomes moody and broody. Then the next, it veers between pensive and understated, to melancholy or melodic. Constantly, the music changes direction. It’s a case of expect the unexpected. Subtleties and sonic surprises are constantly sprung, as musical sorcerer and explorer, Morten Qvenild takes the listener on magical mystery tour, while expanding his sonic palette on his long awaited, and groundbreaking debut album Personal Piano.
MOSTER!-WHEN YOU CUT INTO THE PRESENT.
Ever since they made their debut at the Kongsberg Jazz Festival in 2010, Norwegian supergroup Møster!’s star has been in the ascendancy. So much so, that Møster! are now regarded as one of the biggest bands in the Nordic music scene. Møster! released their third album When You Cut Into The Present in November 2015 on Hubro Music.
Hard rocking, but genre-melting describes Møster! However, When You Cut Into The Present shows that Møster! are much more than a rock band. They combine avant garde, classic rock, experimental, free jazz, funk, jazz, Krautrock, progressive rock and psychedelia, with the classic Norwegian jazz sound of the sixties and seventies. It’s best describes as a fusion of Can, Alice Coltrane, King Crimson’s Red period, John Coltrane and the Nordic jazz pioneers Jan Garbarek, Terje Rypdal, Arild Andersen and Jan Christensen. Sometimes, it sounds as if Møster! have been influenced by German musical pioneers, Birth Control, Guru Guru and Neu! It sounds like the four members of Møster! have eclectic taste in music.
That’s definitely the case with guitar wizard Hans Magnus “Snah” Ryan. The virtuoso seems to have been influenced by Jimi Hendrix. Sometimes, it sounds like Hans is channeling the spirit of Hendrix in the studio. Other times, Hans’ licks sound as if they belong on an Iron Maiden or Judas Priest album. Just like the rest of Møster!, Hans is a versatile and talented member of this supergroup. They’ve made huge strides on When You Cut Into the Present. The Trondheim groove-meisters have created a career defining album of hard rocking music. They kick loose from the opening bars of Nebula and Red Giant, and never let go until the closing notes of Soundhouse Rumble. In between you’re treated a glorious assault on the sensory system which unleashes endorphins aplenty.
SIDSEL ENDRESEN AND STIAN WESTERHUS-BONITA.
One of the most eagerly awaited albums of 2015 was Sidsel Endresen and Stian Westerhus’ sophomore album Bonita. It was released on Rune Grammofon in January 2015. Bonita was the followup to Sidsel Endresen and Stian Westerhus’ debut album Didymoi Dreams. Just like Didymoi Dreams, Bonita is another album of groundbreaking, innovative music. However, unlike Didymoi Dreams, Bonita is a live album.
On Bonita, Sidsel Endresen and Stian Westerhus pickup where they left off on Didymoi Dreams, renewing what’s an almost telepathic relationship. Sidsel reacts to Stian’s guitar playing, and improvises. Her music veers between dramatic, ethereal, heartfelt, sensual and urgent. Listening intently, Stian picks up on a change of direction. Straight away, he reacts, and his trusty guitar and effects take the listener on a musical adventure. He’s responsible for washes of blistering, dramatic ethereal, jagged, fuzzy, scorching and understated music. This is the perfect compliment for Sidsel’s vocals.
Feeding off each other, Stian and Sidsel drive each other to greater heights, fusing elements of ambient, avant-garde, experimental, jazz, psychedelia and rock on Bonita, where Sidsel becomes yin to Stian’s yang. It’s no surprise that Bonita is an ambitious, captivating, and groundbreaking album from Sidsel Endresen and Stian Westerhus, two of Norwegian music’s most talented artists.
SKYDIVE TRIO-SUN MOEE.
For many musicians, making the step up from sideman to bandleader can be problematic. Other musicians embrace the role and seem to enjoy the added responsibility. That’s the case with guitarist Thomas T. Dahl. He founded Skydive Trio, who released their debut album Sun Moee on Hubro Music.
Sun Moee is the perfect showcase for one of Norway’s most talented guitarist, Thomas T. Dahl. His playing takes centre-stage on Sun Moee. Behind him, Olavi Louhivuori and Mats Eilertsen provide the backdrop for Thomas’ guitar wizardry. Although they’re both hugely talented and experienced musicians, it’s Thomas guitar playing that takes a starring role on Sun Moee. The music is variously beautiful, cinematic, dramatic, elegiac, ethereal, mesmeric, sparse, stirring and understated. Elements of jazz and rock melt into one. Occasionally, elements of avant garde and experimental music can be heard. Especially on Four Words, which closes Sun Moee, Skydive Trio’s debut album.
As debut albums go, Sun Moee is one of the best albums I’ve heard this year. That’s not a surprise, given Skydive Trio feature three of Scandinavia’s most talented musicians, who showcase their considerable talents on Sun Moee.
STEIN URHEIM AND MARI KVIEN BRUNVOLL-FOR INDIVIDUALS FACING THE TEROR OF COSMIC LONELINESS.
Stein Urheim and Mari Kvien Brunvoll have both enjoyed lengthy careers as solo artists. They’ve also collaborated on a trio of albums. The latest was Individuals Facing The Terror Of Cosmic Loneliness, which was released by Jazzland Recordings and recorded in just four days.
That hasn’t affected the quality of music on Individuals Facing The Terror Of Cosmic Loneliness. It oozes quality. oozes quality. The album is a filler free zone, on what can only be described as a genre-melting album. There’s everything from alt-sunshine pop, ambient, avant-garde, dub, Eastern blues, experimental, free jazz and synth pop. The result is an eclectic and potent mix of musical genres for two innovative artists, Stein Urheim and Mari Kvien Brunvoll.
Together, they have created an ambitious, innovative and captivating album. It’s like the musical equivalent of a magical mystery tour, where Stein Urheim and Mari Kvien Brunvoll “are coming to take you away” on. Over Individuals Facing The Terror Of Cosmic Loneliness’ nine tracks the music veers between atmospheric, beautiful, dark, dramatic, ethereal, haunting, hypnotic, melancholy, mesmeric, sparse, thoughtful and wistful. Quite simply, Stein Urheim and Mari Kvien Brunvoll’s Individuals Facing The Terror Of Cosmic Loneliness is an album that you’ll constantly return to
THE LAST HURRAH!!-MUDFLOWERS.
For over thirty years, H.P. Gundersen has been at the heart of Bergen’s thriving and vibrant music scene. The Bergen based singer, songwriter, guitarist and producer is a veteran of many groups, including Animal Farm, House Of Hiss, Nekken, Rust, Sensible Twins and The Stain Monster. Then there’s H.P. Gundersen’s latest project is The Last Hurrah!! They released their third album Mudflowers on Rune Grammofon in August 2015. Mudflowers marks the debut of the latest member of The Last Hurrah!!, up-and-coming vocalist Los Angeles based singer-songwriter Maesa Pullman.
For Mudflowers, bandleader H.P. Gundersen put together what can only be described as an all-star band. Everyone plays their part in the sound and success of Mudflowers. Marty Rifkin on pedal steel and John Thomas on Hammond organ play starring roles. However, the star of Mudflowers is Maesa Pullman, H.P. Gundersen’s latest discovery. She’s a versatile vocalist who breathes life, meaning and emotion into songs. Maesa Pullman has a great future ahead of her. So does the other vocalist on Mudflowers is Rosa Pullman, Maesa’s cousin. The Pullman family it seems, is a talented family. They’ve played a huge part in the success of The Last Hurrah!!’s third album, Mudflowers.
It’s an album that’s been inspired by an eclectic and disparate selection of musical genres. Everything from Americana, blues, country, pop, psychedelia, rock and even soul shine through on Mudflowers. One influence overshadows the rest. That’s country. Sometimes, Mudflowers sounds as if it’s been written and recorded in Nashville. Instead, Mudflowers was written and recorded in Bergen, Norway, and is a career defining album from The Last Hurrah!! On Mudflowers, A Star Is Born, and her name is Maesa Pullman.
That’s what I consider the twenty best Nordic Wave albums of 2105. Each and every one of these albums features groundbreaking music. These artists and bands combine a disparate and eclectic section of music. This includes everything from ambient and avant-garde, to experimental music, folk and free jazz through industrial and Musique concrète, Then there’s progressive rock, psychedelia, rock and space rock. Incredibly, these genre-melting fusions always works. Each of these bands are different.
There’s power trios, solo artists and supergroups. Then there’s veterans, collaborations and newcomers. Collaborators include Stein Urheim and Mari Kvien Brunvolll; while Finland, The Last Hurrah and Huntzville are worthy of the name supergroup. Among the newcomers are Black Moon Circle. Their sophomore album, The Studio Jams Volume I: Yellow Nebula in the Sky is the first of a trilogy of studio jams from the maverick space rockers. If the next two volumes are good as The Studio Jams Volume I: Yellow Nebula, they’re going to be essential listening. So is another newcomer’s debut album; As The Tired Trains Cross Europe’s debut album Lucid Moments.
As The Tired Trains Cross Europe’s debut album Lucid Moments is the perfect showcase for the the multi-talented, singer-songwriter Vegard Eggum. He’s a name you’ll be hear a lot more of during 2016. Hopefully, however, we’ll be hearing a lot more of every name on the twenty best Nordic Wave albums of 2105.
THE TWENTY BEST NORDIC WAVE ALBUMS OF 2015-PART 2.
THE BEST SCOTTISH ALBUMS OF 2015.
THE BEST SCOTTISH ALBUMS OF 2015.
It’s at this time of the year, I usually look back at the previous year. 2015 is no different. So over the last few weeks, I’ve immersed myself in the music of 2015. Somehow, I’ve managed to listen to, and remind myself of, the music I’ve reviewed during the past twelve months. I had planned to do this earlier, but there were some late entrants. They were well worth waiting for. So without any further ado, I’ll start my review of 2015. Given where I’m based, it’s seems fitting that I start with the best Scottish albums of 2015.
I’ve narrowed the best Scottish albums of 2015 down to 15. They’re mostly new albums, with one Scottish classic album that deserves a mention. Some of the artists will be familiar to most people, while others will be new to you. So without further ado, in A-Z order, I’ll briefly tell you about each release.
ADMIRAL FALLOW-TINY REWARDS.
Admiral Fallow were formed in 2007, by Glasgow based singer-songwriter Louis Abbott. They released their debut album Boots Met My Face in June 2009. Nearly three years later, Admiral Fallow released their sophomore album Tree Bursts In Snow in May 2012. Since then, it’s all been quiet on the album front.
That was until Admiral Fallow returned with Tiny Rewards in May 2015. It was released on the Canadian label Nettwerk. Tiny Rewards marked a welcome return from Admiral Fallow. It’s a truly captivating and eclectic, career defining album from Admiral Fallow.
ASTRID WILLIAMSON-WE GO TO DREAM.
Despite just releasing her sixth album, We Go To Dream, Astrid Williamson is still one of music’s best kept secrets. That’s despite a career that’s spanned three decades. Sadly, widespread commercial success that Astrid Williamson deserves has so far, eluded her. That’s why Astrid Williamson decided to reinvent herself.
The reinvention ofAstrid Williamson began on Pulse, which was released in 2011. Astrid Williamson continues to reinvent herself on We Go To Dream. It’s without doubt, the most eclectic album of Astrid Williamson’s career.
So much so, that We Go To Dream is a magical mystery tour through musical genres. Seamlessly, Astrid Williamson flits between and fuses disparate musical genres on We Go To Dream. Effortlessly, Shetland born chanteuse Astrid Williamson squares the musical circle on We Go To Dream, which features something for everyone.
BELLE AND SEBASTIAN-GIRLS IN PEACETIME WANT TO DANCE.
Purveyors of perfect indie pop, Belle and Sebastian are almost veterans of the Scottish music industry. Their Girls In Peacetime Want To Dance, was released back in January 2015. It was recorded in Atlanta, and was the third album to be produced by Ben H. Allen III. The result was an ambitious album.
With Ben H. Allen III’s help, Belle and Sebastian, not for the first time, reinvented themselves again. Some would have as believe that Girls In Peacetime Want To Dance it seems, is the musical equivalent of a midlife crisis. That’s far from the truth. Girls In Peacetime Want To Dance was an ambitious album where Belle and Sebastian were taken out of their comfort zone. The result was a first for Belle and Sebastian, a dance album. Now as the Belle and Sebastian’s twentieth anniversary fast approaches, it’s now time to move on. Maybe, that’ll mean a return of Tony Doogan as producer, who was responsible for some of return of some of Belle and Sebastian’s finest albums.
BILL WELLS AND AIDAN MOFFAT-THE MOST IMPORTANT PLACE IN THE WORLD.
Four years after the last musical sojourn, Scotland’s musical odd couple of Bill Wells and Aidan Moffat return with their long awaited sophomore album The Most Important Place In The World. It’s the followup to Bill and Aidan’s 2011 debut album, Everything’s Getting Older. It was received to widespread critical acclaim back in 2011. Since then, music lovers have been awaiting the return of the unlikeliest musical yin and yang, Bill Wells and Aidan Moffat. The Most Important Place In The World has been worth the four year wait.
On The Most Important Place In The World, Bill Wells and Aidan Moffat have returned with a dozen songs about Scotland’s dark underbelly. They’re songs that deserved to be turned into a short film. No wonder. The characters and scenarios are very realistic Macho men, drinkers rub shoulders with dancers, chancers and romancers. They’re responsible for fleeting fumblings, illicit romances and tales of love gone wrong. Even the loves songs have a twist in the tale.
There’s a reason for this. Bill Wells and Aidan Moffat keep it real. They write about what they know, what they’ve seen and experienced. That makes a difference. Far too many songwriters try and write about things they’ve neither experienced nor witnessed. Not Bill Wells and Aidan Moffat. Drawing upon their experiences, they combine caustic wit, cynicism and social comment with tragicomedy. Other times their lyrics are tinged with sadness, hurt and heartbreak as The Most Important Place In The World takes on a late-night sound. Other times, the music is joyous and uplifting, as seamlessly, the flit between musical genres. This they do throughout The Most Important Place In The World, which is without doubt, a fitting followup to Everything’s Getting Older.
CHVRCHES-EVERY OPEN EYE.
Earlier this year, Chvrches returned returned with their sophomore album Every Open Eye. It’s the follow up to their million selling 2013 debut album The Bones Of What You Believe. Chvrches pickup where they left off on The Bones Of What You Believe.
Every Open Eye, an album full of dance-floor fillers, anthems and beautiful ballads. The five months Chvrcges spent recording Every Open Eye was five months well spent. Every Open Eye is a stunning album, and almost flawless album.
DAVID KNOWLES-FOOTSTEPS.
David Knowles will be a new name to many people. However, it’s nearly twenty years since singer-songwriter he first picked up a guitar. Since then, David Knowles has been dreaming about releasing an album. That dream came true earlier this year, when he released Footsteps his long-awaited debut album.
Footsteps, which is the perfect introduction to one of music’s rising stars, David combines old, new and blues’ songs. There’s seven new songs from the pen of David Knowles sit side-by-side with covers of Ain’t No Sunshine and Hey Joe. Then there’s Satisfy My Soul, where David pays homage to his blues roots. This combination of old, new and blues on Footsteps, proves a introduction to one of music’s rising stars, David Knowles who hopefully, we’ll be hearing much more of.
ERRORS-LEASE OF LIFE.
Errors have come a long way since they were formed in Glasgow, in 2004, by Simon Ward, Greg Paterson and Stephen Livingstone. Back then, Errors’ makeshift studio was a bedroom. That was the Glasgow based musical alchemists laboratory. Through experimentation and innovation, Errors sound began to evolve, and earlier this year, released their fifth album Lease Of Life, on Mogwai’s Rock Action Records.
On Lease Of Life, Errors paint pictures with your music. Sometimes, they toy with your emotions on tracks like New Winged Fire and Early Nights. For much of the time, it’s as if Errors are providing the soundtrack to a series of short films. You can’t help let your imagination run riot. Before your eyes, plots and scenarios unfold. It’s an intriguing and captivating listen. Maybe Errors will follow in Mogwai’s footsteps and start making soundtracks? They certainly have the ability to do so.Then other times, Errors head for the dance-floor.
Somehow, Errors have managed to make an album that will appeal to everyone. Whether it’s the slower cinematic tracks, or the hands in the air anthems, there’s something for everyone on Lease Of Life. It features comeback Kings Errors making return to form with what’s undoubtably a career defining album.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED.
In the history of the Scottish Album Of The Year Award, Kathryn Joseph recently became the first artist to win Scotland’s most prestigious music award with a debut album. That debut album is Bones You Have Thrown Me and Blood I’ve Spilled, which was released back in January 2015, on Hits The Fan Records.
That was until Kathryn Joseph triumphed with Bones You Have Thrown Me and Blood I’ve Spilled. Winning Scotland’s most prestigious music award was a game-changer for Kathryn Joseph. Suddenly, her music was being heard by a much wider audience. Now she has just embarked upon a European tour, where Kathryn Joseph is sure to win over the hearts and minds of music lovers.
Especially given Kathryn Joseph’s vocal. It’s variously ethereal, haunting, heartfelt, melancholy and otherworldly. On each of the ten tracks on Bones You Have Thrown Me and Blood I’ve Spilled, Kathryn Joseph lyrics come to life. That’s down to Kathryn. She’s part singer, part storyteller. Each of her vocals are captivating. Partly, that’s because she tailors her vocal to suit the song. Sonically and stylistically, her vocal is unique. Especially, when she transforms her vocal into another instrument. This adds an extra dimension to the award winning Bones You Have Thrown Me and Blood I’ve Spilled. It’s a truly enchanting album.
LAU-THE BELL THAT NEVER RANG.
Ever since the release of their 2007 debut album. Lightweights and Gentlemen, Lau have been variously described as “adventurous,” and “modern folk’s most innovative band.” That’s no exaggeration. Lau are, without doubt, one of the most exciting and ambitious folk bands of their generation. That’s why Kris Drever, Martin Green and Aidan O’Rourke have been winning awards, praise and plaudits ever since. This includes winning the BBC Folk Award for the best group four times in six years. That takes some doing. However, Lau are no ordinary band. They’re pioneers and perfectionists.
Proof of that is The Bell That Never Rang, which feature the Edinburgh based band at their innovative best. Lau seamlessly combine disparate musical genres. Everything from Celtic, electronica, electro, folk, indie rock and rock is thrown into Lau’s melting pot. Producer Joan Wasser sprinkles some sonic magic and then gives this musical melting pot a stir. Only then is this musical treat ready to serve. And what a dish it is. It’s one fit for a king or queen. Lau have surpassed their previous efforts with The Bell That Never Rang. It marks a triumphant return from Lau with their genre defying Magnus Opus, The Bell That Never Rang.
MIAOUX MIAOUX-SCHOOL OF VELOCITY.
Although it’s been three years since Miaoux Miaoux released their debut album Light Of The North in June 2012, it’s just that the man behind Miaoux Miaoux, Julian Corrie has been one of the hardest working men in Scottish music. He’s been playing live and much in demand as a remixer. So, it’s taken three years for Miaoux Miaoux to release their much anticipated sophomore album School Of Velocity. Just like Light Of The North, it was released on Glasgow’s premier label Chemikal Underground. School Of Velocity is the latest chapter in Miaoux Miaoux story.
School of Velocity oozes quality. Miaoux Miaoux’s long awaited sophomore album, which was released by Chemikal Records, was part of the soundtrack to the sumner of 2015. Especially the hook-laden anthems. They’re plentiful, and went sure to go down a storm with DJs. Similarly, the anthems were festival favourites when Miaoux Miaoux plays live. The ballads show another side to Miaoux Miaoux. A reflective, rueful and sometimes hopeful and needy Julian Corrie lays bare his soul. This means there’s something for everything on School of Velocity. Whether it’s indie pop or dance music that’s your bag, then there’s something for everyone on School of Velocity, Miaoux Miaoux’s magical, musical merry-go-round that you’re sure not to want to get off.
MOGWAI-CENTRAL BELTERS.
2015 finds post rock pioneers Mogwai celebrating their twentieth anniversary. A lot has happened in that twenty year period. Mogwai have released eight studio albums and three soundtracks. These albums have been critical acclaimed and commercially successful not just in Britain, but in America. That’s why nowadays, Mogwai are regarded as Scottish music’s elder statesmen. So it was fitting when Mogwai released a three disc retrospective box set, Central Belters, on Rock Action Records. Central Belters tells the story of twenty years of Mogwai.
For the last twenty years, Mogwai’s music has been ambitious, bold, challenging, influential and innovative music. It’s full of nuances, subtleties and surprises as Mogwai seamlessly combine musical genres. They fuse ambient, avant garde, classic rock, electronica, experimental, indie rock, psychedelia and Krautrock, to create their unique post rock sound. All the time, Mogwai continue to push musical boundaries to their limits and even sometimes, way beyond. Mogwai have never been willing to stand still. The Mogwai Young Team’s music has continued to evolve, and doubtless will continue to do so.
Glasgow’s famous five are due a new musical adventure. It’s nearly two years since the release of Rave Tapes. Hopefully, Mogwai are hard at work in their Castle Of Doom studios on their next adventure. This isn’t the type of adventure Enid Blyton’s Famous Five once enjoyed. There’s no picnics, lemonade and bicycle trips. Instead, it’s a bit more edgy and gritty.That’s the case with Central Belters Mogwai’s career retrospective.
THE PHANTOM BAND-FEARS TRENDING.
Ever since 2002, The Phantom Band have been making music. They released their fourth album Fears Trending back in January 2015, on Glasgow’s premier label Chemikal Underground. Fears Trending was recorded at the same time as The Phantom Band’s previous album Strange Friend. However, Fears Trending is a very different album.
The songs on Fears Treading are longer, darker and filled with drama. Some of the songs have a much more experimental sound. Bursts of futuristic, sci-fi, shimmering synths augment the fusion of art rock, folk rock, indie rock, post rock and psychedelia on Fears Treading. It’s an eclectic and ambitious combination of influences. However, it’s a combination that works.
Although Strange Friend and Fears Trending are very different albums, they’re both are captivating and groundbreaking albums from one of Scotland’s top bands, The Phantom Band, who for thirteen years, have been pushing musical boundaries to their boundaries, and sometimes, beyond.
RACHEL SERMANNI-TIED TO THE MOON.
Three years have passed since Rachel Sermanni released her debut album Under Mountains in 2012. It reached number twenty-six in Scotland, and number twenty-three on the British Indie charts. Considering Rachel wasn’t signed to one of the bigger indie labels, this was a successful debut album. Her debut album was heard far and wide. Since then, the followup to Under Mountains has been eagerly awaited. The wait was over when Rachel Sermani released Tied To The Moon earlier this year.
At last, Scotland’s Queen of Nu Folk was back. She was joined by a talented band and Colin McLeod of Mull Historical Society. He produced Tied To The Moon and brings out the best in Rachel. Colin frame’s Rachel’s vocals with arrangements that veer between country, folk, pop and rock. Often, there’s a twist in the tale or a surprise in store. None more so, than on Tractor, which has single written all over it. Other times, Rachel seems to have been inspired by everyone from Bob Dylan, Tom Waits and Van Morrison, right through to Eva Cassidy, Joni Mitchell, Suzanne Vega, Bjork and P.J. Harvey. Their influence can be heard throughout Tied To The Moon. So can the traditional Scottish music Rachel Sermanni grew up listening to. It has influenced and shaped Rachel Sermanni as a singer and songwriter, as she makes the next step on what will surely be the road to stardom on Tied To The Moon.
SIMPLE MINDS-SPARKLE IN THE RAIN-DELUXE EDITION.
I can hear the cry already. Sparkle In The Rain isn’t a new album. It’s not, but in Scotland, it’s a classic album from Jim Kerr and Co. Sparkle In The Rain was reissued by Universal earlier this year. This was thirty-one years after Sparkle In The Rain was released in February 1984. It became Simple Mind’s most successful album, and reinvented the Glasgow band.
Eventually, Sparkle In The Rain was certified platinum in reached number sixty-four Britain. That wasn’t surprising. Sparkle In The Rain was peppered with hits, including Up On The Catwalk, Book Of Brilliant Things, Speed Your Love To Me and Waterfront. These tracks played their part in the reinvention of Simple Minds.
They left their electronic and new wave roots behind. Now, Simple Minds were well on their way to superstardom. The album that started this off was their Glasgow album. It’s bold, stylistic and full of confidence. Simple Minds are almost gallus as they strut their way across Sparkle In The Rain, en route for stadium rocking, superstardom.
SWEETHEARTS OF THE PRISON RODEO-PIGS IN THE BULL RING [HUMANS LIKE BEASTS].
Pigs In The Bull Ring [Humans Like Beasts] was released on the Wiseblood Industries label, and is the followup to Sweethearts Of The Prison Rodeo’s 2013 album, On The Desolate Hillside. It introduced listeners to Falkirk’s very own purveyors of freak-country-folk, the Sweethearts Of The Prison Rodeo. Their raison d’être is to release cerebral music with a social conscience.
The Sweethearts Of The Prison Rodeo don’t make things easy for themselves. Writing and recording a concept album wasn’t going to be easiest way to followup their debut album. Especially when it’s told by the ghost of Mussolini. This makes Pigs In The Bull Ring [Humans Like Beasts] sound like an album that harks back to the classic concept album of the seventies.
Pigs In The Bull Ring [Humans Like Beasts] doesn’t come courtesy of Pink Floyd, E.L.P. or Yes. Instead, it come from David King and his Falkirk collective, Sweethearts Of The Prison. They’re not progressive rockers. Far from it. Sweethearts Of The Prison Rodeo described themselves as a freak-country-folk combo. That’s almost selling themselves short. They combine everything from blues, country, folk, indie rock and indie rock. Musical genres combine and collide seamlessly on Pigs In The Bull Ring [Humans Like Beasts]. To this musical hotpot, Sweethearts Of The Prison Rodeo combine, melodies and subtle hooks and social comment.
That’s what I regard as the fifteen best Scottish albums of 2015. Many people will expect to see Belle and Sebastian, Mogwai, Chvrches, Errors, Lau The Phantom Band, Admiral Fallow and Miaoux Miaoux feature. Some of the other names on the list, most people won’t be so familiar with.
This includes Scotland’s musical odd couple Bill Wells and Aidan Moffat. Their contribution, The Most Important Place In The World is excellent late night-listening. Think Leonard Cohen meets Tom Waits’ Gutter Trilogy, and you get the right idea of what you’re missing. With Rachel Sermanni, those who have yet to discover her music, are missing Scotland’s Queen of Nu Folk. Then there’s Shetland born chanteuse Astrid Williamson, who if talented equated to commercial success would have a gold discs a plenty. Then there’s David Knowles, whose at the very start of his career. Finally, Sweethearts Of The Prison Rodeo’s concept album combines melodies and subtle hooks and social comment. It’s a captivating combination.
Captivating. That describes the fifteen albums on the list of The Best 15 Scottish Albums of 2015. They represent an eclectic selection of music that’s been released by Scottish artists and bands during 2015. There’s everything from electro, and indie pop, to post rock and Nu-Folk through perfect pop to some good old fashioned, harding rocking music. Then there’s anthems and hook-laden songs to ballads, cover versions and groundbreaking, genre-melting soundscapes. Essentially, there’s something for everyone, regardless of your musical taste. I can wholeheartedly recommend each and every one of these albums, that are a tantalising taste of the music released by Scottish bands and artists during 2015.
THE BEST SCOTTISH ALBUMS OF 2015.
BOB DYLAN-THE BEST OF THE CUTTING EDGE 1965-1966: THE BOOTLEG SERIES.
BOB DYLAN-THE BEST OF THE CUTTING EDGE 1965-1966: THE BOOTLEG SERIES.
Most artists never come close to releasing a classic album. Those that do, become part of musical history. For some though, releasing a classic album is often a burden.
They spend the rest of their life trying to reach the same heights. Constantly, they struggle to recapture the magic of their Magnus Opus. It’s that one album is what they’ll forever be remembered for. It doesn’t matter that they go on to release another twenty albums. Not at all. These albums are always compared to that one moment of musical genius. However, for a very few artists, a classic album isn’t a one-off.
The Beatles, The Rolling Sones, Van Morrison, Miles Davis, John Coltrane, Kraftwerk and The Velvet Velvet Underground released at least two classic albums. In The Beatles case, they released two consecutive classics, Rubber Soul in 1965 and Revolver in 1966. That however, almost pales into significance compared to what Bob Dylan did.
Between 1965 and 1966, Bob Dylan released a trio of classic albums. This started with Bringing It All Back on March 22nd 1965. Just over five months later, Bob Dylan returned with Highway 61 Revisited on August 30th 1965. This became Bob Dylan’s second consecutive classic. Two became three when Bob Dylan released Blonde On Blonde on May 16th 1966. By then, Bob Dylan was one of the most successful and celebrated musicians of the mid-sixties. He was a musical chameleon, the folk singer who had plugged in, and divided music. Even today, critics and cultural commentators still debate what Bob Dylan’s eschewing his folk stylings and plugging in.
This debate started again, when The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12 was released by Sony Music. It’s a two disc set that features thirty-six unreleased tracks recorded between 1965 and 1966. These tracks show how some of the songs on Bringing It All Back, Highway 61 Revisited and Blonde On Blonde took shape. It’s a fascinating insight to three classic albums. The first, Bringing It All Back was released on March 22nd 1965.
Bringing It All Back.
The first of Bob Dylan’s triumvirate of classics was Bringing It All Back Home. By then, Bob Dylan had changed. Many traced this back to when he met The Beatles in 1964. That was when Bob Dylan was alleged to have introduced the Fab Four to Mary Jane. Some critics wondered wether Bob Dylan was “indulging”?
Around the time Bob Dylan met The Beatles, his lyrics were akin to a stream of consciousness. They had a dreamlike, surreal quality. This would become apparent when Bob Dylan entered the studio to record Bringing It All Back.
Recording at Columbia Recording Studios, New York City between January 13th and 15th 1965. That’s when Bob Dylan recorded the ultimate album of two sides.
For what became side one of Bringing It All Back, Bob Dylan plugged in, and played with a rock ’n’ roll band. Producer Tom Wilson watched as Bob Dylan and his band showed another side to their music. They worked their way through seven songs, including Subterranean Homesick Blues, Maggie’s Farm and Love Minus Zero/No Limit. Little did Bob Dylan that by plugging in his guitar, he would divide his audience.
Then on side two of Bringing It All Back, Bob Dylan packed away his electric guitar away on side two. Out came his trusty acoustic guitar, and Bob Dylan the folk singer returned. Two of the highlights of side two were two future classics Mr. Tambourine Man and It’s All Over Now, Baby Blue. None of these songs were recorded in one take.
Far from it. Often, numerous takes were required during the Bringing It All Back sessions. That’s apparent on The Best Of The Cutting Edge 1965-1966: The Bootleg Series, Volume 12. They feature six alternate takes. This includes versions of Subterranean Homesick Blues (Take 1), Outlaw Blues (Take 2,) and On The Road Again (Take 4). On each of these “electric” tracks, Bob Dylan plugs in. Not on Love Minus Zero / No Limit (Take 2, Acoustic) and Bob Dylan’s 115th Dream (Take 2, Solo Acoustic). Both versions feature a much more stripped back, acoustic sound. Then on Mr. Tambourine Man (Take 3, With Band, Incomplete), which was meant for side two, the band fluff their lines. However, just like each and every track, gradually, this classic album is honed by Bob Dylan, his band and producer Tom Wilson. By 15th January 1965, Bringing It All Back was compete.
Bringing It All Back was released on 22nd March 1965 to almost overwhelming critical acclaim. Critics were won over by Bob Dylan’s dreamlike lyrics. They may have sounded like a stream of consciousness to some, but Bob Dylan was just as incisive as ever. The album featured stonewall classics like Subterranean Homesick Blues and Mr. Tambourine Man. Then there’s tales of betrayal and heartfelt paeans. Bob Dylan calls a former lover a “witchy woman” on She Belongs To Me. By contrast, Love Minus Zero/No Limit was a paean to his future wife. Other songs were much more straightforward. Maggie’s Farm was straightforward blues; while On The Road Again has been inspired by Jack Kerouac’s classic road novel On The Road. However, Bob Dylan’s delivers a sideswipe at hypocrisy, rampant commercialism and those he sees as war mongers on It’s Alright, Ma (I’m Only Bleeding). It was Bob Dylan at his incisive best, as metamorphosed, from folk singer to rock singer.
This didn’t please everyone. Side one of Bringing It All Back alienated parts of Bob Dylan’s audience. They turned their back on the man they saw as a poet and prophet. However, a new audience embraced Bringing It All Back, and it reached number three in the US Billboard 200, and number one in Britain. Bringing It All Back was certified gold in Britain and platinum in America. That wasn’t the end of the success for Bob Dylan.
Three singles were released from Bringing It All Back. Maggie’s Farm was released on 8th March 1965, and reached number twenty-two in Britain. Then Subterranean Homesick Blues was released in June 1965, reaching number thirty-nine in the US Billboard 100, and number nine in Britain. Only Gates Of Eden, which was released in July 1965, failed to chart. However, that hardly seemed to matter, as Bob Dylan had released a million selling, classic album. Soon, one would become two.
Highway 61 Revisited.
By the time Gates of Eden, the final single from Bringing It All Back was released, Bob Dylan was almost finished recording his next album, Highway 61 Revisited. He had been locked away in Columbia Studio, New York, between June 15th and August 4th 1965. During that period, Bob Dylan and his band recorded nine songs with producer Bob Johnston and Tom Wilson who produced Like A Rolling Stone.
Just like on Bringing It All Back, Bob Dylan had penned tracks that would become not just classics, but features of his live sets. Among them, were Like A Rolling Stone, Tombstone Blues, Ballad Of A Thin Man, Just Like Tom Thumb’s Blues and Desolation Row. These songs came to life with the help of Bob Dylan’s backing band, The Hawks.
Their illustrious lineup included guitarist Mike Bloomfield and organist Al Kooper. They helped Bob Dylan combine blues, folk and rock, with lyrics that can only be described as poetic on ten tracks. The exception was Desolation Row, an eleven minute epic. It was part of an album that was heralded as revolutionary. However, it wasn’t all plain sailing.
Similar to Bringing It All Back, some of the tracks took longer to nail. This is apparent on The Best Of The Cutting Edge 1965-1966: The Bootleg Series, Volume 12. There’s a piano demo of Desolation Row. Then from the rehearsals there’s Like A Rolling Stone (Take 5, Rehearsal). Among the alternate takes are Like A Rolling Stone (Take 11, Alternate Take), Desolation Row (Take 1), Tombstone Blues (Take 1), Highway 61 Revisited (Take 3 and Take 7, False Start), It Takes a Lot to Laugh, It Takes a Train to Cry (Take 8) and Queen Jane Approximately (Take 5,). These tracks are a fascinating insight to what would become a classic album. Often, the tracks are work in progress, and very different to what they became. What they eventually became part of, is Bob Dylan’s second consecutive classic album.
On its release, on August 30th 1965, reviews of Highway 61 Revisited were mixed. The worst were favourable, while the most supportive, heralded Highway 61 Revisited as a revolutionary album. Bob Dylan had completed his transformation from folk to rock singer. However, he hadn’t forgotten his folk roots, and flitted between blues, folk and rock. All the time, Bob Dylan his poetic lyrics in his own inimitable style.
For some critics, Highway 61 Revisited was a slow burner, and the more they listened to the album, the more arresting and caotivatibg it become. Even the doubters were willing to admit later, that Bob Dylan had released another classic album.
Before the release of Highway 61 Revisited, Bob Dylan released Like A Rolling Stone in July 20th 1965. It reached number two in the US Billboard 100 and number four in Britain. When From A Buick 6 was then released on September 7th 1965, it failed to chart. So did Highway 61 Revisited, which was released on December 21st 1965. By then, Highway 61 Revisited was well on the way to selling a million copies in America.
Highway 61 Revisited reached number three in the US Billboard 200 and number four in Britain. This resulted in another platinum disc for Bob Dylan in America, plus gold discs in Britain and Canada. Bob Dylan must have thought things couldn’t get much better. They did. Two became three.
Blonde On Blonde.
Despite releasing two million selling albums during 1965, Bob Dylan wasn’t content to take things easy. He embarked upon a gruelling tour to promote Highway 61 Revisited, and began work on what what became Blonde On Blonde.
Never before had Bob Dylan released a double album. Blonde On Blonde was a first. Bob Dylan prepared to record sixteen new tracks with his live band The Hawks. These sixteen tracks would take-up four sides of vinyl. However, recording of Blonde On Blonde wouldn’t take place during one session. Instead, Bob Dylan recorded whenever and wherever he could.
The first recordings session took place with producer Bob Johnston on October 5, 1965 at Columbia Studios, New York. Bob Dylan returned on November 30th 1965 and January 25th 1966. Then between February 14th and 17th, Bob Dylan made his way to Columbia Studio B, Nashville, Tennessee. That’s where he returned for the final session. It took place between March 8th and 10th 1966. At last, Bob Dylan’s seventh studio album, Blonde On Blonde, and first double album was complete. The Blonde On Blonde sessions yielded a plethora of outtakes.
They feature on The Best Of The Cutting Edge 1965-1966: The Bootleg Series, Volume 12. This includes a piano demo of I’ll Keep It With Mine (Take 1) and an early version of Temporary Like Achilles (Take 1). There’’s also rehearsals of Just Like Tom Thumb’s Blues (Take 3), Visions Of Johanna (Take 5) and She’s Your Lover Now (Take 6). Then Bob Dylan headed to the studio.
In New York and Nashville, Bob Dylan began to record Blonde On Blonde. He tried acoustic versions of Farewell, Angelina (Take 1) and a solo acoustic version of You Don’t Have To Do That (Take 1). Then the band join Bob on alternate takes of Pledging My Time (Take 1), One Of Us Must Know (Sooner Or Later) (Take 19), I Want You (Take 4), Stuck Inside Of Mobile With The Memphis Blues Again (Take 13), Leopard-Skin Pill-Box Hat (Take 8), Just Like A Woman (Take 4) and Absolutely Sweet Marie (Take 1). With Blonde On Blonde completed, the album was scheduled for release on 16th May 1966.
Before that, One of Us Must Know (Sooner or Later) was released as a single on 14th February 1966. Incredibly, the single failed to chart in America, and only reached number thirty-three in Britain. Then Rainy Day Women ♯12 and 35 was was chosen as the second single, and released in April 1966. It reached number two in the US Billboard 100 and number seven in Britain, and would become a Bob Dylan classic. So would Blonde On Blonde.
Straight away, many critics realised the importance of Blonde On Blonde. Most reviews were favourable. A few critics realised this was one of the best albums of Bob Dylan’s career. Some went as far as to say it was a career defining album. They wondered whether Bob Dylan had come of age on what was, the second chapter of his chameleon-like career. Folk-rock, blues and rock combined with a hint of country shawn through on Blonde On Blonde. Poetic and cinematic, and rich with imagery and emotion, it was no surprise that Blonde On Blonde proved so popular.
When May 16th 1966 came round, Blonde On Blonde became one of Bob Dylan’s biggest selling albums. Blonde On Blonde reached number nine on the US Billboard 200, and number three in Britain. This resulted in Blonde On Blonde being certified double-platinum in America, and platinum in Britain. By then, another three singles had been released from Blonde On Blonde.
The third single from Blonde On Blonde was I Want You, which was released in June 1966. It reached number twenty in the US Billboard 100 and number sixteen in Britain. Just Like A Woman was released in September 1966, and reached just thirty-three in the US Billboard 100. Leopard-Skin Pill-Box Hat, the almost surreal sounding electric blues was released in April 1967, but reached just eighty-one in the US Billboard 100. While the singles hadn’t sold in the same quantities as Blonde On Blonde, Blonde On Blonde became Bob Dylan’s third consecutive classic.
From Bringing It All Back through Highway 61 Revisited to Blonde On Blonde, Bob Dylan could do no wrong. He sold over four million albums in America alone. This triumvirate of classic albums featured a plethora of classics songs.
Bob Dylan was enjoying one of the most prolific period of his career. Among the songs he penned during this period were Subterranean Homesick Blues, Mr. Tambourine Man, Like A Rolling Stone, Rainy Day Women ♯12 and 35, Leopard-Skin Pill-Box Hat and Just Like A Woman. They’re just a few of the song Bob Dylan recorded between 1965 and 1966. Each of these songs are almost imprinted on many music fan’s consciousness. They know every subtly and nuance of these classics. However, on The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12, which was released by Sony Music, these songs sound very different.
The thirty-six songs on The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12 are work in progress. Bob Dylan and his band are in the process of ironing out the kinks. They begin to take shape. That’s apparent when there’s two different versions of the song. It’s case of compare and contrast, then doing the same with the finished version. Often, it’s hard to work out how the song on The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12 became that familiar song on Bob Dylan’s trio of mid-sixties classic. This makes The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12 a captivating album.
Bob Dylan has been releasing the Bootleg Series since 1991. They celebrate their twenty-fifth anniversary this year. Four of the twelve instalments have been certified gold in America; while three have been certified silver in Britain. The Bootleg Series is an extremely popular series. So far The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 12 has reached number thirty-three in the US Billboard 200, and number twelve in Britain. That’s not surprising. The Best Of The Cutting Edge 1965-1966: The Bootleg Series Volume 1 is a lovingly compiled and curated series, which is like eavesdropping in musical history being made.
BOB DYLAN-THE BEST OF THE CUTTING EDGE 1965-1966: THE BOOTLEG SERIES.
PHALL FATALE-MOONLIT BANG BANG.
PHALL FATALE-MOONLIT BANG BANG.
Three years after releasing their debut album Charcoal From Fire, Phall Fatale return with their eagerly awaited, and extraordinary eclectic sophomore album Moonlit Bang Bang. It will be released on Slowfoot Records on 15th January 2016. Moonlit Bang Bang marks the return of this truly cosmopolitan band. Their story began in the spring of 2008.
That’s when Phall Fatale were first formed. Its five members are from Britain and Switzerland. Bassist John Edwards is from London. Drummer Fredy Studer, double bassist Daniel Sailer and vocalists Joy Frempong and Joana Aderi are all Swiss. They’ve worked with some of the biggest names in music. However, back in the spring of 2008, they were ready to form their own band.
For many musicians, making the decision to form a band is the easy enough. The hardest part, can be coming up with a name. That can prove tricky.
Just like many bands before them, the members of Phall Fatale wanted a name that would stand out from the crowd. So they decided to embark on some blue sky thinking. Thinking outside the box worked, and Phall Fatale was born. The band took its name from the famously fiery curry, the Phall, and Fatale as in femme fatale. Now sporting what was a memorable moniker, Phall Fatale started to make music.
This wasn’t going to be staid and traditional music. Instead, it would be music that was new, exciting, energetic, innovative. and unpredictable. Infused with enthusiasm, and the spirit of ’76, this group of musical mavericks set about rewriting the musical rulebook.
Before that, they tore up the original rulebook. All bets were off. Now this extraordinary group of musicians set about doing things their way. This meant combining not just a disparate and eclectic selection of musical genres, but the music that had influenced them.
For the five members of Phall Fatale, this meant everything from ambient, avant pop and free jazz to avant garde, experimental and post punk. That’s not forgetting what Phall Fatale describe as leftfield vocal jazz and alt-R&B. All these genres became part and parcel of Phall Fatale’s unique sound. So did the influence of Nina Simone, Jimi Hendrix, Iannis Xenakis and Albert Ayler. These artists had influenced the members of Phall Fatale, who in the Spring of 2008, embarked upon their nascent career.
It took just over a year for Phall Fatale to hone and sculpt their own sound. By September 2009, Phall Fatale were ready to record their debut album. So the five members of Phall Fatale made their way to the Saraswati Studios. They’re situated in the Izery mountains of southwestern Poland. Such beautiful surroundings were almost guaranteed to inspire Phall Fatale as they began work on what became, their debut album Charcoal From Fire.
Once Phall Fatale had finished recording Charcoal From Fire, the album was mixed during the summer of 2010 at Kirschlab Studio, in Zurich, Switzerland. However, it wasn’t until 2012, that Charcoal From Fire would be released.
When Charcoal From Fire was released in 2012, Phall Fatale’s debut album was a mixture of ten new songs and some familiar tracks. This included Bob Dylan’s Desolation and Nina Simon’s Four Women. Both songs were given makeovers, and transformed into something neither artist ever envisaged. Music was added to William Blake’s The Angel, bringing new meaning to the seminal poem. It’s no wonder that critical acclaim accompanied the release of Charcoal From Fire. The Anglo-Swiss musical mavericks had created a genre-melting, and sometimes, genre-defying album. Phall Fatale took a hint of one musical genre, and then added a twist of another. Sometimes, several musical genres were added together. They were like a Michelin star chef, carefully adding ingredients and gradually creating a musical dish that was hailed as ambitious, adventurous, imaginative and inventive. Here was a group that were going to shake up music. The followup to Charcoal From Fire was eagerly awaited.
After a year became two, people wondered what had happened to Phall Fatale? When was their long-awaited sophomore album going to be released? However, what record buyers didn’t realise, was that the members of Phall Fatale are involved in other musical projects.
London based John Edwards is well known, and highly respected figure within avant garde music. He’s worked with Evan Parker, Peter Brötzmann and Wadada Leo Smith. When not working with the great and good of avant garde, John finds time to perform the songs of Robert Wyatt in Comicoperando. John’s not the only one to have a busy schedule.
The other members of the rhythm section are equally hard working. Drummer Fredy Studer has played alongside some of the biggest names in music; including Joe Henderson, Miroslav Vitous, Dave Holland, Jack DeJohnette, Paul Motian, John Abercrombie, John Zorn and Fred Frith. Previously, bassist Daniel Sailer has showcased his versatility, playing both classical music and hardcore noise with O’Haldenramm, Krakatau, Pol, Frachter. This is very different to the music made by Phall Fatale’s vocalists.
Joana Aderi makes experimental electronica under the alias of Eiko. Joy Frempong is one half of OY, who are signed to Belgian label Crammed Discs. Each of the five members of Phall Fatale are making very different types of music when away from the band. These disparate and eclectic types of music can be heard on Phall Fatale’s eagerly awaited sophomore album Moonlit Bang Bang.
Just like their debut album Charcoal From Fire, Moonlit Bang Bang, is a mixture of new songs and a cover versions. The cover versions include Jimi Hendrix’s Manic Depressionm and Edward Vareses’s Un Grand Sommeil Noir, complete with words by symbolist poet Paul Verlaine. However, the rest of the songs on Moonlit Bang Bang is the work of Phall Fatale.
Vocalist Joana Aderi has penned five songs, including The Girl, The Beat, Fish Tank, Crocodile, Tree House and Sleeping Beauty. Joana Aderi also cowrote Sugar Drops with John Edwards; and Ring The Bell with Joy Frempong. She in turn, cowrote Funny Money with John Edwards; and cowrote the music to Electric Eel, which features the words of poet Slade Hopkinson. Joy Frempong also added the music to Anne Bronte’s Night. It seems that when Phall Fatale began recording Moonlit Bang Bang, they were on course to become the most literate group in music.
Recording of Moonlit Bang Bang took two sessions to record. The first came at Machinastudios in Switzerland, between the 5th and 8th July 2014. Things were put on hold until August 28th 2014. That’s when Phall Fatale made their way to RePublica Studios, Lubrza, in Poland. By the 3rd September 2014, Moonlit Bang Bang was complete. All that was left was for Moonlit Bang Bang to be released between November 24th and December 9th 2014. Then Moonlit Bang Bang was ready for release.
History repeated itself, when there was a time lag between the recording and release of Phall Fatale’s sophomore album, Moonlit Bang Bang. However, at last, and four years after the release of Charcoal From Fire, Phall Fatale return with their eagerly awaited sophomore album Moonlit Bang Bang.
Opening Moonlit Bang Bang is The Girl, The Beat, which has been chosen as the lead single. That’s no surprise. The arrangement glides into being, reminiscent of Grace Jones. By then, a disparate fusion of genres can be heard. This includes bub and electronica. Meanwhile, the rhythm section lay down a backdrop that more than hints at jazz, funk and reggae. Sitting proudly atop the arrangement is a heartfelt, soulful and sultry vocal. Just like the rest of the song, oozes quality.
Sugar Drops finds Phall Fatale bowling a curveball. Shimmering synths give way to a masterclass on double bass by Daniel Sailer. His fingers flit up and down the fretboard. Not once does Daniel miss a beat. Somehow, the post punk inspired vocal keeps up. It’s been inspired by The Slits, and much later, the B52s. Rolls of drums and percussion join harmonies as the track heads towards a crescendo. Symmetry is the order of the day, with the two vocalists sing and crave “I need more sugar.”
A carefully plucked bass opens Electric Eel. This time, the bass is alone. Symmetry plays an important part in Phall Fatale’s sound. They deploy two basses and two vocalists. Here, though, the arrangement unfolds slowly, and dramatically. The lone bass is accompanied by a smattering of electronics and a slow, lone vocal. It adds to the drama. Soon, though, the tempo increases and the bases unite with the drums. They soon fatten up the sound. One vocal becomes two as tempo increases only to decrease. Stop-start describes the arrangement. Meanwhile, elements of jazz, funk, electronica, avant pop and even hip hop combine. There’s even a diversion via avant garde and free jazz, whilst a hint of the Caribbean shines through, on this genre-melting musical adventure from musical mavericks Phall Fatale.
Rather than plucked, the double bass is played like a cello as Fish Tank unfolds. This produces an almost discordant, but captivating sound. One wonders where this Fish Tank is heading? A vocal almost lacking in feeling is accompanied by just basses. Then effects shroud the nihilistic vocal. It’s full of desperation singing: “I wish I could die.” After that, nihilism gives way to a much more melodic vocal. Still, though, hope is absent, as the two contrasting vocals flit in and out. As they do, Phall Fatale conbine avant garde, experimental, indie pop, jazz and post punk, on what’s akin to a cathartic unburdening, or cry for help.
Ring The Bell lasts just under a minute, but during that time, Phall Fatale’s two vocalists become one. They draw inspiration from hip hop, dancehall and even Indian vocal percussion exercises. It’s very different from what’s gone before, and showcases Joana Aderi and Joy Frempong considerable vocal prowess.
Relentless, buzzing synths open Crocodile, while effects shroud Joana and Joy’s vocals. They deliver a vocal full of emotion and hope, encouraging even those from the humblest of backgrounds, never to settle for second best. Anything is possible sings Joy and Joana against a post punk arrangement. That’s until it becomes stop-start, and a bowed cello interjects. This works, and offers a contrast. Later, Phall Fatale are at their most inventive. Futuristic, otherworldly, sci-fi sounds chatter, as synths buzz, guitars grind and drums pound. This results in a delicious cacophony of eclectic, leftfield sounds. They play what’s an alternative, 21st Century mini-symphony. It takes detours via avant garde, industrial and musique concrète, before the track becomes melodic with subtle hooks.
Slowly and deliberately percussion plays on Tree House. Already, there’s more than a hint of musique concrète and industrial music. When the vocal enters, it’s delivered earnestly and dramatically. By now, Phall Fatale seem to have been partly inspired by Portishead. The music becomes cinematic, haunting, moody, as they draw inspiration from avant grade and experimental music. In doing so, one of the highlights of Moonlit Bang Bang slowly takes shape.
Rumbling drums and grinding synths join the deliberate vocal on Funny Money. Soon, the arrangement becomes melodic, with world music just one of the disparate genres that have influenced Phall Fatale. They turn their guns on the machinations of the greedy and some would say, incompetent bankers who caused the financial crash. Funny Money finds Phall Fatale combining social comment with subtle hooks, and a multiplicity of musical genres. It’s a potent mix.
Un Grand Sommeil finds a lone plucked bass combining with cymbals that are almost caressed. They set the scene for a heartfelt, emotive and haunting delivery of Paul Verlaine’s poem. It’s truly beautiful and most memorable.
Pans ring out on Sleeping Beauty, while percussion punctuates the meander arrangement. After forty-five seconds, the vocal enters. It’s delivered with emotion. Meanwhile, drums pound, while pans and percussion add an understated backdrop. That’s till the arrangement explodes, and heads in the direction of post punk. At the chorus, the vocal is delivered in call and response style. By then, the Sleeping Beauty has awakened from her slumbers. That’s until the arrangement becomes stop-start. This is one of Phall Fatale’s favourite tricks. It works though, and adds to the drama, energy and electricity of the track.
It’s always risky covering a track by a true musical icon. However, Phall Fatale take that risk on Jimi Hendrix’s Manic Depression. Literally, the arrangement explodes into life, before dissipating. Then Phall Fatale’s vocalists sound as if they’re living the lyrics. Their vocals are shrouded in effects, while a battery of electronics and effects crackles and bristles. Again the arrangement becomes stop start, veering between explosive and blistering, to a much more understated, experimental sound. From there, Manic Depression becomes a musical merry-go-round, where Phall Fatale pay homage to a true musical legend, Jimi Hendrix, in their own, inimitable way.
Night closes Moonlit Bang Bang. A bowed bass produces an eerie, otherworldly backdrop. This is perfect for the vocal, as Anne Bronte’s words come to life. They’re delivered slowly, earnestly, and dramatically. Meanwhile, a wash of sound gradually builds. Cymbals ring out, and Anne Bronte’s wistful words take on new meaning. It’s the perfect way to close Phall Fatale’s long-awaited sophomore album, Moonlit Bang Bang.
Some things are well worth waiting for. Moonlit Bang Bang is one of these things. Music fans have waited three long years for the followup to Charcoal From Fire. However, their patience has been rewarded, and Moonlit Bang Bang will be released on Slowfoot Records on 15th January 2016. It’s an album that shows how Phall Fatale had grown and matured as a band.
Despite featuring twelve tracks, Phall Fatale never let their standards slip on Moonlit Bang Bang. It’s a captivating musical journey through what’s a disparate selection of genres. There’s everything from avant garde, ambient and avante pop to Caribbean and classical through electronica and experimental via free jazz, industrial, musique concrète and rock. That’s not forgetting a hint of funk, reggae and soul, plus plenty of post punk stylings. Moonlit Bang Bang is a truly eclectic album; one that takes the listener on a roller coaster ride through the music of the past fifty years.
That’s not surprising. Phall Fatale have been inspired by Nina Simone, Jimi Hendrix, Iannis Xenakis and Albert Ayler. That’s not all. On Moonlit Bang Bang, they’ve been influenced by. Everyone from Grace Jones through to Portishead, via The Slits, and The B52. This myriad of influences results in a musical potpourri. However, it works.
Producer Roli Mosimann is given the job of bringing together the talents and energy of Phall Fatale on Moonlit Bang Bang. He’s worked with JG Thirlwell, Young Gods, New Order, The The, Faith No More Studer, and almost effortlessly and seamlessly, harnesses the combined and considerable talents of Phall Fatale.
Together, the five musical mavericks that makeup Phall Fatale, have produced an album that’s variously eclectic, inventive, melodic and sometimes, beautiful, poignant music. Other times, the music has a fragility, and bristles with emotion. Then just as quickly, Phall Fatale kick out the james and unleash a post punk powerhouse. That’s why, musically, Phall Fatale are something of an enigma, who are always capable of springing a surprise, and taking the listener in the most unexpected direction, on what’s a truly captivating musical adventure, Moonlit Bang Bang.
PHALL FATALE-MOONLIT BANG BANG.
HARMONIA-DELUXE.
HARMONIA-DELUXE.
In June 1975, the three members of Harmonia returned to their studio in Forst for the recording of their sophomore album, Deluxe which was rereleased by Grönland Records on 18th December 2015. Deluxe would become the followup to Musik Von Harmania, which had been released in January 1974. Sadly, this groundbreaking album had failed to find an audience. It was a bitter blow for Harmonia.
Following Brain Records’ release of Musik Von Harmania in January 1974, Harmonia headed out on a promotional tour. In these pre-internet days, this was the only way a band had of promoting their album. Harmonia could’ve picked a better time for a tour.
The tour took place was the middle of a long, cold German winter. Early 1974 was especially cold. Harmonia travelled wrapped in layers of clothes. Their gruelling schedule saw them criss cross Germany. Some nights they played towns, other nights, some of West Germany’s biggest cities. Among the audience were fans of Neu! and Cluster. They were joined by the few people who had bought Musik Von Harmonia. Those that made their way to each venue, heard this nascent supergroup at their inventive best. This included on the 23rd March 1974, at Penny Station in Griessem, Germany.
That night, Harmonia’s concert at Penny Station in Griessem was to be recorded, and would be released as a live album. Buoyed by the thought of recording their debut live album, Harmonia gave one of their finest performances of their winter tour. From the moment Harmonia took to the stage, they were at their innovative, genre-melting best. Those that heard Harmonia that night, thought that the resultant live album would be the perfect showcase for the nascent supergroup.
It should’ve been. Sadly, the resultant live album, Live 1974 would only be released on 18th September 2007. By then, the Harmonia story had taken several few twists and turns.
Once Harmonia’s tour was over, Hans-Joachim Roedelius and Dieter Moebius began work on the next Cluster album. Meanwhile, Michael Rother and Klaus Dinger owed Brain Records an album. Then Neu! would have fulfilled their contractual obligations.
Neu! 75.
For the recording of what became Neu!! ’75, Michael Rother and Klaus Dinger reunited in December 1974 at Conny Plank’s studio. By then, Conny’s Studio was the go-to recording studio for German groups. They all wanted “the genius” to sprinkle his magic on their albums. This would be the case for Neu! ’75.
The two members of Neu! had changed. Klaus was heavily into rock music, while Michael’s interest in ambient music was growing. As Michael explains: “After two years apart, we were different people. To complicate matters, Klaus wanted to move from behind the drum kit. He felt he was hidden away. I can understand this. But it was what Klaus did so well. However, he wanted to become an entertainer, playing the guitar and singing. He wanted to bring in two new musicians to replace him.” This included Klaus’ brother Thomas and Conny Plank’s former engineer Hans Lampe. These new musicians would allow Neu! to make a very different album.
Michael realised this was problematic. “By then Klaus could be difficult to work with. I realised we had compromise, so ended making an album with two very different sides. Side one was old Neu! and side two was new Neu!” On side two Klaus come out from behind his drum kit and play guitar and sing. He became the entertainer on what proved to be an album of two sides. It was completed in January 1975, and released later that year.
When critics were sent copies of Neu! ’75, they were struck by side one’s subtle, ambient, melodic sound. Michael remembers: “we used keyboards and phasing a lot on both sides. While Michael Rother’s name was written large all over side one; side two was very different, and quite unconventional. Reviews were mixed, partly because of side two. Some critics felt that if Neu! ’75 had the same sound throughout, it would’ve been hailed a classic. However, later Neu! ’75 and Neu!’s earlier albums would be reevaluated. Before that Neu! ’75 was released.
Just like Neu! 2, Neu! ’75 didn’t sell well. The problem was, many people didn’t understand what was essentially parts of two disparate albums joined together. The proto-punk of side two was so different from the ambient sound of side one. Records buyers were confused, and didn’t understand what Neu! stood for? It seemed that Neu! were just the latest groundbreaking group whose music was misunderstood and overlooked.
Michael looking back at Neu! ’75 reflects: “It was a time time. Klaus wasn’t the easiest person to work with. He was involved with different people, and being pulled in different ways. We were also very different musically. Then there were the new drummers on side two. They weren’t particularly good. Certainly neither were as good as Klaus,” a rueful Michael remembers. “It was a difficult project. By then Klaus was different to the man I’d met a few years earlier.” Michael wouldn’t work with Klaus for another decade. By then, Michael would’ve embarked upon a solo career. That was still to come. Before that, Michael would record what became Harmonia’s sophomore album, Deluxe.
Deluxe.
With Neu! having fulfilled their contractual obligations, Michael Rother was free to record Harmonia’s sophomore album, Deluxe. So Hans-Joachim Roedelius and Dieter Moebius took time out from Cluster. Now, they could begin work on the followup to Musik Von Harmonia, Deluxe.
Joining the three members of Harmonia, was a new face, Conny Plank, who was co-producing Deluxe. Conny Plank and Michael were good friends, and had worked together on three projects. This included Kraftwerk’s aborted album and Neu!’s two album. The addition of the man who Michael Rother calls: “the genius,” just happened to coincide with Harmonia changing direction musically.
Deluxe saw a move towards Kominische musik. Partly, this was down to the addition of Guru-Guru drummer Mani Neumeier. He played on some tracks, and added a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. That wasn’t Michael’s only influence.
The music on Deluxe was more song oriented. This was Michael Rother’s influence. He had taught the two members of Cluster the importance of structure. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound.
“This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe,” Hans-Joachim Roedelius reflects. Michael Rother agrees. “Every album I’ve made I set out for it to be commercial. Sometimes, though, it doesn’t work out that way.” Sadly, that proved to be the case.
When Deluxe was released in 1975, it was to the same critical acclaim as Musik von Harmonia. The noticeable shift to what was a more commercial sound, surely would lead to a change in Harmonia’s fortunes?
That wasn’t to be. Deluxe was released on 20th August 1975, and sales of the album were slow. They never picked up, and history it seemed, was repeating itself. Michael reflects: “Still our music was being ignored. It was a difficult time for us. So much so, that Michael decided to record his debut solo album. However, he left and the other members of Harmonia left behind a classic album, Deluxe.
Straight away, Harmonia’s showcase their finely sculpted, and much more structured sound on Deluxe. Michael Rother had encouraged the other members of Harmonia to incorporate traditional song structures on the album. This he told them, would be easier to replicate live. However, two other changes played an important part in Deluxe’s sound and eventually, success.
The two other changes Michael Rother made, were to bring onboard Conny Plank to co-produce Deluxe; and Guru Guru drummer Mani Neumeie to play on some tracks. Deluxe was going to be a very different album, and the new Harmonia make their presence felt from the get-g0.
A futuristic synth signals the arrival of the synths and keyboards on album opener Deluxe (Immer Weiter). Washes and stabs of meandering, lazy synths join dreamy keyboards. Sometimes the synths have a futuristic, otherworldly sound. Other times, they just shimmer, and melt blissfully into the ether. Meanwhile, understated drums underpin the arrangement. Later, melodic, ruminative vocals are shrouded in effects. This results in a noticeable Kraftwerk influence. One wonders if this is down to Michael, a former alumni of Kraftwerk? For his part, Michael unleashes bursts of jagged, rocky guitar. Occasionally, his guitar produces an elegiac wash of lysergic, melodic and mysterious music. Soon, the arrangement veers between ethereal, cinematic, mesmeric, occasionally dramatic and sometimes, futuristic and otherworldly. This is down to the sci-fi synths and carefully hewn keyboards. That’s not forgetting the slow, pulsating heartbeat. It adds an element of drama, to the genre-melting arrangement. At its heart, are elements of ambient, avant-garde, Kominische and rock. They’re combined by Harmonia and Conny Plank, who create what’s Harmonia’s neu, groundbreaking sound.
Synths sweep and beep on Gollum, before Guru Guru drummer Mani Neumeie almost caresses his drums. He eschews the power he unleashed on previous Guru Guru albums. Meanwhile, sci-fi synths shimmer and glisten. They range from Blade Runner-esque, to ethereal and elegiac. Sometimes, it’s as if Harmonia are providing the soundtrack to a sci-fi film. However, it’s left to the listener to provide the soundtrack as the arrangement glides effortlessly along. Gradually, the tension builds to this cinematic track. Mani’s drums rumble, while hypnotic keyboards add tension and drama. All the time, the otherworld synths flit in and out, as this timeless, cinematic track heads towards its dramatic crescendo.
Kekse reminds me both of library music being produced in Britain and Europe in the early seventies, and Eastern European experimental music. The arrangement is like a mesmeric, merry-go-round, with sound effects interjecting. What sounds like animals and birds, gives way to lumbering seventies synths. Meanwhile, the mainstay of the arrangement has an obvious Kominische influence. Other parts of the arrangement, have been influenced by avant garde, classical and experimental music. Later, dreamy synths meander as the sound effects become more prominent. It’s like a journey into the Forst countryside, complete with the soundtrack of animals, birds and the tranquil sound of a river. Adding the final touch is a pastoral piano solo from Hans-Joachim Roedelius. Gradually though, its ethereal beauty dissipates, leaving a memory of Harmonia at their most ambitious and innovative.
As Monza (Rauf Und Runter) unfolds, synths meander, flutter and stutter. Meanwhile, Michael Rother unleashes washes of his guitar. It reverberates into the distance. Deep down in the arrangement, sound effects bubble, and an guitar chirps. All this plays a part in what’s a dark, dramatic arrangement. Then it’s all change, when Mani is let off the leash. He powers the arrangement along, and Michael discovers his inner guitar hero. By then, a joyous, freewheeling fusion of Kominische, rock and proto-punk has unfolded. It’s Mani’s drums that underpin the arrangement, while searing, blistering guitars are unleashed. They’re augmented by bursts of vocals and keyboards. Mostly though, it’s Mani and Michael who drive the arrangement along. Rocky guitars, crashing cymbals and pounding drums join sci-fi synths as Harmonia are a group transformed, on what’s one of the highlights of Deluxe.
Banks of progressive rock keyboards open Notre Dame. The keyboards almost sound as if they belong in a church. They’ve a big, bold and impressive sound. Some would say grandiose. That’s no bad thing. Soon, though, a drum machine provides a subtle, sonic heartbeat. Then after 1.22 it’s all change, as otherworldly synths become elegiac. A futuristic sound gradually emerges from the slow, pedestrian arrangement. Synths and keyboards play a leading role. Panning is used effectively, giving the arrangement a lysergic sound. Later, the progressive rock keyboards return for an encore, and race across the arrangement. The hypnotic drumbeats make no attempt to keep up, and provide a contrast to this captivating musical adventure.
Walky Talky closes Deluxe, Harmonia’s 1975 sophomore album. A bass is joined by plink plonk keyboards, before what resembles a braying horn interjects. This however, comes courtesy of Harmonia’s trusty synths, and adds an element of drama. Mani, Guru Guru’s legendary drummer returns for the finale. So do the futuristic, sci-fi synths and washes of Michael’s guitar. It chirps, shimmers and glistens, producing an elegiacal sound. By then, a myriad of disparate sounds are flitting in and out of the arrangement. They range from subtle and ethereal, to bold and dramatic, right through to futuristic, haunting, mesmeric and even otherworldly. It’s fitting finale to Deluxe, and finds Harmonia at their very best. Sadly, in 1975, very few people heard this future Kominische classic.
Just like so many Kominische groups, including Amon Düül II, Can, Cluster, Faust and Neu!, Harmonia’s music passed most German record buyer by in the seventies. For Harmonia, these were tough times. Neither Musik Von Harmonia, nor Deluxe sold well. Live ’74 wasn’t even released until 2007. By then, things would be very different,
Gradually, though, Kominische muzik began to grow in popularity. By the nineties, and the internet age, a new generation of record buyers had discovered Kominische muzik. Harmonia were regarded as one of the Kings of Kominische muzik. So it was fortunate that the long lost master tapes for Tracks and Traces were discovered. Tracks and Traces was belatedly released in 1997. Over the next ten years, interest in Harmonia was at an all-time high.
Just like so many Kominische groups, including Amon Düül II, Can, Cluster, Faust and Neu!, Harmonia’s music passed most German record buyer by in the seventies. For Harmonia, these were tough times. Neither Musik Von Harmonia, nor Deluxe sold well. Live ’74 wasn’t even released until 2007. By then, things would be very different,
Gradually, though, Kominische muzik began to grow in popularity. By the nineties, and the internet age, a new generation of record buyers had discovered Kominische muzik. Harmonia were regarded as one of the Kings of Kominische muzik. So it was fortunate that the long lost master tapes for Tracks and Traces had been discovered. Tracks and Traces was belatedly released in 1997. Over the next ten years, interest in Harmonia increased.
By 2007, Harmonia’s Live ’74 album was reissued. To promote the album, the three members of Harmonia reunited for what turned out to be their final concert. Never again would the three members of Harmonia take to the stage together.
Dieter Moebius, Harmonia’s synth player died on 20th July 2015. He left behind a rich musical legacy, including what many critics regard as Harmonia’s finest hour, Deluxe. It was reissued by Grönland Records on 18th December 2015. The sound quality of the remaster is stunning, and sets the bar high for future remasters. Grönland Records’ remaster of Deluxe is the definitive reissue, and is the best way to discover or rediscover this timeless Kominische classic.
On Deluxe, Harmonia changed direction musically. Michael Rother encouraged the other members of Harmonia to incorporate traditional song structures on the album. This he told them, would be easier to replicate live. The result was a finely sculpted and structure album, where Harmonia combine disparate genres.
Elements of ambient, avant garde, experimental and progressive rock can be heard on Deluxe. So can psychedelia and classic rock. However, Deluxe has a much more prominent Kominische influence than Musik Von Harmonia. Partly, this comes courtesy of Guru Guru’s legendary drummer Mani Neumeier. He played on three tracks on Deluxe, and his drums add a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. It steps out of the shadows of the keyboards and synths, and helps transforms Harmonia’s sound. The other change from Musik Von Harmonia, was the addition of Conny Plank, who co-produced Deluxe.
By then, Conny Plank was a vastly experienced producer. He had worked with Michael Rother on Kraftwerk’s aborted album, and then on Neu!’s first three albums. The two men had established a good working relationship, and Conny Plank was the perfect man to help sculpt and structure Harmonia’s new sound on Deluxe. It was a remarkable transformation. One can’t help but wonder what Harmonia’s next album would’ve sounded like?
Although Harmonia went on to collaborate with Brian Eno on Tracks and Traces, Deluxe was their swan-song. Harmonia as a band was quietly dissolved, and what become one of the most innovative, inventive and influential Kominische bands were no more.
Hans-Joachim Roedelius and Dieter Moebius continued to work together as Cluster. Michael Rother embarked upon a career as a solo artist. It was only much later that Harmonia’s two studio albums, Musik Von Harmonia and Deluxe, enjoyed the critical acclaim and commercial success their music so richly deserved. For Harmonia, it was a case of better late than never. Now somewhat belatedly, Harmonia are regarded as Kominische royalty, and Musik Von Harmonia and Deluxe, are part of a huge treasure trove of Kominische muzik awaiting discovery.
HARMONIA-DELUXE.
KROKOFANT-KROKOFANT II.
KROKOFANT-KROKOFANT II.
Two years ago, Krokofant were preparing to release their eponymous debut album on Rune Grammofon. It was an exciting time for the Kongsberg based trio. Krokofant were regarded as one of the rising stars of the Nordic music scene. Great things were forecast for Krokofant, who were being described by critics as one of the most exciting, innovative and pioneering Norwegian groups. This was high praise indeed; as Norway is blessed with a plethora of talented bands.
That’s been the case for several years. Norway had, and still has, one of the strongest and most vibrant music scenes in Europe. Countless bands have made a breakthrough in the last few years. This includes Elephant9, Cakewalk, Bushman’s Revenge, Moster!, Labfield, Syydive, Finland, Labfield and Space Monkey. In March 2014. Krokofant were all set to join their ranks.
That was when Krokofant was scheduled for release by Rune Grammofon. The album was the result of several years hard work. It was well worth it. Now, Krokfant were being hailed as one of Norway’s most exciting and pioneering groups. Critically acclaimed reviews of Krokofant praised the band’s pioneering, genre-melting sound. After years of hard work and dedication, Krokofant were regarded as one of Norway hottest musical prospects. It could all have been so very different. Especially, if saxophonist Jørgen Mathisen hadn’t gone into that guitar shop.
Originally, Krofofant were just a duo, consisting of guitarist Tom Hasslan and drummer Axel Skalstad. Then in 2012, Tom and Alex met saxophonist Jørgen Mathisen, in a guitar shop in Kongsberg, a town in Southern Norway which is famous for its annual jazz festival. Straight away, Tom, Alex and Jørgen hit it off. Straight away, Tom, Alex and Jørgen hit it off.
When Tom, Alex and Jørgen began playing together, it quickly became apparent that Jorgen was the missing piece in the musical jigsaw. No wonder. Jorgen was already an experienced musician. He’d already played in groups like Shagma, The Core and Zanussi Five. Soon, the new lineup of Krokofant became part of an innovative musical movement that’s sweeping the Norway.
So much so, that Krokofant epitomise this new innovative and exciting musical movement. Part of Krokofant’s music is improvisational. They fuse improvisation with rock beats and driving rhythms. Essentially, it’s a marriage of avant rock, free jazz, jazz rock and progressive rock. That’s a good description of Krokofant’s live sound, and their critically acclaimed eponymous debut album.
Probably the best way to describe Krokofant’s music, is a marriage of the Joycean progressive rock odysseys of King Crimson and Henry Cow, with Peter Brötzmann’s free jazz ensembles. Add to that, the influence of early-seventies jazz-rock pioneers; including The Mahavishnu Orchestra, Terje Rypdal and Ray Russell. It’s a unique and captivating fusion of raw but refined power, with discipline, energy and enthusiasm. Almost seamlessly, musical genres and influences becomes one. However, this didn’t happen overnight.
Like many bands before them, Krokofant’s sound was honed by playing live. The Kongsberg based trio earned their stripes by a relentless and gruelling live schedule. That was the case for the best part of two years. This constant touring paid off, and soon, Krokofant’s star was in the ascendancy. So the next step was for Krokofant was to record their debut album.
Six songs were recorded at Engfelt and Forsgren Studio in Oslo. By then, saxophonist Jørgen Mathisen had been officially confirmed as a member of Krokofant. He agreed, and with a spring in their step, the three members of Krokofant recorded their eponymous debut album. It was released in March 2014, to widespread critical acclaim.
Critics hailed Krokofant as a groundbreaking album, from one of the most exciting and pioneering Norwegian bands. Given the plaudits Krokofant had received, it was no surprise that upon its release in March 2014, the album sold well. Soon, word was out, and across Europe and further afield, Krokofant’s star was in the ascendancy.
As the year drew to a close, critics began drawing up their best of 2014 lists. When they were published, Krokofant found its way into many lists. Given this was only Krokofant’s debut album, this was a remarkable achievement. However, on 8th January 2016, Krokofant return will their eagerly-awaited sophomore album Krokofant II. It’ll be released by Rune Grammofon, and marks the welcome return of the Kongsberg based trio.
For their sophomore album Krokofant II, six songs were penned. Five of them, C.O.T.A., Sail Ahead, Nieu, The Ship and Watchtower were credited to Tom Hasslan and Krokofant. Snakedog was credited to Jørgen Mathisen and Krokofant. These six songs would become Krokofant II, which was recorded in the familiar surroundings of Engfelt and Forsgren Studio, in Oslo.
This was where Krokofant recorded their eponymous debut album. The Engfelt and Forsgren Studio was the perfect place to record Krokofant II. It was an analogue studio, and vintage equipment would be perfect to capture Krokofant’s old school sound. Providing the heartbeat, was Axel Skalstad drums. They were joined by guitarist Tom Hasslan and saxophonist Jørgen Mathisen. Christian Engfelt took charge of recording what became Krokofant II, and mixed the album. Then when Håkan Åkesson had mastered Krokofant II, it was ready for release.
The resultant album, Krokofant II, is one of the most eagerly awaited Nordic Wave albums of recent years. Krokofant was one of the best debut albums of recent years. Matching its quality, never mind surpassing it, isn’t going to be easy. However, if anyone can do it, Krokofant can.
C.O.T.A., which opens Krokofant II, explodes into life. There’s a real sense of urgency. The three members of Krokofant play as one, and this tight, talented trio never miss a beat. Not with twenty-two year old drummer Axel Skalstad providing the heartbeat. He pounds, powers and thunders his way round his kit, bringing to mind John Bonham and Keith Moon. Just like these two greats, Axel plays with equal amounts of energy and enthusiasm. This can’t help but inspired the rest of the band. Not that that they need inspiration.
Far from it. Jørgen Mathisen’s rasping, braying saxophone punctuates the arrangement, and goes toe-to-toe with Axel’s drums. Then, it’s guitarist Tom Hasslan’s turn to shine. He seems to draw inspiration from Jimmy Page. Not to be outdone, Jørgen unleashes another saxophone solo. Sheets of Pharaoh Sanders’ like saxophone drenches the arrangement. Midway through the track, Tom channels the spirit of Hendrix. By then, Krokofant are fusing avant rock, free jazz, progressive rock and psychedelia. For the next two minutes, Tom Hasslan delivers a spellbinding, inventive and innovative guitar solo. Somewhere, Jimi Hendrix is raising a glass to Tom Hasslan. For the last minute, Krokofant reunite to deliver a driving, powerhouse of an arrangement, where rock and jazz unite. This brings back memories of the golden age of the power trio, as Krokofant pickup where they left off on their debut album.
It’s a case of anchors away, as Krokofant kick loose on Sail Ahead. A seamless fusion of jazz and rock combines on another eight minute epic. This allows Krokofant to take the listener on a musical adventure. With the rhythm section driving the thunderous arrangement along, the grizzled, growling saxophone soars above the arrangement. Gradually, Tom’s guitar starts to play a more prominent role. It’s soon duelling with Jørgen’s saxophone. They drive each other to greater heights. Meanwhile, Axel powers his way round his drum kit, fills and rolls the order of the day. Then after 1.55 it’s all change.
A much more understated, jazz-tinged sound takes centre-stage. Everyone is playing within themselves. The sultry saxophone and rhythm section are straining at the leash. Very gradually, the tempo and power grows. It’s a case of when, not if Krokofant kick out the jams. By then, Jørgen’s saxophone has headed in the direction of free jazz. It wails and howls, like a melodic, cathartic unburdening. From there, Axel’s unleashes a thunderous rocky drum solo. With Tom for company, he provides the perfect foil for Jørgen’s saxophone, as rock meets jazz on this breathtaking, genre-hopping, musical tour de force.
As Jørgen’s free jazz inspired saxophone wails and howls on Nieu, Tom delivers another stunning guitar solo. His fingers flit and fly up and down the fretboard at breakneck speed. This is the musical equivalent of a master craftsman at work. As his solo draws to a close, he adds a touch of delay, and Jørgen’s saxophone takes on a much more orthodox sound. This being Krokofont, it’s sure to be a curveball.
It is. The solo gives way to Krokofont in full flight. They combine their hard rocking sound with a much more orthodox style of jazz. As Axel power’s the arrangement along, Tom delivers some Led Zeppelin inspired licks. Take out the saxophone, and it’s like listening to a classic rock album of the early seventies. However, Jørgen’s blistering, scorching saxophone runs and solos helps define Krokofont’s unique sound, adding a jazzy hue. Meanwhile, Axel’s thunderous, relentless drums and Tom’s blistering licks add waves of drama, as what’s akin to masterful, musical blitzkrieg reaches a glorious, dramatic, crescendo.
Straight away, The Ship Krokofant sets sail. Krokofant hardly let passengers take their seats, before kicking loose. Axel plays with enthusiasm, energy and power, pounding his drums while the cymbals ring out. Tom marches Axel every step of the way. They’ve been playing together for years, and have formed a potent partnership. Jørgen who joined Krokofant in 2012, barely seems to draw breath; unleashing searing, scorching jazz-tinged solos. They bray, soaring and snaking above and around the rest of the arrangement. Meanwhile, Tom and Axel provide a relentless rocky backdrop. Later, Krokofant show their versatility. A tempo change signals a diversion via progressive rock. Then it’s all change again. Fusion gives way to blistering avant rock, before Krokofant at their most adventurous, innovative and inventive, head for home on this eight minute epic.
It’s just the rhythm section and scorching, rocky guitars that open Snakedog. Soon, Jørgen’s saxophone joins the fray. He plays within himself, allowing a duel between Axel and Tom to unfold. Tom seems to be getting the better of Axel, his guitar dominating the arrangement. Axel’s drums come a close second. Then it’s Jørgen’s time to enjoy his moment in the spotlight. Everyone gets their time to shine in this fusion of avant rock, free jazz and classic rock. Gradually, Tom’s guitar and Axel’s drums begin to dominate the arrangement, while Jørgen is left to fill in the spaces. While Axel adds fills and rolls, Tom unleashes another guitar masterclass that’s reminiscent of Jimmy Page and Jimi Hendrix. Tom’s fingers race up and down the fretboard, and seamlessly, he’s at one with his guitar. Latterly, Jørgen and Tom play with a subtly, as Snakedog reaches an understated jazz-tinged ending, that shows yet another side of Krokofant.
There was a reason for this. Just under two years ago, in March 2014, Krokofant had released their eponymous debut album on Rune Grammofon. It was released to widespread critical acclaim, and as 2014 drew to a close, hailed as one of best debut albums of 2014. Krokofant was also regarded as one of the best Nordic Wave releases of 2014. Following up Krokofant wasn’t going to be easy. The pressure was on Krokofant when they began recording their sophomore album, Krokofant II.
After nearly two away, Krokofant returned with their eagerly-awaited sophomore album Krokofant II. It doesn’t just match the quality of Krokofant, but surpasses it. Krokofant II finds Krokofant coming of age musically, as they seamlessly flit between, and fuse disparate and eclectic musical genres.
On Krokofant II, there’s everything from avant rock, free jazz, fusion and rock, to avant garde, progressive rock and post rock. There’s even hints of experimental and psychedelia as Krokofant weave their unique musical tapestry. As they do so, they draw inspiration from a wide range of sources.
Collectively, everyone from Jimi Hendriix, King Crimson, Led Zeppelin and Mahavishnu Orchestra continue to influence Krokofant. l Just like on their eponymous debut album, Henry Cow, The Mahavishnu Orchestra, Terje Rypdal and Ray Russell continue to influence Krokofant. Similarly, an eclectic selection of artists inspire the individual members of Krokofant,
Both Jimmy Page and Jimi Hendrix have inspired the virtuoso guitar skills of Tom Hasslan. John Bonham and The Who’s Keith Moon have obviously influenced Krokofant’s prodigiously talented, twenty-two year old drummer, Axel Skalstad. Listening to Krokofant’s saxophonist Jørgen Mathisen, he sometimes replicates Pharaoh Sanders’ sheets of sound. Sometimes, he draws inspiration from has John Coltrane’s Impulse period. These influences have helped mould the members of Krokofant into the tight, talented band they’ve become.
While Krokofant were regarded as rising stars of the Norwegian music scene, they’ve arrived with Krokofant II, which will be released by Rune Grammofon on the 8th January 2016. Krokofant II features music that’s not just bold and brave, but inventive, innovative and influential. Continually, Krokofant continue to push musical boundaries, and constantly seek to reinvent themselves and their music. Not many bands modern bands are willing to do that. However, Krokofant do.
This becomes apparent on Krokofant II, as Krofofant take the listener on a genre-melting musical journey. Each and every song is different and full of subtleties and nuances. Having thrown another curveball, seamlessly, Krokofant change direction, and your hear another side to their music. That’s what you expect from musical pioneers.
That’s the perfect way to describe Krokofant. They’re the latest in a long line of Norwegian musical pioneers. However, Krokofant are at an important stage in they’re career. The Kongsberg based trio, are about to release their much-anticipated, and eagerly awaited, sophomore album Krokofant II. It’s a career-defining album from Krokofant, who come of age musically on Krokofant II, an album which features genre-melting, groundbreaking music that should see Krokofant become one of the leading lights of the vibrant Nordic Wave movement.
KROKOFANT-KROKOFANT II.
INTERVIEW WITH MICHAEL ROTHER-50 YEARS MAKING MUSIC.
INTERVIEW WITH MICHAEL ROTHER-50 YEARS MAKING MUSIC.
During the early seventies, the German music scene was thriving. It was one of the most vibrant in Europe. Some of the most influential and innovative music was being released by German bands. This included the holy trinity of Can, Kraftwerk and Neu!. Along with Amon Düül II, Ashra, Cluster, Popol Vuh and Tangerine Dream, these groups were at the forefront of a new musical movement.
In Germany, this new musical movement was called Kosmische musik. Its roots can be traced to the late-sixties, and in a way, were a reaction against the rigidity and rules of traditional music. No longer were musicians willing to be constrained by the rules of modern music. They wanted to free themselves from the shackles of rules and rigidity, and in the process, create new and groundbreaking music.
To do this, musicians fused a disparate and eclectic selection of musical genres. Everything from avant-garde, electronica, experimental rock, free jazz and progressive rock influenced and inspired Kosmische musik. This included the holy trinity of Can, Kraftwerk and Neu!.
They went on to create music that at the time, was ambitious, groundbreaking and innovative. Musical boundaries were pushed to their limits, and musical norms challenged. The holy trinity were fearless visionaries. This includes Michael Rother, who was a member of three of the biggest bands in German musical history.
Michael Rother, who has played a huge part in German musical history, celebrates fifty years as a musician in 2015. He started his career with Spirits Of Sound in 1965, before first jamming with Kraftwerk in the late-sixties. Later, he joined the band on a permanent basis, but left in 1971 to form another of the holy trinity, Neu! with Klaus Dinger.
The pair recorded and released two groundbreaking albums Neu! in 1972 and Neu! 2 in 1973. However, when Neu! 2 wasn’t a commercial success, Neu! was put on hold, and Michael Rother joined Harmonia, the first German supergroup.
Harmonia featured Michael Rother plus Hans-Joachim Roedelius and Dieter Moebius of Cluster. They released two albums, Deluxe in 1974 and Music Von Harmionia in 1975. Both were groundbreaking and influential albums. However, Harmonia were too ahead of the musical curve, and neither album was a success. So Michael Rother recorded another another album with Neu!
By then were very different people, and had different ideas on music. This became apparent when Neu ’75 was released. It was the last time they would record for over a decade. In the meantime, Michael Rother returned to life with Harmonia.
Their music had attracted Brian Eno’s attention. He had called Harmonia “the most important band in the world.” Soon, Harmonia and Brian Eno would spend eleven days recording an album. Once the recording sessions were complete, the master tapes went missing, and only were discovered two decades later. Belatedly, Tracks and Traces was released in 1997 Michael Rother told me, as we discussed his fifty year career.
Michael Rother was born on 2nd September 1950 in Hamburg. That was home for the early years of his life. Then the Rother family moved from Hamburg to Wilmslow in Cheshire “because my father was a pilot. This was just the first in a series of moves.|
“Next we moved to Karachi, in Pakistan, where I was: captivated by the street musicians. The sounds, scales, rhythm and constant repetition mesmerised me. They would later influence as a musician.” That wasn’t his first musical influence.
“Originally, my earliest musical influence, was classical music. I remember my mother, who was a pianist, playing Chopin’s concertos. Then it was rock ’n’ roll. My brother who was ten years older than me, had rock ’n’ parties. Little Richard was my favourite, I loved the energy. Later, after the British explosion, The Beatles, Rolling Stones and The Kinks were the groups I listened to. Much later, the guitarists Eric Clapton, Jeff Beck and Jimi Hendrix when he descended down, were my influences.” However, the mention of Jimi Hendrix’s name and almost in an instant, Michael Rother is a teenager again.
“I was lucky, I once saw Jimi Hendrix live, it was an incredible experience.” As Michael speaks, he’s almost awe-struck. Then he reflects on the subject of influences: “later, when I became a musician, I came to regard those that I worked with, and collaborated with, as my influences and inspirations.” It’s then that Michael turns to the clock back to 1965, when his career began.
Spirits Of Sounds.
“My career began in 1965, when I joined a covers band at school. I had watched them play, so went away and spent the next year practising my guitar. Once I was ready, I asked if I could join and I became a member of Spirits Of Sounds. They said yes and this was the start” This cover’s band featured two other musicians who would enjoy successful processional careers.
Wolfgang Flür went on to form Kraftwerk and Wolfgang Riechman formed Wunderbar. Spirit Of Sounds must have been the only cover’s band to feature three musicians who would later transform German music. That was still to come.
“Spirits Of Sound played just covers, including songs by The Beatles, Rolling Stones and The Who.” For Michael Rother, this was his musical apprenticeship. Playing with Spirits Of Sound allowed him to learn his trade and hone his sound. All the time, he was listening to music which changed throughout the sixties.
“Later guitarists like Eric Clapton, Jeff Beck and Jimi Hendrix that were influencing me.” By then, Michael Rother was happy being part of a band, and seeing what life in a group was like. He was also well on his way to refining his guitar playing. However, then in 1969, Michael Rother got the call all young people must have dreaded.
Back in 1969, every German citizen had to spend six months in the army. Those who refused, or suffered from ill health, could spend six months as a civilian volunteer. That’s how in 1969, Michael Rother found himself working at St. Alexius hospital, Neuss. He had no option.
By the time his six month as a civilian volunteer was over, Michael Rother “was beginning to become frustrated with playing in a cover’s band. It had its limitations, and wanted to move away from traditional music.” Fortunately, Michael Rother got the opportunity to jam with a new band, Kraftwerk in late 1969.
Kraftwerk.
At first, Michael was just jamming with Kraftwerk. He enjoyed the freedom that their approach to music had. “When I began playing with Kraftwerk, they improvised, playing melodies without the blue notes.” For Michael this opened his eyes to the possibilities that were in the process of unfolding. Kosmische musik had just been born, and Kraftwerk were one of its pioneers. “After I had jammed with Kraftwerk, Florian Schneider and I exchanged phone numbers.”
After his session with Kraftwerk, Michael returned to Spirits Of Sound. Musically, his eyes had been opened. A new musical movement had been born in West Germany. However, for the time being, Michael was back in his covers band.
Then in 1971, Michael received a call from Florian Schneider. “Ralf Hütter had quit Kraftwerk unexpectedly, and returned to university to complete a course.” Meanwhile “the first Kraftwerk album had been a hit, and they wanted to build on the momentum.” So Florian wanted Michael to join Kraftwerk on a permanent basis.
It didn’t take Michael long to agree. After six years with Spirits Of Sound, a new chapter in Michael Rother’s career was about to begin. He was going to be part of Kraftwerk, who were now a trio.
When joined Kraftwerk, the group’s lineup was very different to the one that had recorded their 1970 eponymous debut album. Just Florian Schneider and Klaus Dinger remained. The addition of Michael Rother on guitar filled out the sound. However, very quickly, Michael discovered that all wasn’t well within Kraftwerk.
Michael’s role in Kraftwerk was twofold. “I would play live and play on what was to be their second album.” Straight away, Michael discovered that life with Kraftwerk was eventful. “It was exciting, never boring. When we played live, it could become chaotic, fights broke out between Klaus and Florian. They were both spiky characters.” That was only half the story.
“Sometimes, the audience didn’t understand what they heard. They came to hear what they heard on Kraftwerk. That was just a starting point. We took things from there. For members of an audience who expected to hear Kraftwerk replicated live, this what frustrating. Other members of the audience were excited by the possibilities. It was an exciting time for everyone” However, it was also a frustrating one.
After the success of Kraftwerk, Florian and Klaus were keen to record their sophomore album with producer Conny Plank. Tension was in the air. The recording sessions were fraught with difficulties. Although songs were recorded, the album never was completed. “Eventually, we hit a dead end and the recordings have been released. It was then that Klaus and I decided to form a new band, Neu!”
Neu!
By then, Michael and Klaus realised that “we had a similar musical vision.” So the nascent band were formed later in 1971, and was based in Dusseldorf. After the disagreements and frustration of Kraftwerk towards the end, the new band was a breath of fresh air. It was sure to revitalise the two musicians. The only thing they couldn’t agree on, was the band’s name
Michael though the band should have an organic name. Klaus however, had hit on the name Neu! This made sense, as they were a new band, who were part of the new musical Kosmische musik movement.
So, the new band became Neu! To go with the new name, a pop art logo was designed and copyrighted. This new logo was seen as a comment and protest against the modern consumer society. Just like contemporaries Can, Neu weren’t afraid to combine social comment and art. Having settled on a name, Neu!’s thoughts turned to recording their debut album. There was a problem though.
Neu!
Michael explains “we were poor musicians,’ All we could afford were four nights at Windrose-Dumont-Time Studios in December 1971. The reason we chose to record at nights, is it was cheaper. However, “it was a close shave, I get the shivers thinking about it. However, with the help of the genius Conny Plank, we got our message across.”
Over the four days, Neu! recorded a total of six tracks. They were written by Michael and Klaus. The two members of Neu! laid down all the parts onto an eight-tracks. Michael played guitars and bass, while Klaus played drums and a Koto. “At first the recording was slow, then we found the positive energy to move forward. The songs were stripped down to the bare essentials, they had to be we only had eight tracks to record onto.” Five of the six songs Neu! recorded were lengthy tracks. This included Hallogallo and Negativland.
Both feature Klaus’ innovative and mesmeric motorik beat. He played a 4/4 constantly, with only an occasional interruptions. Its hypnotic sound would soon become famous.
As Klaus and Michael listened to the playback of Hallogallo and Negativland, they had no idea that this drumbeat would become synonymous with Kosmische musik. Even once Conny Plank had mixed Neu! at Star Musik Studio, in Hamburg the two members of Neu! had no idea how influential the album would become.
“Once the album was mixed, Conny Plank gave me a copy of the cassette to listen to. I was proud, and played it to my girlfriend, family and friends. I’d no idea the effect the album would have. I was just pleased to have recorded my album. It had been a close shave.” Michael had no inclination that he had recorded a classic album.
Neu! was scheduled for release in early 1972. At the time, critic’s opinions were divided. Some critics realised Neu! was a truly groundbreaking album, and appreciated what was a genre-melting album. Elements of ambient, electronica, experimental, free jazz, industrial, music concrete and rock can be heard. These critics identified the album as a Kosmische classic. Other critics didn’t seem to understated Neu!, or Kosmische musik, which by then, had been renamed.
In London, a critic at Melody Maker had coined the term Krautrock. This came after Amon Düül released their 1969 album Psychedelic Underground. It featured a track titled Mama Düül und Ihre Sauerkrautband Spielt Auf, which in English, translates as Mama Düül and her Sauerkrautband Strike Up. At first, many people were reticent about using the name of this new genre.
By the time Neu! was released in 1972, that was no longer the case. Other critics and record buyers were using Krautrock rather than Kosmische musik. This was how they described the music of Can and Kraftwerk, and then Neu!, who had just released their eponymous debut album.
When Neu! was released on Brain in 1972, the album sold 30,000 copies in Germany. For an underground album, that was seen as a success. However, outside of Germany, Neu! didn’t sell in vast quantities. Despite only selling well in Germany, Neu! began work on their sophomore album, Neu! 2.
Neu! 2.
In January 1973, Neu! found themselves back in the studio with producer Conny Plank. “We weren’t signed to a record label, so Klaus, Conny and I had saved our money, and when we went to the studio, handed over enough to record for ten days.”
With Conny Plank producing what became Neu! 2, Michael and Klaus began work. “This time, we had sixteen tracks to work with, so could layer instruments. I played my guitar, it was played backwards, the tempo was sped up and effects were added.” Neu! it seemed, had taken experimenting to a new level, and were pushing musical boundaries to their limits, and sometimes way beyond. Everything seemed to be going so well. Then a problem arose.
“By then we had spent a week exploring, adding layers. I stacked five six guitars, added effects like distortion. This had taken a week, and we only had half an album recorded. We panicked. Then we thought of a solution. We had released recently Neuschnee and Super as a single. For some reason, the record company hadn’t promoted it. They seemed not to value singles. So we began to experiment.”
This Michael explains was: “a result of desperation. Side two of Neu! 2 is made different versions of Neuschnee and Super. We did all sorts of things. I played the single on a turntable, and Klaus kicked it as it played. We than played the songs in a cassette player, slowing and speeding up the sound, and mangling the sound in the process.” Just like their debut album, Neu! 2 was completed just in time. It was another: “close shave.”
With Neu! 2 complete, it was scheduled for release later in 1973. When the album was released, critics heard than Neu! had refined their trademark sound, and taken it even further. “Für immer an eleven minute epic was the best example.” It features Klaus and Michael becoming one. As Klaus’ drums propel the arrangement along, Michael delvers a virtuoso performance. Critics were won over by “Für immer, which was regarded as the highlight of Neu! 2. However, side two proved controversial.
Many critics weren’t impressed by side two of Neu! 2. They saw the music as gimmicky, and accused Neu! trying to fool and rip off record buyers. As indignant critics took the moral high-ground, again, it was a case that they didn’t understated music.
“What we had done, was take ready made music and deconstruct it. Then they could either reconstruct or manipulate the deconstructed music.” Critics either couldn’t or didn’t want to understand this. Neither did record buyers.
Just like critics, those who bought Neu! 2 were won over by side one. Für immer was Neu! 2 masterpiece, and most people realised this. However, when record buyers turned over to side two, they quickly became alienated. “They felt that we were trying to rip them off. That was not the case. Side two was Neu! at their most experimental, deconstructing only to reconstruct or manipulate. People didn’t understand this. It’s only recently that the music on side two has began to find favour with people. That wasn’t the case in 1973.”
On its release, Neu! 2 didn’t sell well. Even in Germany, Neu! 2 failed commercially. Brian who released Neu! 2, had expected the band to tour the album. However, there was very little interest in Neu!
Klaus Dinger and his brother Thomas even headed to London, to see if he could organise a Neu! tour of Britain. There, he met DJ John Peel, and Karen Townsend, the wife of The Who’s guitarist Pete. Although John Peel played tracks from Neu! 2 on his radio show, and tried to champion the band, there was no appetite for a Neu! tour of Britain. When Klaus returned home, he and Michael put Neu! on hold.
Both Klaus and Michael were keen to make it clear that this wasn’t the end of Neu! They merely, wanted to take some time out, to pursue other interests and projects. Klaus’ new project was La Düsseldorf. Meanwhile, Michael decided to embark on a journey to the Forst Commune.
The Birth Of Harmonia.
That was where he would meet Dieter Moebius and Hans-Joachim Roedelius of Cluster. Michael had heard Im Süden, a track from Cluster’s sophomore album Cluster II. The track struck a nerve with Michael, who wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? Then Michael began to consider a German supergroup consisting of Neu! and Cluster.
That proved to be the case. At the Forst Commune, Michael jammed with Dieter Moebius and Hans-Joachim Roedelius. That initial jam later became Ohrwurm, a track from Harmonia’s 1974 debut album Musik von Harmonia. Following their initial jam session, Michael stayed at the Forst Commune to prepare for the recording of Harmonia’s debut album.
Meanwhile, Klaus and Thomas Dinger had returned from London. They came, they thought, baring gifts. One of the gifts was studio engineer Hans Lampe, who for much of 1972, had been Conny Plank’s engineer. The other was Klaus’ brother Thomas. They Klaus proposed, would join an extended lineup of Neu! In preparation, they played a series of concerts as La Düsseldorf. Michael however, was busy with Harmonia. Not only were they planning to record their debut album, but build a recording studio.
Building a recording can be fraught with difficulties. However, for Michael, Dieter Moebius and Hans-Joachim Roedelius the building of their studio in Forst went smoothly. This new studio would play a hugely important part in Michael Rother’s future career. Not only would it be where Harmon recorded their debut album, but where Michael worked on future projects with Neu! and later, recorded his solo albums. That was still to come. Before that, Harmonia began to record their debut album Musik von Harmonia.
Musik Von Harmonia.
Having built their new studio, Michael Rother, Dieter Moebius and Hans-Joachim Roedelius started recording what became Musik von Harmonia in June 1973. Over the next five months, Harmonia recorded eight songs. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explained recently: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
That’s definitely the case. Michael Rother believes: “that working with Dieter Moebius and Hans-Joachim Roedelius made him a more complete musician.” Over his time working with the two members of Cluster; “I learnt so much.”
This became apparent when Musik von Harmonia was completed in November 1974. Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock. Both Michael Rother and the two members of Cluster’s influences can be heard on the nascent supergroup’s debut album. It was released in January 1974.
When Musik Von Harmonia was released, many critics realised the importance of what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. Despite the critical acclaim that accompanied Musik von Harmonia, the album wasn’t a commercial success.
Michael Rother remember ruefully: “the seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period. So towards the end of 1974, Michael and Klaus reunited for Neu!’s third album.
The Return Of Neu!-Neu! ’75.
For Neu!! ’75, Michael Rother and Klaus Dinger reunited in December 1974 at Conny Plank’s studio. By then, Conny’s Studio was the go-to recording studio for German groups. They wanted “the genius” to sprinkle his magic on their albums. This would be the case for Neu! ’75.
The two members of Neu! had changed. Klaus was heavily into rock music, while Michael’s interest in ambient music was growing. As Michael explains: “After two years apart, we were different people. To complicate matters, Klaus wanted to move from behind the drum kit. He felt he was hidden away. I can understand this. But it was what Klaus did so well. However, he wanted to become an entertainer, playing the guitar and singing. He wanted to bring in two new musicians to replace him.” This included Klaus’ brother Thomas and Conny Plank’s former engineer Hans Lampe. These new musicians would allow Neu! to make a very different album.
Michael realised this was problematic. “By then Klaus could be difficult to work with. I realised we had compromise, so ended making an album with two very different sides. Side one was old Neu! and side two was new Neu!” On side two Klaus come out from behind his drum kit and play guitar and sing. He became the entertainer on what proved to be an album of two sides. It was completed in January 1975, and released later that year.
When critics were sent copies of Neu! ’75, they were struck by side one’s subtle, ambient, melodic sound. Michael remembers: “we used keyboards and phasing a lot on both sides. While Michael Rother’s name was written large all over side one; side two was very different, and quite unconventional. Reviews were mixed, partly because of side two. Some critics felt that if Neu! ’75 had the same sound throughout, it would’ve been hailed a classic. However, later Neu! ’75 and Neu!’s earlier albums would be reevaluated. Before that Neu! ’75 was released.
Just like Neu! 2, Neu! ’75 didn’t sell well. The problem was, many people didn’t understand what was essentially parts of two disparate albums joined together. The proto-punk of side two was so different from the ambient sound of side one. Record buyers were confused, and didn’t understand what Neu! stood for? It seemed that Neu! were just the latest groundbreaking group whose music was misunderstood and overlooked.
Michael looking back at Neu! ’75 reflects: “It was a time time. Klaus wasn’t the easiest person to work with. He was involved with different people, and being pulled in different ways. We were also very different musically. Then there were the new drummers on side two. They weren’t particularly good. Certainly neither were as good as Klaus,” a rueful Michael remembers. “It was a difficult project. By then Klaus was different to the man I’d met a few years earlier.” Michael wouldn’t work with Klaus for another decade. By then, Neu! music had inspired a new musical movement, punk.
Things started to change in 1976. Michael explains: “many punks claim that Neu! ’75 inspired them. Especially, side two.” That wasn’t the only Neu! album that inspired the punk ideal. Side two of Neu! 2 was a favourite of punks. It was: “a result of desperation,” which struck a nerve with the nascent punk movement, and its D.I.Y. approach. That’s when the revaluation of Neu! began. However, “it was a long time before our music was accepted and recognised, and began to sell in the quantities it does now”. That’s also the case with Harmona, who began recording their sophomore album in June 1975.
The Reuturn Of Harmonia-Deluxe.
In June 1975, the three members of Harmonia returned to their studio in Forst for the recording of their sophomore album, Deluxe. Joining them, was a new face, Conny Plank, who was co-producing Deluxe. Conny Plank and Michael were good friends, and had worked together on four projects. This included Kraftwerk’s aborted album and Neu!’s two albums. The addition of the man who Michael Rother calls: “the genius,” just happened to coincide with Harmonia changing direction musically.
Deluxe saw a move towards Kominische musik. Partly, this was down to the addition of Guru-Guru drummer Mani Neumeier. He played on some track, and added a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. That wasn’t Michael’s only influence.
The music on Deluxe was more song oriented. This was Michael Rother’s influence. He had taught the two members of Cluster the importance of structure. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik Von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound.
“This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe,” Hans-Joachim Roedelius reflects. Michael Rother agrees. “Every album I’ve made I set out for it to be commercial. Sometimes, though, it doesn’t work out that way.” Sadly, that proved to be the case.
When Deluxe was released in 1975, to the same critical acclaim as Musik von Harmonia. The noticeable shift to what was a more commercial sound, surely would lead to a change in Harmonia’s fortunes?
That wasn’t to be. Deluxe was released on 20th August 1975, and sales of the album were slow. They never picked up, and history it seemed, was repeating itself. Michael reflects: “Still our music was being ignored. It was a difficult time for us. So much so, that Michael decided to record his debut solo album.
Michael Rother-The Solo Years-Part One.
With Harmonia having just about run its course, Michael Rother embarked upon his solo career. That would take up the majority of his time. Michael’s first solo album was “Flammende Herzen which I recorded at Conny’s Studio.” Michael had entrusted his solo career to the man he refers to as “the genius.”
Flammende Herzen.
Recording of Flammende Herzen began at Conny’s Studio in June 1976. Michael had penned five tracks, and planned to play most of the instruments himself. The only instrument he couldn’t play were the drums. So Jaki Liebezeit of Can came onboard, and this was the start of a long-lasting collaboration. That was the case with Conny Plank, who co-produced Michael’s debut solo album.
At Conny’s Studio, five instrumentals which were based around Michael’s guitar were recorded. These tracks became Flammende Herzen, which was completed in September 1976. Michael’s debut album scheduled for release in March 1977.
Before the release of Flammende Herzen, critics had their say on Michael Rother’s solo album. Most of the reviews were positive. It seemed that Michael’s fortunes were about to change.
When Flammende Herzen was released in March 1977, the album wasn’t a commercial success. It was as if Michael was fated. Despite releasing album after album of innovative and influential music, they failed to sell. The only small crumb of comfort for Michael, was that “Flammende Herzen, which, was released as a single, was later used in the soundtrack to Flaming Hearts.”
Nowadays, Flammende Herzen is regarded as one of Michael’s finest solo albums. It’s as if this was the album he had been longing to make. Sadly, in 1977, as punk was making its presence felt, Flammende Herzen passed record buyers by. By then, Michael had been back in the studio with Harmonia, and a special guest, Brian Eno.
The Return Of Harmonia With Brian Eno-Tracks and Traces.
After the release of Musik von Harmonia, Brian Eno had called Harmonia was “the world’s most important rock band” at the time. So it was no surprise that when Harmonia reunited to record their third album, it was a collaboration with Brian Eno. However, it was also the end of an era.
Little did the three members of Harmonia realise, that Deluxe was the last album they would release for thirty-two years. For what was their swan-song, Harmonia were joined by another legend, Brian Eno.
Michael remembers the sessions well. “Brian Eno was a very intelligent man. He seemed to know what music was on the way up. By then, he was making ambient music and was working as a producer. He was about to produce David Bowie’s Heroes’ album.” However, for the next eleven days, Brian Eno joined the band he had been championing since their debut album.
At the studio in Forst, Hans-Joachim Roedelius, Dieter Moebius, Michael Rother and Brian Eno spent eleven summer days recording what was meant to be their third album. The working title was Harmonia ’76. However, by then, Hans-Joachim Roedelius remembers “Michael Rother was wanting to concentrate on his solo career. Once the album was completed, it became apparent Harmonia had run its course. It was evolution.”
This wasn’t surprising. Harmonia weren’t selling many records. “It was a tough time for us. Our music seemed to be ignored.” Neu! also seemed to have run its course. “Neu ‘75 hadn’t sold well. Klaus wasn’t an easy person to work with. So, I decided to return to my solo career after the release of Harmonia ’76.” That never happened.
Incredibly, the master-tapes for Harmonia ’76 went missing. “We feared they were lost forever. Then twenty years later, they were found.” What was meant to be Harmonia ’76 was released Tracks and Traces in 1997.” That wasn’t the end of the Harmonia story. No. However, before the next chapter in the Harmonia story unfolded, Michael Rother’s solo career continued.
Michael Rother’s Solo Career-Part Two-Sterntaler.
After the drama and disappointment of the loss of the master tapes for Harmonia ’76, the three members of Harmonia went their separate ways. By September 1977, Michael was ready to record his sophomore album Sterntaler.
It was recorded between September and November 1977 at two studios. This included Conny’s Studio, and Michael’s studio in Forst. By then, Michael was a true multi-instrumentalist, and was playing guitar, bass guitar, piano, synths, electronic percussion Hawaiian slide guitar and synth strings. Augmented by Jaki Liebezeit’s drums, Sterntaler took shape.
Unlike his debut album, the synths were playing an important part in Sterntaler’s sound, and were responsible for the melody. Then on the ambient sounding Blauer Regen, Jaki Liebezeit’s weren’t needed. This was another signal that Michael’s music was changing. Michael and co-producer Conny Plank finished work on Sterntaler in November 1977. Maybe the stylistic shift would result in a change in Michael’s fortunes?
Sadly, it was a familiar story. The reviews of Sterntaler were generally positive, and Michael was regarded as one of the most innovative musicians of his generation. However, when Sterntaler was released, the album didn’t sell well. Michael remembers; “my music seemed to be out of fashion.” However, he continued to make music, music that continued to evolve.
Katzenmusik.
Recording of Michael’s third album Katzenmusik took place between March and July 1979. Just like his previous album, the album was recorded in Forst and Conny’s Studio. Michael used mainly electronic instruments. They were augmented by guitars and Jaki Liebezeit’s drums.
It seemed that if Michael was a painter, he was reducing his pallet. That would be the case for most musicians. Michael Rother wasn’t most musicians. Along with his co-producer Conny Plank, they recorded two suite of songs which featured twelve tracks. Essentially, they were variations layered around four different five-note melodies. They then recur in a variety of ways. While stylistically, the music was similar to his two previous albums, the instruments used had changed. However, this didn’t stop Michael recording another album of groundbreaking music. It was released later in 1979.
On Katzenmusik’s release, some critics hailed the album Michael Rother’s finest hour. He had come of age as a solo artist. This should’ve been a cause for celebration. However, it was, and it wasn’t.
Katzenmusik was the last album Michael recorded with Conny Plank. “It was no reflection on Conny. The man was a genius. However, I wanted to go my own way, and explore other options.” Sadly, Michael Rother and Conny Plank’s swan-song wasn’t a commercial success. It would be another three years before Michael released a new album.
Fernwärme.
It was 1981 when Michael Rother began work on his fourth album. The recording took place at Michael’s own Flammende Herzen Studio in Forst. It was just Michael and drummer Jaki Liebezeit. Unlike his first three albums, Conny Plank was absent. “We remained friends, and I owe Conny a lot, but it was the time to move on.”
This couldn’t have been easy. The pair had worked on nearly every project Michael had been involved with. Fernwärme was a first. It was just Michael, Jaki and the latest electronic instruments. They were used extensively on Fernwärme. This included drum machines. For Jaki Liebezeit the writing was on wall. Fernwärme was his swan-song with Michael Rother.
Michael explains: “Fernwärme was the last project Jaki worked on. Again, it was nothing personal. It was similar to the situation with Conny Plank. I wanted to move in a different direction, and already had began to use drum machines. Jaki was a fantastic drummer. The man is a machine, and will be drumming the rest of his life. However, Fernwärme was the last time we worked together.”
As Michael Rother prepared for the release of Fernwärme in 1982, it must have been with a degree of trepidation. It was the first album he had produced himself. However, he needn’t have worried, as Fernwärme was well received upon its release. Michael’s first album in three years, and the first he had produced himself was hailed a success. Sadly, the wider record buying public still hadn’t discovered Michael Rother’s music. “It was a really frustrating time for me.”
Lust.
After the release of Fernwärme in 1982, Michael didn’t return to his Sterntaler Studio, Forst until 1983. When he did, he was on his own. “Lust was the first album I wrote, recorded and produced on my own. Because I had my own studio, I found myself spending more time thinking things over. Sometimes, when I went to bed, all I could think of was what I had been working on. That is the downside of having a home studio. However, the advantages outweigh disadvantages. I had also bought a Fairlight, and was just getting use to it. Its sounds divides people. Some people like it, others love it. Lust was the first album where I used the Fairlight.” That was another reason Michael spent as long as he wanted perfecting Lust. Only then, was he ready to release the album.
Lust was released in 1983, and was Michael Rother’s fifth album. It was all his own work. No other musician had played a part in recording the album, which showcased a new sound. At the heart of the sound was the Fairlight. Although the Fairlight divided people’s opinion, the majority of critics gave Lust positive reviews. The latest reinvention of Michael had been a critical success. However, when Lust wasn’t the commercial success many critics forecast, it was another two years before Michael returned with his sixth solo album.
Süßherz und Tiefenschärfe.
November 1984 saw Michael Rother return to his Katzenmusik Studio, in Forst to record what would become Süßherz und Tiefenschärfe. Just like his previous album Lust, he wrote, recorded and produced. It was just Micael, his trusty guitar and the electronic instruments he favoured. For three months he honed what became his sixth solo album. It was completed in February 1985, and became Süßherz und Tiefenschärfe.
Later in 1985, Polydor released Süßherz und Tiefenschärfe. Before that, critics had their say on Michael Rother’s sixth solo album. Again the reviews were positive. Some critics went as far as to say that üßherz und Tiefenschärfe was one of the best albums Michael had recorded. It was released later in 1985. By then, Michael Rother and Klaus Dinger had been reunited.
Neu! Reunite Again.
Little did Micahel Rother realise what he was letting himself in for. When Michael met Klaus; “I realised that Klaus wasn’t in a good place. He had surrounded himself with people who were pulling him in all directions. Klaus was also needing money, and recording a new Neu! album offered him the opportunity to make some money. So we entered a small studio in Düsseldorf. It wasn’t like the professional studio we had worked in before. Instead, it was more like a semi-professional studio.” That was where recording of Neu!’s most controversial album began.
Recording began in October 1985. The members of Neu! then moved between Grundfunk Studio and Dinerland-Lilienthal Studio. The sessions were problematic. A decade had passed since the pair had worked together. Michael remembers: “Klaus seemed different. He was argumentative, and there was no longer the same chemistry between us. It wasn’t an easy time. Despite that, we managed to record tracks which I took to my own studio in Forst.”
The group’s sound was very different. Synths were added to Neu!’s old sound. It was Neu! with a new wave twist. However, this didn’t work. By then, Klaus and Michael were vey different as musicians. Michael had moved towards the electronics and technology. Klaus it seemed, hadn’t moved at the same pace.
By April 1986, work on the album stopped, and the project was cancelled. “Klaus and I met in Düsseldorf and agreed to abandon the project. We even went as far as sealing the tapes. This seal wasn’t to be broken without the other’s permission. The album was certainly not going to be released. That was why we sealed the master tapes. I never thought the would be released. Certainly not in the way that was released in late 1995.” By then, Michael was concentrating on his solo career.
Michael Rother The Solo Years Part 3-Traumreisen.
After the abandoned Neu! project, Michael Rother didn’t return to the studio until January 1987. He spent the next six months in his home studio. “That was the benefit of having your own studio. I could record when I wanted. Sometimes, it a lonely life, and I felt as if I was going slightly mad.” Eventually, though, Traumreisen was completed in July 1987.
Just like his previous album, Traumreisen featured just guitars and Michael electronic instruments. Critics were won over by Traumreisen, which was released later in 1987. It was a case of deja vu, when Traumreisen failed to reach a wider audience. After seven solo albums, he was still make a commercial breakthrough. Michael’s music it seemed, was only appreciated by connoisseurs of Kosmische musik. This lack of commercial success resulted in Michael “beginning to lose interest in recording albums.” It would be another nine years before he released another album. By then, Michael had founded his own record company.
Random Records was founded in 1993. This coincided with Michael managing to secure the rights to his back catalogue. However, the new label’s first release was a compilation, Radio-Musik Von Michael Rother-Singles 1977-93. It was released in 1993, with reissues of Michael’s solo albums being released over the next few years. Each album was remastered and released with bonus tracks on Michael’s Random Records. Michael was in control of his musical destiny. At least for his solo career. Neu! was another matter.
Neu! 4.
By the time Michael founded Random Records, Neu!’s first three albums had been released on CD by Germanofon Records, a Luxembourg based label. However, there was a problem.
Michael explains: “the deal to release Neu!’s first three albums was entered into, without his permission. These bootlegs were available in every record shop I entered into.” There’s frustration and anger in his voice. It’s not about money though. Instead; “I was frustrated that people were buying an inferior product. It wasn’t of the quality I expected.” If Michael was frustrated about the release of Neu!’s first three albums, he was in for a shock on the morning of 17th October 1995.
“That day, I was sitting at home, when I received a fax from Klaus congratulating on the release of Neu! 4. I was shocked, as I hadn’t given my permission or consent to release the album. Soon, the picture became clear.
“By then, Klaus was really frustrated and angry about the bootleg releases of our first three albums. They were selling well, and neither of us were making anything from them. To make matters worse, Klaus was short of money, and desperate, so entered into a deal with the Japanese label Captain Trip Records. The owner was a huge fan of Neu! and was impressed by Klaus. He gave Klaus cash which he was meant to share with me. In the sleeve-notes to what was billed as Neu! 4, Klaus railed against the bootleggers.” Ironically, this was something that both Michael and Klaus agreed about. However, the release of Neu! 4 drove a wedge between the two old friends.
With the benefit of hindsight, Michael reflects: “looking back, I wish I’d jumped on the train to Düsseldorf and punched Klaus on the nose. I’m not that kind of person though. But I might have felt better. Then we could’ve moved on. However, we never did.”
After the release of Neu! 4, Klaus and Michael were continually at loggerheads. This was ironic. “By then, Neu! were at last, a popular band. People wanted to buy our albums. All that was available were the bootlegs, and Neu! 4 which to me, wasn’t a legally released or genuine album.” Eventually, though, Michael and Klaus reached an agreement in 2000, and Astralwerks in America and Grönland Records in Europe released Neu!’s first three albums. They also recalled copies of Neu! 4, which has been out of print ever since. Michael however, stresses: “I’ve no problem people buying a second hand copy of Neu! 4, I just don’t want the album rereleased. After the problems with Neu! 4, Michael released his eighth solo album in 1996.
Esperanza.
Unlike his last couple of albums, Michael didn’t work alone on Esperanza. He was joined by Jens Harke, who wrote the lyrics and added vocals to Weil Schnee und Eis. This was a first. Apart from the occasional vocal sample, Michael’s album had been vocal free zones. That wasn’t the only change.
The other contributor to Esperanza was Joachim Rudolph. He took charge of Pro Tools programming. Things had changed since Michael’s last album. It was the digital age, and now, DAWs had found their way into recording studios. As befitting the digital age; “I used only electronic instruments on Esperanza. There were no guitars on the album. This wasn’t a first. I’d already gone on a tour of America without a guitar. I was tired of the guitar and wanted to experiment.” That’s what Michael Rother did between January 1995 and January 1996 at three studios. Once the album was completed, it was released two months later.
Esperanza was released on the 11th March 1996, on Michael’s Random Records. Most of the reviews of Esperanza were positive. Michael Rother, was continuing to innovate and push musical boundaries. However, when Esperanza wasn’t a commercial success, “I began to lose interest in recording, and decided to concentrate on playing live.” As a result, it was a new millennia when Michael released his next album.
Remember (The Great Adventure).
April the 25th 2004 proved to be a significant date in Michael Rother’s career. It was the day he released his most recent solo album, Remember (The Great Adventure). It had been recorded over a period of seven years and was a collaboration with various electronic musicians. This includes Thomas Beckmann, Andi Toma and Jake Mandell, who all programmed beats for the rhythm tracks. Sophie Williams and Herbert Grönemeye added vocals on Remember (The Great Adventure). This was only Michael’s second album to feature vocalists. Ironically, it proved to be his last.
Michael Rother’s collaboration with a new generation of musicians was well received by critics. Just like his previous albums, Michael didn’t shy away from innovating. Instead, he embraced the new and was determined to look forwards, rather than backwards. That was the case throughout his solo career.
Following Remember (The Great Adventure), Michael Rother “decided to concentrate on playing live. It’s allowed me to travel the world and play all over Europe, America and in 2014, in China. My albums were not selling well, and after a while, I lost interest in recording music.” However, it wasn’t just Michael that was playing live. One of his old groups reunited and took to the stage one more time, Harmonia.
Harmonia Reunited and Live.
The reunion was for the release of Harmonia’s Live 1974 album. It featured a a recording of Harmonia’s concert on the 23rd March 1974, at Penny Station Club in Griessem, Germany. To celebrate the release of Live 1974, Harmonia played live for the first time since 1976. This landmark concert took place at the Haus der Kulturen der Welt in Berlin, on November 27th 2007. Sadly, it would be the last time the three members of Harmonia played live. Belatedly, they had found the critical acclaim and commercial success they so richly deserved. It had taken thirty years, but Harmonia were regarded as one of the most innovative and influential groups in Kosmische musik. So were Neu!
Neu! The Comeback-Neu! ’86.
As the years passed by, Neu! 4 was still a sore point for Michael Rother. It had driven a wedge between Michael and Klaus. “Sadly, Klaus died in 2008. I was deeply saddened. We had been great friends once.” Kosmische musik had lost one of its pioneers.
Two years later, Michael got the opportunity to right a wrong. He explains: “in early 2010, I came to an agreement with Klaus’ widow. It allowed me work on what had been Neu! 4. Using the master tapes, I remixed the whole album.” That wasn’t the only change.
The running order changed. Some of the tracks were given new names. Only twelve of the fourteen tracks on Neu! 86 found their way onto Neu! 86. A new song, “Drive (Grundfunken), was added to what became Neu! 86. It was released as a box set on May 10th 2010. Then on August 16th 2010, a CD version of Neu! 86 was released.
Mostly, reviews of Neu! 86 were positive. The only criticism was that the album was overproduced. Michael disagrees but agree: “it’s all matter of taste and opinion. I feel I did the best I could with what I had. Now Neu! 86 is much nearer to the album we had tried to make in 1985.” A quarter of a century later, and Michael was happy at the release of Neu! 86 in 2010. That wouldn’t be the last project from the past that Michael would undertake.
Harmonia-Complete Works.
Recently, Michael Rother has been working on what can only be described as a loving curated and luxurious box set. He has overseen the remastering of Harmonia-Complete Works, which will be released by Grönland Records in October 2015. Included in the box set are the five digitally remastered vinyls; including Musik Von Harmonia, Deluxe, Tracks and Traces, Live ’74 and an album of unreleased material. One of the unreleased tracks was nearly lost forevermore.
Michael explains what happened. “Harmonia recorded all our shows and rehearsals. However, we were a poor band, and had to reuse each tape. Luckily, one night, a friend asked if we could record a rehearsal? Hans-Joachim Rodelius recorded the show, and at the end of the night, handed him the tape. That tape features what I consider to be the ultimate version of Tiki. Having given the tape away, I feared we would never see it again. Fortunately, our friend has kept that tape and the version of Tiki features on the fifth album of Complete Works.” That however, isn’t all that features in this laving and luxurious box set.
“There’s a thirty-six page booklet, detailing Harmonia’s history and a tour poster.” For those wanting to keep their vinyl pristine, there’s even a download code. This seems a fitting way to remember the group Brian Eno considered as: “the world`s most important rock group.“ However, the release of Complete Works is tinged with sadness.
After a brave and lengthy battle against cancer, Dieter Moebius died on 20th July 2015. Michael’s saddened by the passing of his old friend. During the making of Complete Works, Michael says: “I always made sure to keep Dieter up to date with how Complete Works was progressing. Only after he had approved everything, did I move on. I would never have done anything without his approval.” Sadly, Dieter Moebius died before Complete Works was released. He never got to see what will prove to be fitting reminder of the group that Dieter Moebius played such a big part of. Along with Hans-Joachim Roedelius and Michael Rother, Dieter Moebius was part of one of the most innovative groups in the history of Kosmische musik. They’re now regarded as one of the finest purveyors of Kosmische musik. Harmonia sit alongside the holy trinity, at Kosmische musik’s top table. At the head of the table is Michael Rother.
There’s a reason for this. Michael Rother has been part of three of the biggest bands in the history of Kosmische musik; Kraftwerk, Neu! and Harmonia. He then released nine solo albums and more recently, two soundtrack albums. “That was a new experience. However, now I concentrate my time on performing live.” Michael explains.
“I’ve been fortunate it’s taken me all over the work. One of the highlights was playing in China in 2014. I’ve a tour booked for early 2016, and will be playing in London. However, I’ve really enjoyed working on the Harmonia box set project. Indeed, once Complete Works is released, I’ll not know what to do with myself. Maybe, I’ll go back into the studio? I don’t know. That’s the future. For now, I’m concentrating on the release of Complete Works. Grönland Records have done a fantastic time and I’m grateful for that. The Complete Works has been a labour of love, and I’ve enjoyed seeing it through to fruition.”
Since then, The Complete Works box set has almost sold out. It’s been a huge commercial success, and when I was asked to choose my best box set of 2015, there was only one choice, The Complete Works. Nothing else came close. Michael Rother’s loving compiled box set was the perfect way to celebrate and document one of the most innovative, influential and important Kosmische groups ever, Harmonia. They were just one of three pioneering groups Michael Rother was a member of.
Michael Rother, the one-time Kraftwerk guitarist went on to cofound Neu! and then Harmonia. Both of the groups Michael Rother cofounded, went on to play an important part in the history of Kosmische musik; and even today, continue to influence and inspire several generations of musicians. That’ll be case for the foreseeable future.
Early in 2016, Michael Rother heads out on tour, and each night, will play a selction of songs by Neu! and Harmonia. Michael Rother live is proving the hottest ticket in town, and on the 6th of February 2016, Michael Rother makes a welcome return to London, where he will play what’s one of the most eagerly awaited shows of recent years, at Under The Bridge.
INTERVIEW WITH MICHAEL ROTHER-50 YEARS MAKING MUSIC.
HARMONIA-MUSIK VON HARMONIA.
HARMONIA-MUSIK VON HARMONIA.
Just a week before Christmas, the album that caused Brian Eno to call its makers “the most important band in the world” was reissued on CD by Grönland Records. Sadly, that album didn’t go on to sell millions of copies. Far from it. Musik Von Harmonia, the debut album from German supergroup Harmonia, failed commercially. Its release almost passed unnoticed in 1973.
So did the followup Deluxe in 1975, which has also been reissued by Grönland Records. Harmonia cofounder Michael Rother remembered this period, when I interviewed him in late 2015. “The seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Harmonia weren’t alone.
Other Kominische bands were releasing albums that passed almost unnoticed. Can and Amon Düül II were in a similar boat. Even Kraftwerk’s first three albums weren’t a commercial success. It was a similar story for Neu! back in 1973.
Back in 1973, Neu! had just released their sophomore album Neu! 2. It failed to match commercial success and critical acclaim of their eponymous debut album. Neu! had sold 30,000 copies in Germany alone. This was good for an underground album. However, Neu! 2 was a different matter.
The problems started when Neu! went into the studio to record Neu! 2. They had booked ten days to record their second album. This should’ve been plenty of time. Neu! had recorded their debut album in four days. However, Micahel and Klaus spent too long recording side one of the album. With only three days left, the pair panicked. Desperation set in. Then they remembered a single Neu! had released, Neuschnee which featured Super on the flip-side. This was the solution to their problems.
So for side two of Neu! 2, Michael and Klaus recorded versions of Neuschnee and Super. Michael remembers “We did all sorts of things. I played the single on a turntable, and Klaus kicked it as it played. We than played the songs in a cassette player, slowing and speeding up the sound, and mangling the sound in the process.” Just like their debut album, Neu! 2 was completed just in time. It was another: “close shave.”
With Neu! 2 complete, it was scheduled for release later in 1973. When the album was released, critics were won over by side one. Neu! were refining the sound of their debut album. Für immer was Neu! 2’s masterpiece. However, critics weren’t impressed by side two.
Many critics saw the music as gimmicky, and accused Neu! trying to fool and rip off record buyers. Indignant critics took the moral high-ground. Some record buyers agreed. “They felt that we were trying to rip them off. That was not the case.” Side two was Neu! at their most experimental, deconstructing ready made music only to reconstruct or manipulate it. However, neither critics nor record buyers realised this, and Neu! 2 failed commercially. This left Michael Rother and Klause Dinger with a problem.
Both men decided to look for a solution to the problem. Klaus headed to London, where he tried to drum up interest in Neu! Meanwhile, Michael found the solution to his problem in a song.
After hearing “Im Süden, a track from Cluster’s sophomore album Cluster II,” Micahel Rother decided to turn Neu! into the first German supergroup. So Michael embarked upon a journey to the Forst Commune, where his he had a proposal for two of his friends, Dieter Moebius and Hans-Joachim Roedelius of Cluster.
As Michael made his way to the Forst Commune, he wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? Then Michael began to consider another possibility, a German supergroup consisting of Neu! and Cluster? This would be a first. Nobody had ever tried this before. It was the opportunity of a lifetime.
Soon, it became apparent that Michael’s idea of a supergroup was about to take shape, just not in the way Michael had originally envisaged. That initial jam later became Ohrwurm, a track from Harmonia’s 1974 debut album Musik Von Harmonia. Following their initial jam session, Michael stayed at the Forst Commune to prepare for the recording of Harmonia’s debut album. Germany’s first supergroup had just been born. It wasn’t an extended version of Neu! Instead, it was a new band Harmonia.
Musik Von Harmonia.
Soon, Michael Rother, Dieter Moebius and Hans-Joachim Roedelius started recording what became Musik von Harmonia in June 1973. It was meeting of musical minds. Over the next five months, Harmonia recorded eight songs. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explained recently: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
That’s definitely the case. Michael Rother believes: “that working with Dieter Moebius and Hans-Joachim Roedelius made him a more complete musician.” Over his time working with the two members of Cluster; “I learnt so much.”
This became apparent when Musik von Harmonia was completed in November 1973. Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock. Both Michael Rother and the two members of Cluster’s influences can be heard on the nascent supergroup’s debut album. It was released in January 1974.
When Musik von Harmonia was released, many critics realised the importance of what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. Despite the critical acclaim that accompanied Musik von Harmonia, the album wasn’t a commercial success.
Opening Musik Von Harmonia is Watussi. Rhythmic and hypnotic describes this track. Drumbeats courtesy of a drum machine crack, joining banks of synths. Constant panning is used, so the sound assails and surrounds the listener. Hypnotic but joyous, this is classic Kominische, albeit with a twist. The twist is the ambient influence. In the background, ambient and experimental music are fused. Washes of synths, percussion and searing, blistering guitar combine with effects. This results in a mesmeric and innovative fusion of classic Kominische with elements of ambient, avant-garde and experimental music.
Sehr Kosmisch has a much more understated, subtle sound. It’s best described as an ambient soundscape. The music unfolds in waves, growing ever closes. The drama grows, as drums steadily pulsate. There’s a cinematic quality, as purposely, Harmonia march to the beat of the drum. Meanwhile, washes of synths are variously ethereal and jagged, meandering as their eerie, broody sound grows. As the arrangement progresses, the drama builds. Gone is the understated sound. There’s a still a hypnotic, pulsating sound to the dramatic arrangement. It still unfolds in waves as it builds to its crescendo, as Harmonia reinvent Kominische muzik with a groundbreaking, moody, cinematic Magnus Opus.
Sonnenschein bursts into life, the arrangement panning from right to left. Guitars reverberate and are joined by synths, drums and futuristic, otherworldly sound effects. Together, they create a bold, dramatic and almost grandiose arrangement. Soon, it’s as if Harmonia are taking the listener on a journey. Harmonia become a benevolent, modern day Pied Piper, and the listener marches along as if en route to some idyllic, rural Kominische utopia, where carefree communal living offers an alternative to the drudgery of 9 to 5 and der mann. As they march along, Harmonia continue to rewrite Kominische music’s rulebook. To do this, they fuse ambient, avant-garde, classical, experimental, rock and world music. This results in music that’s hypnotic, grandiose, dramatic, futuristic and impressive, as musical visionaries Harmonia, continue their pioneering musical journey.
Dino is driven along by the drums, while guitars wah-wah and synths buzz and beep. Straight away, there’s a similarity to Neu!’s first two albums. That’s thanks to the hypnotic Apache beat. It’s present despite only one half of Neu! playing on Musik Von Harmonia. However, Klaus Dinger’s influence can be heard by proxy. The Apache beat is replicated by a drum machine. Soon, elements of Neu!, Cluster and Krafterk shine through. The mesmeric Apache beat, and Michael’s shimmering, sometimes choppy guitar play leading roles. By then, Harmonia are in top gear. Aided and abetted by Dieter and Hans-Joachim, they create what’s the perfect soundtrack to any journey down the Autobahn.
Swathes of eerie, haunting synths open Ohrwurm. Add to this pizzicato strings and experimental guitar. Feedback hangs in the air, as the track takes on an avant-garde sound. It’s as if Harmonia are just jamming, seeing where this leads. This was what Can did, and called spontaneous composition. By now, fuzzy guitars are sprayed across the arrangement. Menacingly, they hang in the air. So do the the jagged synths. It all becomes very avant-garde and experimental, but strangely melodic and compelling. Harmonia it seems, are determined to constantly reinvent their music, and do so, almost seamlessly.
Ahoi has an spacious, ambient sound. Just a melancholy keyboard and chiming guitar combine. They meander along, seemingly in no hurry. Space is left, as the keyboards and guitar keep each other company. The guitar reverberates into the distance, while a wistful piano poses questions that are never answered. Later, it’s all change. Waves of dramatic music threaten to assail you. Urgent strings, hypnotic keyboards and a myriad of percussion swagger along. By then, the arrangement veers towards discordant and disturbing, but remains the rights side of dramatic. A song of two parts, it shows two equally enthralling sides to Harmonia’s music.
Veterano is a dramatic, driving fusion of Kominische, psychedelia and rock. Synths, crunchy, punchy drums and mesmeric keyboards unite. They drive the arrangement along. Meanwhile guitars drift in and out. They’re panned hard right, and sometimes, sound hesitant. Other times they’re responsible for some peerless solos. A myriad of percussion adds to the hypnotic nature of this driving, urgent arrangement that forty years later, is truly timeless.
Hausmusik closes Musik Von Harmonia. A vintage sounding keyboard plays in the distant. It sounds like a reminder of another age. Gradually, it draws closer. Washes of synths, percussion and wailing guitars are panned right to left assailing and surrounding you. It’s as if Harmonia are determined to close their debut album on a high. This they do, mixing vintage and space-age sounds to create a soundscape that’s innovative, ethereal, multilayered and full of nuances and subtleties.
Forty-two years after the release of Musik Von Harmonia, Harmonia are somewhat belatedly getting, the recognition their music so richly deserve. Harmonia are now regarded as one of the finest purveyors of Kosmische musik.
Each and every one of these groups were innovators, whose music was way ahead of its time. The musicians in these groups, including Harmonia were visionaries, who were determined to make a new type of music. This music was neither going to be influenced by American nor British music.
Instead, Kosmische musik’s roots can be traced to the late-sixties, and in a way, were a reaction against the rigidity and rules of traditional music. No longer were musicians willing to be constrained by the rules of modern music. They wanted to free themselves from the shackles of rules and rigidity, and in the process, create new and groundbreaking music.
To do this, they fused a disparate and eclectic selection of musical genres. Everything from avant-garde, electronica, experimental rock, free jazz and progressive rock influenced and inspired Kosmische musik. Michael Rother explained: “we weren’t influenced by the blues music that had influenced other musicians. That wasn’t our music. Nor was the Schlager music which our parents listened to. We were looking for something new. Musically this was our year zero.” So in the late-sixties, this new breed of you German musicians embarked upon a musical revolution.
By 1974, when Harmonia released their debut album Musik Von Harmonia, Germany was in the midst of a musical revolution. At the forefront of this vanguard for change, were Can, Kraftwerk, Amon Düül II, Neu! and Popol Vuh. Only Kraftwerk had made a breakthrough. Even then, that came when Kraftwerk changed direction musically upon the release of Autobahn in 1974. They were like a new band, almost unrecognisable from their first three albums. Like the starving artist, other Kosmische bands, stayed true to their principles. Others gave up altogether, and it’s only fairly recently, that they’ve started to receive the plaudits they so richly deserve.
That’s the case with Harmonia. It’s a far cry from the seventies, which an almost rueful Michael Rother remembers; “wasn’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Survive they did. Not only did Harmonia survive, but recently, they’ve thrived.
Harmonia’s music has been rediscovered by a new generation of music lovers. This has lead to Harmonia’s music being reappraised by music critics and cultural commentators. Somewhat belatedly, they’ve realised that Harmonia were musical pioneers, whose music was groundbreaking, innovative and way ahead of its time. This has lead to Harmonia’s back-catalogue being remastered and reissued.
The first part of this reissue program, was the release of The Complete Works box set in October 2015. Michael Rother oversaw the reissue of the five album box set by Grönland Records. So it’s no surprise that The Complete Works is a lovingly compiled and curated, luxurious box set. It’s a fitting way to celebrate, and document the career of one of the greatest bands in the history of Kosmische musik. For fans of Harmonia, Santa Claus had come early. He came bearing gifts a week before Christmas.
This was the remastered reissue of Harmonia’s debut album Musik Von Harmonia, and the followup Deluxe. They’ve been reissued on CD by Grönland Records. The sound quality is absolutely stunning, and sets the bar for all other reissues. All of Musik Von Harmonia subtleties and nuances shine through. It has a far superior sound quality to the other CD version of Musik Von Harmonia that I have. When I compare them side-by-side, not only is the sound quality is far superior, but the Grönland Records’ reissue has a much wider dynamic range. So much so, it’s like listening to a new album. Just like The Complete Works’ box set, it’s a fitting homage to one of the most innovative bands of the seventies. Brian Eno went much further.
On hearing Musik Von Harmonia, Brian Eno called Harmonia: “the most important band in the world.” Harmonia went on to inspire and influence several generations of musicians during the seventies, including David Bowie, Brian Eno and Iggy Pop. Since then, several generations of musicians have been inspired by Harmonia, and their critically acclaimed debut album Musik Von Harmonia.
Innovative and timeless, Musik Von Harmonia is not just a Koninische classic, but a classic album, and one that deserves to find its way into every record collection. Musik Von Harmonia is a reminder of one of the most important, influential and innovative bands in Kominische muzik history, Harmonia, who deserve to sit at its top table alongside Can, Kraftwerk and Neu!
HARMONIA-MUSIK VON HARMONIA.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S.
For their final release of 2015, Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, Analog Africa return to what was the musical capital of West Africa, Senegal. It had one of the most vibrant musical scenes in West Africa. That had been the case since the sixties. However, Senegal’s proud and eclectic musical heritage can be traced back to the late forties.
That was when American and Cuban sailors came bearing musical gifts. The American sailors brought with them jazz from New Orleans. Cuban sailors brought Son Montuno and Patchanga music. All this music was embraced in the major Senegalese cities, and quickly found an audience within the local music scene.
Soon, Caribbean music was providing the soundtrack to many clubs in Senegal. Before long, the locals had embraced this vibrant, exotic sound. The next stop was to combine Son Montuno and Patchanga with their own music.
Soon, Caribbean music was being combined with West African and Latin music. The result was a unique and unlike musical fusion, where the music of three continents combined. This new unique sound was quickly embraced by local musicians and producers.
Records were recorded, and the top bands became hot property. Club owners wanted the best bands to play at their clubs. This included Ibra Kassé, who also owned the Miami nightclub in Dakar. His club would at the heart of this new scene as it exploded into life.
Across Senegal, bands were being formed and ballroom parties were being thrown. However, the country’s capital Dakar, was where the best musicians gravitated. That was just as well.
In Dakar, there were hardly enough local musicians to fulfil the demand. So musicians were coming from much further afield. This included Amara Touré, a percussionist and singer from Guinea-Conakry.
Amara Touré was discovered by Ibra Kassé, owner of Dakar’s Miami nightclbub. He he was accompanying Dexter Johnson on tour. That was where Ibra Kassé first heard Amara Touré he realised the young percussionist and singer had potential, and was destined for greater things. So Ibra Kassé asked Amara Touré of he wanted to become part of a new band he was putting together in Dakar. It didn’t take Amara Touré long to agree. What he didn’t realise, was that this new band would change Senegalese music forever.
That band was Le Star Band de Dakar. It would become one of the most important bands in the history of modern Senegalese music. They played an important part to Senegal’s musical soundtrack during the sixties and seventies. Especially with Amara Touré at the helm. One of the twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, El Carretero, features the potent partnership of Amara Touré et Le Star Band de Dakar. By then, Senegal’s had one of the most vibrant musical scenes in West Africa.
That had been the case since the sixties. Bands were fusing everything from Afro-beat, blues, funk, jazz, Mbalax, R&B, soul, Son Montuno from Cuba and the inimitable Mandigue guitar sound. This potent fusion provided the soundtrack to many a night out in towns and cities across Senegal. However, none of the twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s were part of the soundtrack.
The twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s have lain unreleased for forty years. However, the story behind the compilation started six years ago in 2009.
That’s when Adamantios Kafetzis made the journey from Senegal to Greece in search of a new tape recorder. The former owner of the famous Sangomar club in Thiés, had a pile of reel-to-reel tapes he wanted to digitise. To do that, he needed a new tape recorder. So he made the journey to Greece, to find the much needed tape recorder.
Having eventually found a new tape recorder Adamantios Kafetzis was ready to return home. He was eager to return home, so he could begin to digitise his collection of tapes. This was going to take time.
Back home in Thiés, Adamantios Kafetzis had four decades worth of reel-to-reel tapes. They had been recorded at the Sangomar club by sound engineer Moussa Diallo. Luckily, Adamantios Kafetzis was a patient man. His patience was rewarded when he discovered 300 songs that had never been heard before. Adamantios Kafetzis had struck gold, and five of these songs eventually, made their way onto Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Compiling Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s took Samy Ben Redjeb four years. During that period, he worked with Teranga Beat, who currently, are the leading Senegalese record label. Aided and abetted by the Teranga Beat, Samy Ben Redjeb set about compiling a compilation that will transport the listener to Senegal during the seventies. The twelve tracks give the listener a flavour of the hot, heady nights in towns and cities across Senegal. This they can do, without leaving their home. Instead, all they need to do, is press play, on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, and instantly, they’re transported to Senegal in the seventies.
The listener is privileged to hear songs from Le Sahel, Orchestre Laye Thiam, Number One de Dakar, Orchestra Baobab and Dieuf Dieul de Thies and Xalam1. These bands and orchestras combined a mixture of traditional and modern instruments. From Senegal’s musical past, came the traditional percussive sound of the Sabra, Tama and Bougarabou. They were combined with a myriad of organs, keyboards and often, guitars. The result was a musical hybrid, which crossed not just generations, but centuries. Here was music that gave a nod to the past, including Senegalese folklore, the present, and given the experimental sound of some of the songs, the future. It was no wonder that this music was embraced by Senegalese youth. In one fell swoop, Cuban music was dethroned as the favoured sound amongst the Senegalese youth, who were being exposed to a much more eclectic selection of music.
It wasn’t just local artists who were finding an audience amongst the Senegalese youth. American, European and music from other African countries was finding its way into Senegal. Often, sailors brought the latest releases back from their travels. However, the Senegalese President was a man with a “vision.”
Unlike many of his counterparts across Africa, the Senegalese President’s plan neither involved five year plans nor nuclear weapons. Instead, President Senghor wanted Senegal to attract the biggest names in music. He was successful, to a degree. James Brown and The Jackson Five arrived from America. However, whether they can be regarded as the creme de la creme of international or even American music is debatable? After this, Cuban singer Celia Cruz and Haitian star Tabou Combo made their way to Senegal. For President Senghor this was good publicity for his regime. So was the arrival of some of the biggest names in African music.
From the Congo,Tabu Ley Rochereau arrived. So did Manu Dibango from Cameroon and Bembeya Jazz from Guinée. These stars of African music not only played in Senegalese cities, but were happy to play alongside local musicians. All these visiting musicians were influencing the local musicians, including some of the bands that featured on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
The best way to describe Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which is Analog Africa’s nineteenth release, is eclectic. The compilation has been four years in the waiting. That has been four years in the waiting. This becomes apparent on the opening track.
That’s Fangool’s Mariama, which opens Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It’s something of a slow-burner, which has an almost spiritual quality to the vocal. Horns and a Hammond organ lock into a groove with percussion, as the track takes on a mesmeric sound. Then when the vocal returns, it’s truly heartfelt and hauntingly beautiful. One wonders how Samy Ben Redjeb will surpass Mariama?
Orchestre G.M.I then burst into life on Africa, a track that’s
funky, jazz-tinged and dance—floor friendly. It’s also joyous and up-lifting. Resistance is impossible. Best just submit to Africa’s charms. After this, a series of curveballs are thrown.
The first is Orchestre Bawobab’s Thiely, which has a much more understated, traditional sound. It’s just the vocal, percussion, guitar and dusty, braying horns. They respond to the soulful, impassioned vocal’s call. Thiely is proof that sometimes, less is more.
Le Sourouba De Louga haven’t just been influenced by Senegalese music, but funk and occasionally rock. That quickly becomes on Bour Sine, as they sing call and response, against an almost funky, hypnotic arrangement. Later, it features a blistering, rocky guitar solo, that tries to conjure up the spirit of Hendrix, as the music of two continents collide.
Further proof that less is more comes on King N´gom Viva Marvillas. The vocals dominate the arrangement, with percussion and guitars playing a supporting role on a track that more than hints at Senegal’s musical past.
That’s the case with Orchestre Laye Thiam, as they burst into life Massani Cicé. However, they add a healthy pinch of funk to this fusion of Afr0beat and jazz. It unfolds in mesmeric waves, that wash over the listener. Horns and a Hammond organ play starring roles on what’s another of the highlights of Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
That’s the case with Orchestre Laye Thiam, as they burst into life Massani Cicé. However, they add a healthy pinch of funk to the jazz-tinged arrangement. It unfolds in mesmeric waves, that wash over the listener. Horns and a Hammond organ play starring roles on what’s another of the highlights of Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Two of the stars of Senegalese music feature on El Carretero, Amara Touré et Le Star Band de Dakar. Together, they play their part in a melodic, sultry and heart wrenching ballad. It’s a real find. So is the bustling, joyous sound of Le Tropical Jazz on the uptempo Kiko Medina. Following hard on its heels is Orchestre Laye Thiam’s Kokoriko. This is another irresistible call to dance. Propelled along by a myriad of percussive and a vocal that’s obviously been influenced by James Brown, it’s a potent mix that’s guaranteed to put a smile on even the saddest face. By then, Samy Ben Redjeb keeps pulling musical rabbits out of his hat? However, can he keep this up?
He can. Gestu De Dakar’s Ndiourel’s is up-lifting, joyful, good-time music. Propelled along my percussion, guitars and one of the best vocals on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, Ndiourel is another hidden gem that
Samy Ben Redjeb has discovered.
Ma Penda is the second contribution from Orchestre Bawobab. Their previous contribution Thiely, had a quite traditional sound. To some extent, so does Ma Penda. Other times, the music that was arriving from America and Europe affects the arrangement. This includes an effects laden guitar. It’s provides a contrast to the heartfelt, emotive vocal, shrill horns and futuristic keyboards. They exit stage left when the galloping arrangement is stripped bare. Percussion takes centre-stage, before a stunning, virtuoso scorching guitar solo steals the show. Breathtaking describes a performance singlehandedly transforms the song.
Orchestre Laye Thiam’s Sanga Té closes Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It has an understated, wistful sound that meanders along. Genres melt into one. Listen carefully, and elements of blues, Cuban, jazz, funk and soul can be heard on what’s a quite beautiful, melancholy song, proving a perfect way to close Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
So that’s the story of Analog Africa’s nineteenth release, proving a perfect way to close Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It’s taken four years to compile, but this has been four years well spent. The twelve hidden gems on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s have lain unreleased for far too long.
That not always the case when an albums comes bearing the words unreleased recordings. Often, they’re tracks that were never meant to be released. They’re either demos or outtakes, and the artists would be embarrassed that they’re seeing the light of day. However, that’s definitely not the case with Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Analog Africa have struck Senegalese gold, on these twelve glittering gems. They deserve to be heard by a much wider audience, and show how eclectic, Senegal’s vibrant music scene was during the seventies. It had been influenced by everything from Afro-beat, blues, funk, jazz, Mbalax, R&B, soul, Son Montuno from Cuba and the inimitable Mandigue guitar sound. That’s apparent on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which features some of the biggest names in Senegalese music.
There was no bigger names than Amara Touré et Le Star Band de Dakar. They became one of the most important bands in the history of modern Senegalese music. Especially with Amara Touré at the helm. Like everything, this relationship came to an end, and Amara Touré went off to form his own band. By then, Amara Touré et Le Star Band de Dakar had played an important part of the soundtrack to Senegal during the seventies. That’s the case with many of the bands on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which was the most exciting and vibrant period during Senegal’s modern musical history.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S.
MAGMA-KOHNZERT ZUND.
MAGMA-KOHNZERT ZUND.
In 1969, Christian Vander had a vision. His vision was “humanity’s spiritual and ecological future.” What he saw worried him. So Christian Vander decided to share his vision of the future. The way he chose to do this, was through music. Christian Vander was a classically trained drummer, and in 1969, ormed what would become the leading French, progressive rock band, Magma. They released their eponymous debut album in 1969, and it featured Christian Vander’s vision of the future.
Critics and cultural commentators waited with baited breath to hear what Christian Vander’s vision for the future was on Magma. To some extent, they’re still waiting.
Before the release of Magma, it became clear that that album told the story of a group of people who, having realised the earth is doomed, decide to resettle on the new and fictional planet Kobaï. This many critics thought was a taster of what they would find on Magma. They were in for a surprise.
Christian Vander had constructed his own Magma-esque language, Kobaïan. It’s a fusion of Slavic and German, that would become a feature of Magma’s ten concept albums. Magma would also rely upon Kobaïan for the various live albums they released between 1975 and 2000. These live albums have been recently reissued by Jazz Village as part of the twelve-disc Köhnzert Zünd box set.
The Köhnzert Zünd box set is a welcome reissue for fans of Magma, and is the perfect companion to the Studio Zund twelve disc box set. When Studio Zund was released in 2009, Magma fans wondered why there was no live material in the box set? Now they know. Even back then, it looks like plans were afoot to release the definitive box set of Magma’s live material. So, what can be found in the the twelve-disc Köhnzert Zünd box set?
When I unpacked Köhnzert Zünd, I couldn’t help be impressed by the sculptural quality of the box set. It’s akin to a mini work of art. A great deal of time and effort was put into the design of Köhnzert Zünd. It puts many of the cheaply made box sets to shame. Jazz Village deserve to be congratulated on the design of Köhnzert Zünd box set. However, as a man once said: “what’s in the box?”
Magma Live.
The first two discs in the Köhnzert Zünd box set feature what was Magma’s first live album, Magma Live. However, Magma Live has also been released as Live/Hhaï, Live Köhntark and Hhaï Live. Indeed, the first disc in the Köhnzert Zünd box set is entitled Live Köhntark and the second disc Live Hhaï. The recording of Magma Alive took place where the Magma story began six years earlier…Paris.
Record of what became Magma Alive took place in Magma’s home city, Paris. Magma were due to play a series of concerts between the 1st and 5th June 1975. Each of these concerts were recorded, and eight tracks became Magma Alive, which was released later in 1975.
When Magma Live was released, it became the fifth album of Magma’s career. The eight members of Magma revisited tracks from their first four studio albums, and in doing so, flitted between progressive rock, folk, jazz, psychedelia and rock. Very occasionally, it isn’t easy listening. Instead, it’s challenging, but well worth sticking with it, as Magma welcome you to their world. By then, they were one of the leading lights of the European progressive rock scene.
Retrospektïẁ (Parts I and II).
Just over six years after Magma recorded Magma Alive, Magma were preparing to record the second live album of their career, Retrospektïẁ (Parts I and II). Much had happened to Magma during that period.
When Magma released their sixth studio album, Üdü Ẁüdü in 1976, it was to critical acclaim. Magma’s star was in the ascendancy, and they were regarded as European progressive rock royalty. However, behind the scenes, all wasn’t well.
Following the release of Üdü Ẁüdü, Magma split-up. Surely, Magma weren’t going to be consigned to musical history? They had only released six studio albums and one live album?
After a year, Magma reunited, and work began on their seventh album. However, word leaked out from the recording studio that Magma had changed direction slightly on what became Attahk. Elements of funk, gospel and pop were finding their way onto Attahk. This would divide the opinion of some of Magma’s fans.
They preferred Magma pre-Attahk. Funk, gospel and pop didn’t belong on a Magma album. Other fans were willing to give Attahk a chance.What they found, was the most eclectic album of Magma’s career. While not as good as their first six studio albums, at least Magma were were back. Or were they?
On the 9th June 1981, Magma found themselves in Paris, about to a series of comeback concerts. Much had changed, including Magma’s lineup. It’s best described as fluid, and new members of Magma made their debut in Paris, and set about recording what became their first album in three years. By the 11th June 1981, it was a case of mission accomplished.
Later in 1981, Magma released Mekanïk Destruktïw Kommandöh Parts 1 and 2. The album was billed as Christian Vander and Magma. This raised a few eyebrows. What was going on with Magma? Were they a band divided? However, that was soon forgotten.
Christian Vander’s band had rolled back the years. They opened the show with Mekanïk Destruktïw Kommandöh Parts 1 and 2, which featured on disc three of Köhnzert Zünd. Magma then worked their way through Theusz Hamtaahk Parts 1 and 2, which features on disc four of Köhnzert Zünd. This quartet of lengthy tracks allowed Magma to stretch their legs, fusing art rock, avant garde, free jazz and rock. As Magma showcased their considerable skills on Retrospektïẁ (Parts I and II), it was a reminder of what Magma’s fans had been missing. So was the followup.
Retrospektïẁ (Part III).
Rather than release a triple album, Magma decided to release the double album Retrospektïẁ (Parts I and II); and then Retrospektïẁ (Part III). Financially, this makes sense. It would be more profitable to things this way. Whether Christian Vander and Magma had even considered this, isn’t know. All they were thinking of, were a series of reunion concerts in their hometown.
Between the 9th and 11th June 1981, Christian Vander and Magma, took to the stage, and worked their way through a trio of tracks.They’re all penned by Christian Vander, who founded Magma twelve years earlier in 1969. Since then, much had happened to Magma. However, still Christian Vander marshalled his band from his drum stool.
Christian Vander plays a starring role on an eighteen minute version of Retrovision (Je Suis Revenu De L’Univers). Then Hhai (Version Intégrale takes a myriad of twists and turns, over thirteen captivating minutes. Closing the show and Retrospektïẁ (Part III), which features on disc five of Köhnzert Zünd, was La Dawotsin. Magma’s hometown reunion had been a success. Maybe, Magma would return to the recording studio?
Theusz Hamtaahk Trilogie.
Three years after their reunion in Paris, Magma released their next studio album, Merci in 1984. After waiting patiently for three, years Merci proved a disappointing addition the Magma back-catalogue. Magma it seemed, had lost their way. Sadly, twenty years would pass before they returned to the studio. They would release another live album, Theusz Hamtaahk Trilogie.
This was the most ambitious live album of Magma’s career. It was recorded at the Trianon Theater, Paris, on the 13th and 14th May 2000. These two shows were part of Magma’s thirtieth anniversary tour. However, this was no greatest hits tour.
Christian Vander had planned Theusz Hamtaahk Trilogie’s schedule carefully. Each night, Magma would play three movements. What became the First Movement, Theusz Hamtaahk, had been part of Magma’s repertoire since the mid-seventies. The Second Movement: Ẁurdah Ïtah saw Magma replicated the soundtrack to Yvan Lagrange’s 1972 avant-garde movie Tristan et Iseult. Christian Vander had provided the soundtrack to the film. Over two nights in May 2000, Magma would recreate the soundtrack. Then the Third Movement was Mëkanïk Dëstruktïẁ Kömmandöh, which was Magma’s critically acclaimed third album. It had been released in 1973, and is regarded as Magma’s finest hour. This seemed a fitting way to close Magma’s thirtieth anniversary concerts in their hometown.
Magma didn’t disappoint. That’s apparent on discs six, seven and eight on Köhnzert Zünd. They feature the three movements in the Theusz Hamtaahk Trilogie. Literally, Magma roll back the years. Especially when they revisit their Kobaïan opus Mëkanïk Dëstruktïẁ Kömmandöh. It’s the highlight of the Trilogie Theusz Hamtaahk, with Ẁurdah Ïtah coming not far behind.
When Trilogie Theusz Hamtaahk was released in 2001, what was not just Magma’s most ambitious live album, but one of the most ambitious live albums of recent years was hailed a success. Critics felt Magma were maturing, like a fine wine. Proof of that was Theusz Hamtaahk Trilogie, which some critics regarded as the finest live album of Magma’s long and illustrious career. However, they weren’t finished yet.
Since the release of Theusz Hamtaahk Trilogie in 2001, Magma have headed out on several tours. This included their 2005 tour, which is documented on the six tracks on Triton Zünd Zëlëkt I on disc nine of Köhnzert Zünd. Just like before, Magma aren’t content to stand still, and are determined to reinvent their music. That’s also the case on Triton Zünd Zëlëkt II, which was recorded in 2011. It featured on disc ten of Köhnzert Zünd, and features a genre-melting performance from Magma on Riah Sahiltaahk, Dondaï, Slag Tanz and Maahnt. After forty-two years making music, Magma, lead by the inimitable Christian Vander show they’ve lost none of their flair and inventiveness. That was the case with the Alahambra concerts on discs eleven and twelve.
Alahambra 1 and 2.
One of the most welcome additions on the Köhnzert Zünd box set, was the Alahambra. It spans discs eleven and twelve, and features a masterful performance from Magma, that’s been crying out to be released.
That becomes apparent as the Alahambra concert opens with a seven minute version of Ëmëhntëhtt-Ré I. It’s the musical equivalent of an amuse bouche. Magma then work their way through the four parts. This takes another forty-one minutes, and during that time, one can’t help but marvel at Magma’s performance. They’ve lost none of their enthusiasm, flair or showmanship, as they combine progressive rock, jazz and rock. Disc eleven closes with the melancholy Funërarium Kahnt.
Then disc twelve, the final disc in the Köhnzert Zünd box set features one of the hidden gems, Félicité Thösz. It’s a thirty minute epic. Spellbinding describes Magma’s performance, which gives way to Sëhntëhndëh. At sixteen minutes, its almost a lesson in brevity. However, Christian Vander pull out the stobs, and leave nothing behind. It’s a fitting finale to the Köhnzert Zünd box set.
For fans of Magma, Köhnzert Zünd box set will be a must have. They’ll need to be quick. This is a limited edition release. Only 5,000 copies are available of the definitive retrospective of Magma’s live career. It began in 1975, and lasts right through to 2011. During that thirty-six year period, Christian Vander was and is, lead Magma through good and bad times.
Magma’s lineup has been fluid. Members have come and gone over the last forty-six years. There’s also been breakups, makeups and reunions.During these reunions, Magma have been the homecoming Kings, in their home city of Paris. That’s where they seem most at home, and deliver some of the best performances on the Köhnzert Zünd box set, which was recently released by Jazz Village. However, that’s not surprising.
It was in Paris in 1969, that Christian Vander founded Magma. Since then, Paris has been home to one of the greatest European progressive bands Magma. Their live career is documented in Köhnzert Zünd; which is the perfect companion to the Studio Zund box set; and shows why after forty-six years, twelve studio albums and countless changes in lineup, that Magma are still France’s Kings of progressive rock.
HAWKWIND-THIS IS YOUR CAPTAIN SPEAKING…YOUR CAPTAIN IS DEAD.
HAWKWIND-THIS IS YOUR CAPTAIN SPEAKING…YOUR CAPTAIN IS DEAD.
As the sixties drew to a close, one of the pioneers of the British space rock sound were formed in November 1969. This was Hawkwind, whose career would span six decades. During that period, Hawkwind’s lineup is best described as fluid.
Over forty musicians have played a part in the Hawkwind story. However, the only member to have survived forty-six years, and countless changes in lineup, is guitarist, bassist and keyboardist Dave Brock. He formed Hawkwind in November 1969 with guitarist Mick Slattery.
They had previously been members of London based psychedelic band Famous Cure. Then November 1969, Dave Brock and Mick Slattery met bassist John A. Harrison. The three musicians soon realised that they had a shared interest…electronic music. So they decided to form a new band. However, there was a problem, they didn’t have a drummer.
The best way to find a drummer in those pre-internet days, was to advertise in one of the music papers. One of those who answered the advert, was seventeen year old drummer Terry Ollis. He was auditioned, and became the nascent group’s drummer. However, at the same time, an old friend of Dave Brock’s volunteered to be the bands roadie.
Nik Turner was willing to drive the band around, and setup their equipment. Quickly, though, it became apparent that Nik Turner was overqualified as a roadie. He could play flute and saxophone. So he was brought onboard to the as yet nameless band.
The nameless band read that there was a talent show at All Saints Hall, Notting Hill, London. So the five members of the band decided to gatecrash the event. They turned up, unannounced, and managed to convince the organisers to let them take to the stage. When they were asked what their name was, the band members settled on Group X.
When Group X took to the stage, they played a twenty minute jam loosely based on The Byrds’ Eight Miles High. Elements of psychedelia, electronica and progressive rock were combined by Group X. It was unlike anything many members of the audience had heard. However, one man in the audience was impressed.
This was Radio One DJ John Peel. He realised that Group X had potential, so told Douglas Smith, who had organised the event, that. On hearing this, Douglas Smith went out and signed Group X. He then got them a deal with Liberty Records. By then, Hawkwind had been born.
After quickly dispensing with the name Group X, the band had a dalliance with Hawkwind Zoo. Eventually, though, the band settled on Hawkwind, a name which would become famous in British music.
Since 1969, the various lineups of Hawkwind have released twenty-seven studio albums, ten live albums and fifteen compilations. That’s not forgetting the recently released eleven disc box set, This Is Your Captain Speaking…Your Captain Is Dead. It was recently released by PLG, and features Hawkwind’s first four studio albums, three live albums and a singles compilation. Mainly, This Is Your Captain Speaking…Your Captain Is Dead documents the period between 1969 and 1974.
Hawkwind.
After Hawkwind’s manager Douglas Smith secured them a deal with Liberty Records in early 1970, Hawkwind began work on their eponymous debut album. By April 1970, Dave Brock and the members of Hawkwind had penned seven tracks. These tracks became Hawkwind.
Recording of Hawkwind began in March 1970, at Trident Studios. That’s where Hawkwind joined forces with producer and former Pretty Things guitarist Dick Taylor. He would coproduce Hawkwind’s eponymous debut album with the band. Their number had swelled to seven.
This included a rhythm section of drummer Terry Ollis, John A. Harrison and guitarists Mick Slattery, Huw Lloyd-Langton and Dave Brock on guitar, keyboards and harmonica. They were augmented by Dik Mik on synths, and Nik Turner on flute and saxophones. Gradually, the seven songs that became Hawkwind took shape.
At first, coproducer Dick Taylor was struggling to capture Hawkwind’s true sound. He had experienced Hawkwind live, and wanted to capture that sound. This was proving easier said than done. Eventually after several unsuccessful attempts to record each song, Dick Taylor had Hawkwind play live. This worked, and by April 1970, Hawkwind was complete, and the release scheduled for 14th August 1970.
Before that, critics had their say on Hawkwind. They were a new band, who on side one of their eponymous debut album, pioneered the space rock sound. Hawkwind fused elements of electronica, folk, psychedelia and rock. This was something new and innovative. It was also trippy, thanks to the myriad of effects and electronics deployed by Hawkwind. They admitted in the sleeve-notes that they want to “freak people. However, this was an acid free trip.
It was also one that won over critics. They hailed Hawkwind an “exciting” and “interesting” album. Especially the myriad of left-field sounds that were deployed. However, this came with a caveat. Hawkwind shouldn’t become over-reliant on them. Used sparingly, like on Seeing It As You Really Are and Hawkwind could become one of the rising stars of the seventies.
That didn’t look like being the case when Hawkwind was released. The album sunk without trace, and didn’t even come close to troubling the charts. Things however, would be different next time round.
X In Search of Space.
Following the release of Hawkwind, there were two changes in the band’s lineup. The first to leave was bassist John A. Harrison. He was replaced by Thomas Crimble of Skin Alley. However, Thomas Crimble never got to play on a Hawkwind album. Thomas Crimble was then replaced by Dave Anderson of seminal Krautrock pioneers Amon Düül II. Dave Anderson arrived to what must have seemed like a game of musical chairs.
Next to leave was Dik Mik Davies. This was only temporarily. So Del Dettmar, Hawkwind’s live sound engineer replaced Dik Mik Davies. That wasn’t the end of the departures.
Huw Lloyd-Langton left Hawkwind after a bad LSD trip. This wasn’t uncommon in the late-sixties and early-seventies. Acid casualties were rife within the music industry. Sadly, many never recovered from their trip. Luckily, Huw Lloyd-Langton and later rejoined Hawkwind in 1979. By then, Hawkwind had released a classic album, X In Search of Space.
For X In Search of Space, Hawkwind had written six tracks. This included two penned by Dave Brock, and two he cowrote with Nick Turner. Adjust Me was credited to Hawkind, while the acoustic Children of the Sun was penned by Nik Turner and Dave Anderson. With their sophomore album written, Hawkwind were booked into AIR Studios with George Martin.
How anyone at Liberty Records didn’t foresee that the combination of Hawkwind and George Martin, wasn’t destined to end up in chaos is astounding. They were polar opposites. So it was no surprise that the session at AIR Studios yielded very little. Eventually, the session came to a grinding halt, when one of Hawkwind’s friends or entourage, allegedly broke into George Martin’s drink’s cabinet and spiked the engineer’s drinks with acid. This resulted in Hawkwind being asked to leave AIR Studios. Ironically, it was the best think that happened to Hawkwind.
They moved to Olympic Studios to work with producer George Chkiantz. By then, Hawkwind were behind the black ball. So much time had been wasted, that there was very little time to complete the album. This seemed to focus everyone’s minds, and George Chkiantz guided Hawkwind through the recording of their first classic album, X In Search Of Space.
With X In Search Of Space completed, promo copies were sent out to critics. They were won over by In Search Of Space, and called the album ambitious and innovative. Elements of electronica, combined with Krautrock, psychedelia and heavy rock. Some critics even compared X In Search Of Space favourably to some of the leading lights of the Krautrock scene. One of the groups Hawkwind were compared to were Amon Düül II. A few perceptive critics went as far as to refer to X In Search Of Space as a classic.
That proved to be the case. Thirty-five years later, in 2006, In Search Of Space found its way into Classic Rock magazine’s list of the 100 Greatest British Rock Albums. That was no surprise.
When X In Search Of Space was released on 8th October 1971, it eventually reached number eighteen in Britain. It seemed that being asked to leave AIR Studios was the best thing that had happened to Hawkwind. They then got the opportunity to work with producer George Chkiantz. Together, they co-produced a classic album, British rock album, In Search Of Space. Its success saw Hawkwind’s profile rise.
Greasy Truckers Party.
Proof of that came on 13th February 1972, when Hawkwind found themselves at the Roundhouse, in London. Hawkwind were joined by Brinsley Schwarz and Man in what was one of the biggest charity concert in Britain. Patrons paid the princely sum of £1.50 to see three of Britain’s top bands play in what was originally billed as a marathon concert.
Originally, the Greasy Truckers Party was due to run from 3pm until midnight, and featured numerous bands. However, power cuts and wage disputes meant that only Hawkwind, Brinsley Schwarz and Man would play on the 13th February 1972.
To further muddy the waters, Clive John had just left Man. However, they weren’t going to let the audience down. They opened the night, with Brinsley Schwarz following and Hawkwind bringing the curtain down. The three bands didn’t disappoint, and the Greasy Truckers Party has entered British musical folklore. Partly, that’s because the concert was recorded and released on 28th April 1972.
The Greasy Truckers Party was a double album, and is a reminder of Hawkwind early in their career. By then, Hawkwind had only been playing live since 1970. However, by 1972, their space rock sound was winning favour with concert goers. That’s apparent on Master of the Universe and Born to Go. These tracks showcase musical pioneers Hawkwind, as they were about to come of age.
Doremi Fasol Latido.
Following the Greasy Truckers Party, Hawkwind lost its rhythm section. Bassist Dave Anderson and drummer Terry Ellis left. Their replacements were Opal Butterfly’s former rhythm section.
This included drummer Simon King. His partner-in-crime, was Opal Butterfly’s charismatic frontman and bassist, Fraser “Lemmy” Kilmister. Back in 1972, the man who would become known to all as Lemmy, was a twenty-six year old veteran, with a love of the rock ’n’ roll lifestyle. This was something that Lemmy embraced, and defiantly enjoyed until his death on December 28th 2015, aged just seventy. However, back in 1972, Lemmy was still to taste critical acclaim and commercial success. They would become constant companions.
Originally, Lemmy was going to become Hawkwind’s second guitarist. However, there was a small problem.
From the moment Lemmy became a member of Hawkwind, it became apparent he disguised his failing with volume and showmanship. So Lemmy switched to bass. There was another problem though.
Lemmy didn’t know how to play the bass. It was a case of learning on the job. As he stepped onto the stage each night, a bass was strapped round his neck, and Lemmy winged it. This presented a problem for Dave Brock.
He wanted Hawkwind to feature two guitarists when on their third album Doremi Fasol Latido. This wasn’t to be. However, Lemmy contributed the album closer The Watcher. Founder member Dave Brock contributed four tracks; while Del Dettmar and Nik Turner wrote one apiece. These seven tracks became Doremi Fasol Latido.
Recording of Doremi Fasol Latido took place at Rockfield Studios between September and October 1972. Dave Brock and Del Dettmar produced Doremi Fasol Latido, which featured the new lineup of Hawkwind.
This included a rhythm section of drummer Simon King, bassist Lemmy and Dave Brock on guitars. Dik Mik and Del Dettmar added synths; while Nik Turner added flutes and saxophone. Augmenting Hawkwind, were guitarists Robert Calvert and Paul Rudolph. However, the sessions were problematic.
When recording of Doremi Fasol Latido was taking place, Rockfield Studios was a relatively new facility, not the world class studio its became. Members of Hawkwind were concerned about the sound quality. They liked the record the rhythm section and vocals together. When they listened to the recordings, they lacked depth, bite and clarity. Questions were even asked about Dave Brock and Del Dettmar productions. It was a worrying time for Hawkwind.
Once Doremi Fasol Latido was completed in October 1972, United Artists were determined to have the album released on 24th November 1972. Before that, critics had to have their say on Doremi Fasol Latido.
Reviews of Doremi Fasol Latido were decidedly mixed. A press corps. that had previously been won over by every Hawkwind release, weren’t convinced. Some felt the album lacked cohesion, and the sound quality wasn’t the best. Other critics however, embraced this cosmic pot pourri. It was unlike anything Hawkwind, or any band had released. Psychedelia, progressive rock and electronica, were combined with effects to create a space rock album that divided the opinion of critics. Record buyers had the deciding vote.
When Doremi Fasol Latido was released, it became Hawkwind’s most successful album, reaching number fourteen in Britain. Now Hawkwind had to build on the success of Doremi Fasol Latido.
Space Ritual.
Most bands would’ve headed back into the studio to record the followup to Doremi Fasol Latido. Not Hawkwind.
Following the release of Doremi Fasol Latido, Hawkwind were touring their third album. They were booked to play the Liverpool Stadium on 22nd December 1972. Then eight days later, Hawkwind were scheduled to appear at the Brixton Academy, London. Both these concerts would be recorded, and became the Space Ritual.
Their 1972 tour was unlike previous Hawkwind tour. It was a much more ambitious project, where songs gave way to electronic and spoken pieces. Essentially, the each night, Hawkwind combined music, animation, poetry, theatre and drama. The Space Ritual show was also billed as an audio visual experience.
Graphic designer and director Barney Bubbles, and Robert Calvert of Hawkwind had created a short, animated sci-fi story. It was accompanied by Liquid Len’s light-show and poetry readings. This gave the show a sixties happening feel. However, this was happening in late 1972.
This didn’t matter, on the two nights in Liverpool in London, Hawkwind’s set featured mostly Doremi Fasol Latido.Everything seemed to fall almost flawlessly into place. The only disappointment for some members of the audience, was when Hawkwind didn’t play their hit single, Silver Machine. Even that paled into insignificance, as Hawkwind gave two of the best performances of the tour. The members of Hawkwind breathed a sigh of relief. Both nights were being recorded, and became Space Ritual
Five months later, Space Ritual was released on 11th May 1973. The album became Hawkwind’s most successful album, reaching number nine in Britain, and 179 in the US Billboard 200. Belatedly, Hawkwind had made a breakthrough in the lucrative American market. Was this a one-off, or could they sustain this?
Hall Of The Mountain Grill.
When Hawkwind returned to Edmonton Sundown studio in January 1974, there had been three changes in the band’s lineup. Robert Calvert and Dik Mik had left Hawkwind. Simon House had joined the band, and would add synths, mellotron and electronic violin on nine new tracks.
Five of the tracks on Hall Of The Mountain Grill had been penned by Hawkwind’s songwriter-in-chief, Dave Brock. Other members of the band played their part. Nik Turner contributed D-Rider; Simon House Hall Of The Mountain Grill; and Del Dettmar Goat Willow. Lemmy and Mick Farren cowrote Lost Johnny. For the best part of a month, Hawkwind worked on Hall Of The Mountain Grill Edmonton Sundown. By the time, January was over, Hawkwind resumed their gruelling touring schedule.
It wasn’t until May and June of 1974, that Hawkwind were able to return to the studio. At Trident Studios, they were joined by Roy Thomas Baker and Doug Bennett. They co-produced Hall Of The Mountain Grill with Hawkwind. The addition of experienced producers made a difference to Hall Of The Mountain Grill’s sound.
Once Hall Of The Mountain Grill was completed, the release date was scheduled for 6th September 1974. Before that, critics were sent a copy of Hall Of The Mountain Grill.
Critics that hadn’t been won over by Doremi Fasol Latido, felt that Hawkwind were back to their very best on Hall Of The Mountain Grill. That’s despite the loss of vocalist Robert Calvert. So vocals were shared between Dave Brock, Nik Turner and Lemmy. They proved to be admirable replacements, as Hawkwind became musical shape shifters.
Throughout Hall Of The Mountain Grill, Hawkwind change direction musically. On The Psychedelic Warlords (Disappear in Smoke) and Lost Johnny, Hawkwind become a swaggering, hard rocking band. Then on D-Rider and Web Weaver, Hawkwind head in the direction of psychedelia. However, on Goat Willow, Wind of Change and Hall Of The Mountain Grill, a much more understated, introspective Hawkwind shine through. Critics felt that Hawkwind could do no wrong on Hall Of The Mountain Grill, and called the album a “career high.” Record buyers agreed.
When Hall Of The Mountain Grill was released, it reached sixteen in the British charts. While that was slightly disappointing, after The Space Ritual Alive reached number nine. However, across the Atlantic, Hall Of The Mountain Grill reached 110 in the US Billboard 200. Hawkwind’s star was in the ascendancy in America. So in 1974, Hawkwind recorded a live album in America, The 1999 Party (Live Chicago Auditorium).
The 1999 Party (Live At The Chicago Auditorium).
In between starting and completing the recording of Hall Of The Mountain Grill, Hawkwind had toured America. On March 21st 1974, Hawkwind were scheduled to play at the Chicago Auditorium. The show was being recorded, so that it could be released as a double album.
When Hawkwind took to the stage at the Chicago Auditorium, they worked their way through sixteen tracks. From the opening track, Standing On The Edge, Hawkwind are determined to win over the audience. They unleash It’s So Easy, You Know You’re Only Dreaming, Brainstorm, Seven By Seven, The Watcher, The Awakening, You’d Better Believe It, The Psychedelic Warlords (Disappear In Smoke), D-Rider and Sonic Attack. Closing the show was, Welcome To The Future. This mixture of tracks from the first three studio albums, plus a smattering of songs from Hall Of The Mountain Grill proved a potent combination. By the time the curtain fell, Chicago had been won over by Hawkwind.
Despite the success of the tour, and Hall Of The Mountain Grill, United Artists were in no hurry to release The 1999 Party (Live At The Chicago Auditorium). It wasn’t until 2007, that the album was released. By then, CDs had all but replaced vinyl, and Hawkwind’s lineup had been through countless changes. That’s the case with the final album in the This Is Your Captain Speaking…Your Captain Is Dead.
Of Time and Stars: The Singles.
Disc eleven in This Is Your Captain Speaking…Your Captain Is Dead features fifteen of Hawkwind’s singles. There’s original single mixes, edits and live singles. Among the highlights, are the original mix of Silver Machine, Seven By Seven and Psychedelic Warlords (Disappear In Smoke). Then there’s Urban Guerilla and It’s So Easy, plus live versions of Born To Go and Seven By Seven. There’s even an attempt to bring Hawkwind into the 21st Century, with a remixed single version of Seven By Seven. It’s ironic that this remix closes the This Is Your Captain Speaking…Your Captain Is Dead. After all, Hawkwind were making groundbreaking, futuristic music for the 21st Century over forty years ago.
Indeed, forty-five years have passed since Hawkwind released their eponymous debut album in 1970. Since then, Hawkwind have released another twenty-six studio albums, ten live albums and fifteen compilation. Hawkwind’s recording career has spanned five decades and featured countless different lineups of the band.
Over forty musicians have been part of the Hawkwind success story. This included Ginger Baker, and Lemmy, who sadly, died of an aggressive form of cancer on the 28th December 2015. He was only seventy, but was a veteran of several bands, including Hawkwind and then Motörhead.
Lemmy joined Hawkwind in 1972, and left in 1975. By the time he left to form Motörhead, Hawkwind’s star was in the ascendancy. They had enjoyed commercial success and critical acclaim on both sides of the Atlantic. So would Lemmy’s next band Motörhead. They nearly matched Hawkwind for longevity.
Even in 2015, Hawkwind are still going strong. The only original member is Dave Brock, who cofounded the band in 1969. Since then, the lineup has changed constantly, and Hawkwind’s music has fallen in and out of fashion. Nowadays, Hawkwind are regarded as pioneers of space rock sound.
These musical trailblazers went onto inspire several generations of bands, with albums like X In Search of Space and Hall of the Mountain Grill. Then there’s Hawkwind’s 1970 eponymous debut album and their third album Doremi Fasol Latido. Both are underrated, and deserve to be reappraised. The This Is Your Captain Speaking…Your Captain Is Dead box set, which was recently released by PLG allows music fans to do so. They’ll also be able to discover Hawkwind’s performance at the Greasy Truckers Party, and what was one their most ambitious live albums, The Space Ritual Alive. That’s not the end of the story.
As an added bonus, The 1999 Party (Live At The Chicago Auditorium) and the Time and Stars: The Singles have been included on the This Is Your Captain Speaking…Your Captain Is Dead box set. It’s the perfect introduction to what many people regard as Hawkwind’s glory days.
HAWKWIND-THIS IS YOUR CAPTAIN SPEAKING…YOUR CAPTAIN IS DEAD.
IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
After eleven years and eleven studio albums, Can called time on their career in 1979. By then, Can were rightly regarded as one of the most innovative bands of the Krautrock era. They had enjoyed an almost unrivalled longevity.
Can were formed in 1968, by Holger Czukay and Irmin Schmidt. Both had been students of Karlheinz Stockhausen and graduated in 1966.
By then, Irmin Schmidt was twenty-nine. He born in Berlin on 29th May 1937, and grew up playing piano and organ. Soon, it was apparent that he was a talented musician. So it came as no surprise that Irmin headed to the conservatorium in Dortmund, to study music. This was just the start of Irmin’s studies.
From there, Irmin moved to Folkwang University of the Arts in Essen, before moving to Austria, and the Mozarteum University of Salzburg. The final part of Irmin’s musical education took place in Cologne, where Irmin met Holger.
The two future founding members of Can were studying composition under Karlheinz Stockhausen at the Cologne Courses For New Music. Between 1962 and 1966, Irmin and Holger studied composition. However, after they graduated, their lives headed in different directions.
Holger Czukay became a music teacher, and began a career educating a new generation of young Germans. Meanwhile, Irmnin Scmidt headed to New York.
During his time in New York, Irmnin Scmidt spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin Scmidt was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
By the time Irmin Scmidt returned home, Holger Czukay what he described to me “as a life-changing moment…the music of the past and present came together.” At last, “here was music that made the connection between what I’d studied and I was striving towards” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
He found Velvet Underground. Holger remembers Velvet Underground when he first heard them. “They were different…and really influential.” They influenced the music I made. This would include the music Holger Czukay made with Can.
When Irmin Scmidt returned home, he decided to form a band with his old friend Holger Czukay. So in Cologne in 1968, Can was born.
Pianist and organist Irmin Scmidt formed Can with American avant garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. However, soon, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, a 14th-century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968-69. It was the released in August 1969. This marked the debut of Can. Their career started as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger Czukay remembers “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. So not only was Monster Movie the album that launched Can’s career, but saw a new musical genre, Krautrock coined. The founding father’s of Krautrock were Can.
Soundtracks.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago.
The first instalment in the golden quartet was Tago Mago. This was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel. He allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as “a poor man’s band,” this was perfect.
Holger remembers Can during this year as “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger says “how Can always worked” After that, Holger edited the songs which became and the mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
A double album, it featured seven groundbreaking tracks. Tago Mago was released in February 1971. Straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder. Can deliver an avant garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. Since then, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. They released Spoon as a single in 1972. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. The money the made from Spoon, allowed Can to hire disused cinema to record what became Ege Bamyasi.
Can adverted for a space to record their next album, Ege Bamyasi. Recording began in a disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. So Spoon was added and Ege Bamyasi was completed.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critics hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls “my favourite Can album.” It was the third in Can’s golden quartet, and marked a change in direction from Can.
Future Days saw Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and sees can take you on an enthralling musical journey. Just like the rest of Future Days, critics hailed the album a classic.
On its release in August 1973, Future Days was hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet, Soon Over Babaluma was released in 1974.
Soon Over Babaluma,
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Kenji Damo Suzuki left Can and married his German girlfriend. He then became a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet. They released Soon Over Babaluma in November 1974.
When Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. It followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music.
Landed.
Landed was released in September 1975. It had been recorded between February and April 1972 at Inner Space Studios. Just like previous albums, Can produced Landed. Holger and Tony Robinson mixed the first four tracks at Studio Dierks, Stommeln. The other two tracks were mixed by Holger at Inner Space Studios. These six tracks marked a change of direction from Can.
As well as a change in direction musically, Landed was the first Can album to be released on Virgin Records. Gone is the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed has a poppy, sometimes glam influence. With uptempo, shorter songs, Landed was a much more traditional album. How would the critics react?
Critics were divided about Landed. Some critics saw Landed as the next chapter in the Can story, while others praised the album as adventurous, eclectic and innovative. Others thought Can were conforming. Surely not?
Flow Motion.
Flow Motion was Can’s eight album. As usual, it was recorded at Inner Space Studios. Produced by Can, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. It was an eclectic, genre-melting album. It’s also one of Holger Czukay’s favourite Can albums.
Holger remembers Flow Motion as an “Innovative and eclectic” album. He calls it “one of Can’s underrated albums,” Flow Motion marked a another change in Can’s way of working.
Released in October 1976, Flow Motion featured lyrics written by Peter Gilmour. This was a first. Never before, had anyone outside the band had written for Can. It worked. Can enjoyed their first UK single I Want More. It would later be recorded Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Saw Delight.
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That’s despite the new lineup of Can embracing world music.
Joining Can were bassist Rosko Gee and percussionist and vocalist Rebop Kwaku Baah. They’d previously been members of British rock band Traffic. Rosko Gee replaced Holger on bass. Holger decided to add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. The result was one of the most ambitious albums can had released.
Despite the all-star lineup and a bold, progressive and experimental album, Saw Delight wasn’t a commercial success. It was well received by critics. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more. That was still to come. However, things weren’t well within the Can camp.
Out Of Reach.
Nine years after Can had released their debut album Monster Movie, they released their tenth album, Out Of Reach. It was released in July 1978. The title proved to be a prophetic. After all, commercial success always seemed to elude Can. Not only did Out Of Reach fail commercially, but the Out Of Reach proved to be Can’s most controversial album.
So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left to add myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem. Holger confirms this.
When I asked him what he meant by this, he said “During the recording of Out Of Reach, I felt an outsider in my own group. I was on the outside looking in. I was on the margins. All I was doing was add sound-effects.” For Holger, he felt his group had been hijacked by Rosko Gee and and Rebop Kwaku Baah. Things got so bad, that Holger quit Can.
Rosko Gee and Rebop Kwaku Baah dominated Out Of Reach. Gone was the loose, free-flowing style of previous albums. Even Jaki Liebezeit’s play second fiddle to Baah’s overpowering percussive sounds. The only positive thing was a guitar masterclass from Michael Karoli. Apart from this, things weren’t looking good for Can. It was about to get worse though.
The critics rounded on Out Of Reach. They found very little merit in Out Of Reach. Gee and Baah were rightly blamed for the album’s failure. Even Can disliked Out Of Reach. They later disowned Out Of Reach. Despite this, Rosko Gee and and Rebop Kwaku Baah remained members of Can.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. There wouldn’t be many more of these. Can would breakup after their next album.
Can.
Following the failure of Out Of Reach, the members of Can began recording what became Can. Remarkably, Rosko Gee and Rebop Kwaku Baah were still part of Can. Sadly, Holger was not longer a member of Can. He’d left during the making of Out Of Reach. His only involvement was editing Can.
Can, which is sometimes referred to as Inner Space, was released in July 1979. Again, critics weren’t impressed by Can. It received mixed reviews. No longer were Can the critic’s darlings. The music on Can was a fusion of avant garde, electronica, experimental, psychedelia and rock. Add to that, a myriad of effects including distortion and feedback, and here was an album that divided the opinion of critics. The critics agreed, it was better than Out Of Reach. They agreed that Holger was sadly missed.
Even Holger’s renowned editing skills couldn’t save Can. Try as he may, he could only work with what he was given. He did his best with Can, which the eleventh album from the group he co-founded. By the time Can was released, Holger “had come to a realisation, that it was time to go his own way.” Holger describes this as “necessary.”
Can had split-up after the release of Can. That was their swan-song. However, even before that, Holger “felt marginalised, this had been the case since Rosko Gee and Rebop Kwaku Baah became part of Can. They’d hijacked Can.” This lead to the death of a great and innovative band.
With Can now part of musical history, Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit set about reinventing themselves. Music critics wondered whether they would form new bands or embark upon solo careers? Irmin Schmidt, Holger Czukay and Michael Karoli all embarked upon solo careers. The most prolific of the trio was Irmin Schmidt.
Since Can disbanded in 1979, Irmin Schmidt has established a reputation as the most prolific former member of Can. Irmin has written the scores for over 100 films and television programs. Some of this music features in the recently released Irmin Schmidt box set Electro Violet. This twelve disc box set, which was recently released by Mute, features not just the five volumes of the Film Musik Anthology, but a previously unreleased sixth volume. Then there’s Irmin Schmidt’s first four solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then there’s Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes. The final disc in the Electro Violet box set is opera Gormenghast, which was released in 2000, and was based on Mervyn Peake’s classic novel. Gormenghast shows the versatility of Irmin Schmidt, the classically trained musician who become part of Can, one of the most successful bands of the twentieth century. Sadly, by 1980, Can was history, and it was a brave new world for Irmin Schmidt.
Filmmusik.
Just a year after Can released their swan-song, Irmin Schmidt released the first volume in his Filmmusik series. This eight track compilation, was an introduction to the music Irmin had been writing for film and television. It would become a popular, and much anticipated series, which introduced many people to Irmin’s solo music. On the first volume of Filmmusik, Irmin was joined by old friends and some new names.
Among the old friends, was Can guitarist Michael Karoli. He featured on the eight minute, cinematic epic Im Herzen Des Hurrican (Verfolgung) and Im Herzen Des Hurrican (No. 5). Michael Karoli played his part in the success of Filmmusik. So did what was a new name to many Can fans was tenor saxophonist Bruno Spoerri.
He had been making electronic music since 1965, and by 1980, the forty-five year old, was running his own studio in Zurich. This was Studio Für Elektronische Musik Spoerri, where some of the Filmmusik sessions took place. Most of the recording of Filmmusik took place at Can’s Inner Space Studio, near Cologne. This had been where Can recorded some of the best music of their career. It would be no different for Irmin Scmidt.
While the cinematic sound of Filmmusik was very different to the music Can had been releasing, it showed just how versatile a composer and musician Irmin was. He had created eight tracks that were evocative, and had the ability to paint picture’s. This was important for anyone composing music for film and television. It looked like Irmin Schmidt had a big future ahead of him. He had stepped out of the shadow of Can and was about to enjoy his moment in the spotlight.
Filmmusik Volume 2.
So much so, that Irmin Schmidt released two albums during 1981. This included Filmmusik Volume 2. By then, Irmin was forging a reputation as the go-to-guy for anyone looking for a soundtrack to a film or television series in Germany. Eventually, Irmin would write over 100 scores. However, in 1981, his career was in its early days.
On Filmmusik Volume 2, it’s akin to Can reunion. Guitarist Michael Karoli and drummer Jaki Liebezeit feature on Endstation Freiheit-Titelmusik, Endstation Freiheit-Loony’s Walk and on Endstation Freiheit-Decision. So does bassist Rosko Gee. He’s replaced by Holger Czukay on Flächenbrand-Lurk and Flächenbrand-Titelmusik. Then on Die Heimsuchung Des Assistenten Jung-Man On Fire, Jaki Liebezeit added percussion. It seemed that the former bandmates were still friendly, and were happy to play on each other’s albums. Maybe, Can weren’t history after all?
That’s what some critics remarked when they saw the credits to Filmmusik Volume 2. With its all-star cast, it was a tantalising prospect. The critics weren’t disappointed when they heard Filmmusik Volume 2. It seemed Irmin Scmit was playing his part in reinventing what a soundtrack should sound like. He was just one of a new breed of composers determined to do so. However, Irmin wasn’t content to just write soundtracks. A solo career beckoned.
Toy Planet.
Irmin Schmidt also wanted to enjoy a solo career. This could run in parallel with his career composing soundtracks. For his debut solo album, Irmin Schmidt decided to collaborate with Bruno Spoerri, on what became Toy Planet.,
Zurich based Bruno Spoerri was two years older than Irmin. Bruno had been a pioneer of electronic music since 1965. Back then, Irmin was still studying under Karlheinz Stockhausen. However, within two years, he would be embracing new, experimental music in New York. That was sixteen years ago. Now Irmin Schmidt was regarded as a musical innovator and pioneer. His debut album would be much anticipated.
Critics and record buyers weren’t disappointed when Toy Story was released in 1981. It’s best described as a genre-melting opus. Everything from ambient, jazz and electronica, combines with rock and classical and psychedelia. There’s even a nod to the Berlin School, progressive rock and Phillip Glass, as a myriad of sounds assail you. Listening intently, instruments and sounds flit in and out. Sometimes, you question what you heard? Were there birds and a variety of animal noises on The Seven Game? Then on the title-track, futuristic and otherworldly describes what can be a haunting track. What follows is a minor musical masterpiece, which sadly, has been overlooked by the majority of music lovers since its release in 1981. Those that bought Toy Planet, eagerly awaited the followup.
Rote Erde.
It was a long time coming. Four years to be precise. To record buyers, it seemed that Irmin Schmidt was in no hurry to release the followup to Toy Planet. That wasn’t the case.
Instead, he was just incredibly busy. Irmin had been commissioned to compose the soundtrack to Rote Erde. It was released in 1983, and featured Michael Karoli and a former member of Can, David Johnson. Rote Erde, a journey through art rock and electronica, would give Irmin Schmidt’s fans something to listen to, while he continued to work on his burgeoning soundtrack career.
Filmmuzik Volumes 3 and 4.
Proof of this, was the release of Filmmuzik Volumes 3 and 4. This double album featured another twelve tracks Irmin Scmidt had written for film and television. On some of the tracks, Irmin was joined by Michael Karoli and Jaki Liebezeit. Only Holger Czukay was missing from what would’ve been a Can reunion.
On the twelve tracks on Filmmuzik Volumes 3 and 4, Irmin Schmidt shows his versatility, as stylistically, the music shifts between disparate genres. This includes everything from classical and experimental, to jazz and rock. With a tight, talented and hugely experienced band for company, Irmin provided the soundtrack German film and television. Again, for many younger viewers, this would be their first exposure with Irmin Schmidt’s music. Given the quality of music on Filmmuzik Volumes 3 and 4, it wouldn’t be their last.
Mostly, the reviews of Filmmuzik Volumes 3 and 4 were positive. That had been the case throughout Irmin Schmidt’s career. He hadn’t released a disappointing album. However, most of Irmin’s albums had either been compilations or soundtracks. They hadn’t sold in vast quantities. It seemed that Irmin Schmidt had a small, but loyal following. However, with every release, Irmin Schmidt’s music seemed to be finding a wider audience. Maybe the release of his sophomore solo album Musk At Dusk would result in Irmin Schmidt’s music reaching a much wider audience?
Musk At Dusk.
That should’ve been the case. Can had reunited in 1986. The first Can reunion had been a success. Now Irmin Scmidt was ready to begin work on his second solo album, Musk At Dusk, some familiar faces were present. This included Michael Karoli and Jaki Liebezeit.
Only Michael Karoli had released a solo album, Deluge, his 1984 collaboration with Polly Eltes. Jaki Liebezeit was content to work as a hired gun, playing on other artist’s albums. This included Holger Czukay and Irmin Schmidt’s albums. They were fortunate to have one of the top German drummers of Krautrock era providing the heartbeat to their albums.
That was the case on Musk At Dusk. It was another stylistically eclectic album. Elements of ambient, electronica, jazz, lounge and even progressive rock shawn through, on what was another ambitious, captivating and innovative solo album from Irmin Schmidt.
Critics agreed when Musk At Dusk was released. Irmin Scmidt seemed determined to reinvent himself on the long-awaited followup to Toy Planet. Six years after the release of Toy Planet, Musk At Dusk was released in 1987.
Sadly, Musk At Dusk wasn’t a huge commercial success. A small crumb of comfort was that gradually, word seemed to be spreading about Irmin Schmidt’s music. Meanwhile, Kraftwerk were enjoying commercial success and critical acclaim. They seemed unable to do no wrong. This must have been frustrating for Irmin, whose music was no nearer to reaching a wider audience. Aged fifty, he was still regarded as an underground artist. So, Irmin Schmidt returned to composing music for film and television.
Filmmuzik Volume 5.
Two years after the release of Musk At Dusk, Irmin Schmidt released Filmmuzik Volume 5. By then, the Filmmusik series was becoming a much anticipated and highly regarded series. It showcased Irmin’s music to many people who had neither seen the films nor television programs it featured in. Back in 1989, satellite television was in its infancy.
Filmmuzik Volume 5 featured another eight eclectic tracks. Again, the Can connection was strong. Drummer Jaki Liebezeit played on Zu Nah Dran. This was the only track to feature drums. Guitarost Michael Karoli featured on Mountain Way, Rita’s Tune, Bohemian Step, Geld and Geister and Zocker. These tracks featured on an album veered between cinematic, electronic and rocky. Just like the previous volumes in the Filmmuzik series, it caught the imagination of critics and record buyers.
It didn’t matter that many of the people buying Filmmuzik Volume 5 had neither seen the films, nor television programs they were taken from. The tracks worked as standalone pieces of music. Critics agreed. They felt Irmin Scmidt was maturing as a composer with each instalment in the Filmmuzik series. Those that bought Filmmuzik Volume 5 agreed, and eagerly awaited the next instalment in this popular series. Little did they know, they would have to wait twenty-six years.
Impossible Holidays.
By 1991, Can were back on the comeback trail. This was their second reunion. Can’s popularity had grown since their last reunion in 1986. Never before, had Can been as popular. They were somewhat belatedly receiving the plaudits they so richly deserved. The Can reunion was part of one of the busiest years of Irmin Schmidt’s recent career.
Still Irmin Schmidt was busy composing music for films and television programs. Four years had passed since Irmin had released a solo album. Critics and record buyers wondered when the followup to 1987s Musk At Dusk would be released?
Little did they realise that in studios in Nice, Paris, Berin and Cologne, Irmin Schmidt had been working on his long-awaited, and much-anticipated third solo album, Impossible Holidays.
For Impossible Holidays, Irmin Schmidt worked with lyricist Duncan Fallowell. Gradually, Irmin’s third solo album Impossible Holidays began to take shape. Once the lyrics and music were written, Impossible Holidays was recorded at various studios in France and Germany.
When work began on Impossible Holidays, two familiar faces were present. Can drummer Jaki Liebezeit and guitarist Michael Karoli. Bassist Franck Ema-Otu, a long term collaborator of Irmin Schmidt was present. He had also played on Michael Karoli’s 1984 debut solo album Deluge. Along with backing vocalists and session players, Irmin and co-producer Gareth Jones recorded Impossible Holidays. This they hoped would be Irmin’s breakthrough solo album.
Impossible Holidays was released in 1991, when Irmin Scmidt was fifty-five. He was approaching veteran status, and was regarded as one of the finest German composers of soundtracks for film and television programs. However, Irmin’s solo career had proved disappointing. He had released a two critically acclaimed solo albums. Sadly, neither Toy Planet nor Musk At Dusk had been sold in vast quantities. Maybe Impossible Holidays would be a game-changer for Irmin Schmidt?
When Impossible Holidays was released, reviews were positive. Irmin Schmidt was regarded as one of the grand old men of Germen music. However, he was still regarded as an innovator, and someone who was capable of releasing ambitious, groundbreaking music. Impossible Holidays was no different.
Elements of avant garde, electronica, Krautrock and rock could be heard on Impossible Holidays. So could something that no previous Irmin Schmidt solo album featured…lyrics. They came courtesy of Irmin, while Claudia Stülpner, Gitte Haenning and Özay Fecht added backing vocals. Despite these stylistic changes, Impossible Holidays didn’t sell in huge quantities. While more people had discovered Impossible Holidays, Irmin Schmidt was still one of music’s best kept secrets.
Masters Of Confusion.
Just a year after the release of Gormenghast, Irmin Schmidt returned with Masters Of Confusion, his first collaboration with Kuno. Irmin had met Kuno when recording Gormenghast.
Kuno was none other that Jono Podmore, who co-produced Gormenghast with Irmin. Just like Irmin, Jono was a musical adventurer. He had released two solo albums, 1997s Kaminari and 2000s 1+1=1. It was an album of drum ’n’ bass, which was released by Mute, the same label that Irmin was signed to. After the release of Gormenghast, Irmin and Kuno decided to collaborate. The result was Masters Of Confusion.
When Masters Of Confusion was released in 2001, critics were aghast. They couldn’t help but admire Irmin Schmidt’s ambition and bravery. Masters Of Confusion was totally unlike anything that Irmin Schmidt had released in a career spanning five decades. He had taken a huge leap of faith, which was rewarded when a new generation of music lovers embraced Masters Of Confusion, a journey through drum ’n’ bass, ambient and experimental music. Suddenly, Irmin Schmidt was the toast of dance-floors in clubs across Europe. So Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. This however, took time.
Axolotl Eyes.
Seven years passed before Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. It was released in 2008, and just like Masters Of Confusion, was an eclectic album.
Irmin Schmidt and Kuno took listeners on a roller coaster journey through avant garde, cinematic, dark ambient, experimental and even Krautrock. This was a return to Irmin’s musical roots, and the glory days of Can. That was fitting
Since the release of Masters Of Confusion in 2001, Can guitarist Michael Karoli was dead. Irmin’s longtime collaborator and friend, had died on 17th November 2001 in Essen, Germany. It seemed fitting that Irmin Schmidt and Kuno revisited Krautrock on Axolotl Eyes.
When Axolotl Eyes was released in 2008, seven years had passed since Masters Of Confusion took dance-floors by storm. Seven years is a long time in dance music. During that period, genres came and went. Luckily, Axolotl Eyes wasn’t a remake of Masters Of Confusion. Far from it.
Axolotl Eyes was hailed an ambitious and groundbreaking album. It was released to critical acclaim. Partly, this was because Irmin Schmidt was never determined to stand still. Constantly, he was looking to reinvent his music. He had never released the same album twice, and wasn’t going to start after five decades.
Filmmusik Volume 6.
Since the release of Axolotl Eyes in 2008, Irmin Schmidt has been busy. He provided the soundtrack to Wim Wenders’ film Palermo Shooting. It as released in 2008. Then in 2009, Irmin collaborated with Inner Space Production on Kamasutra-Vollendung Der Liebe. Since then, Irmin Schmidt has been kept busy.
He continues to write music for film, theatre and television. As of 2015, Irmin Schmidt had written over 100 film and television soundtracks. This meant there was plenty of material for at least another volume in the Filmmusik series.
Twenty-six years had passed since Irmin Schmidt had released Filmmusik Volume 5 in 1989. Since then, nothing. That was until recently, when Mute announced the release of the twelve disc Electro Violet box set. The good news was, that included in this luxurious and lovingly compiled box set was Filmmusik Volume 6. This brought the story of Irmin Schmidt’s soundtrack career up to date. The seventy-eight year old hasn’t lost his magic touch, and is still able to create music that evocative, emotive and most importantly, cinematic. It helps tell the story. However, the music on Filmmusik Volume 6 works as standalone pieces of music. They feature the same quality that one expects from Irmin Schmidt. That’s not surprising.
Throughout a career that’s spanned five decades, Irmin Schmidt has been regarded as a musical innovator. While that’s an oft-overused word, in the case of Irmin Schmidt, innovator describes one of the greatest musicians of his generation.
That’s been the case from Irmin Schmidt’s days with Can, right through to his solo years and the various collaborations he’s been involved with. Much of Irmin Schmidt’s post-Can career has been spent composing soundtracks for film, theatre and television. A tantalising taste of this can be found on the six volumes of Filmmuzik. That’s not forgetting Irmin’s first three solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then the opera Gormenghast, which was released in 2000. It lead to Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes, which closes the Electro Violet box set.
The Electro Violet box set is a celebration of the first five decades in Irmin Schmidt’s post can career. Throughout what has been a long and illustrious career, Irmin Schmidt has released music that’s ambitious, innovative, inspiring and influential. Irmin Schmidt is a musical visionary, who as a member of Can, and as a solo artist, has released groundbreaking music that was often, way ahead of the curve. A reminder of this is the music in the Electro Violet box set, which like the music of Can, will forever influence and inspire further generations of musicians and continue to captivate discerning music lovers.
IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
In the history of the Scottish Album Of The Year Award, Kathryn Joseph recently became the first artist to win Scotland’s most prestigious music award with a debut album. That debut album is Bones You Have Thrown Me and Blood I’ve Spilled, was released on vinyl Hits The Fan Records earlier in 2015.
A few months later, and Bones You Have Thrown Me and Blood I’ve Spilled was one of 147 albums nominated for the Scottish Album Of The Year Award. This was narrowed down to what the judges considered the twenty best Scottish albums of 2015. They were an eclectic selection featuring everything from folk to indie rock and everything in between. The long-list featured some of the biggest names in Scottish music. Mogwai, Belle and Sebastian, Errors, King Creosote, The Twilight Sad, The Phantom Band and Withered Hand had all been nominated. This was to be expected. Some names however, were missing.
There was no sign of Lau’s The Bell That Never Raung, Bill Wells and Aidan Moffat’s The Most Important Place In The World and Vashti Bunyon’s Heartleap. Somehow, these three albums been passed over. On another day, they could’ve easily found their way onto the long-list. Sadly, it wasn’t to be. However, this meant three other artists would have their moment in the sun.
When 147 became twenty, critics and record buyers studied the long-list with interest. There were what some considered some unexpected names. One of these names was Kathryn Joseph.
She had only released Bones You Have Thrown Me and Blood I’ve Spilled a couple of months earlier. However, it was released to widespread critical acclaim. The Aberdeen born singer, songwriter and pianist had made an impression on music critics, DJs and music lovers. So for those of us who had followed Kathryn’s career with interest, it was no surprise when Bones You Have Thrown Me and Blood I’ve Spilled made the long-list for the 2015 Scottish Album Of The Year Award. Doubters however, thought that Bones You Have Thrown Me and Blood I’ve Spilled wouldn’t make the short-list of ten.
It looked like a close call. Certain albums looked nailed on to make the short-list. Especially, Mogwai’s Rave Tapes, Withered Hand’s New Gods, King Creosote’s From Scotland With Love, Belle and Sebastian’s Girls In Peacetime Want To Dance, Errors’ Lease Of Life and The Phantom Band’s Strange Friend. They were almost guaranteed to make the cut. So was The Twilight Sad’s Nobody Wants To Be Here and Nobody Wants To Leave. This left thirteen albums fighting it out for three places.
In the end, it was up to the public and judges to choose the ten albums that would make the short-list. Eventually, the short-list was announced. The record buying public and judges had spoken. Incredibly, King Creosote, Mogwai, The Phantom Band and Withered Hand never made the short-list. To rub salt into the wound, faux soul singer Paolo Nutini did. At times like this, and democracy is flawed. The only small crumb of comfort was that Kathryn Joseph’s debut album is Bones You Have Thrown Me and Blood I’ve Spilled made the short-list.
From the 147 albums nominated, only ten remained. The biggest names on the short-list were Belle and Sebastian and Errors. Worryingly Paolo Nutini was still there. Surely, his poppy brand of lite soul wasn’t going to steal the prize? All would become clear.
The ten who made the short-list, were invited to a glittering gala dinner in late June 2015. It was attended by what the “great and good” of Scottish music. Critics, bloggers, bookers, promoters and DJs eagerly awaited the announcement of the winner of the Scottish Album Of The Year Award for 2015.
When the announcement was made, many within the room were surprised. The winner of Scotland’s most prestigious music award was Kathryn Joseph, who had just released her debut album
Bones You Have Thrown Me and Blood I’ve Spilled in January 2015. Five months later, Kathryn Joseph was clutching the Scottish Album Of The Year Award for 2015 and a cheque for £20,000. Kathryn Joseph had come a long way in a short space of time.
Originally born in Aberdeen, Kathryn now lives in Scotland’s musical capital, Glasgow. That’s where she recorded the award winning Bones You Have Thrown Me and Blood I’ve Spilled.
Kathryn Joseph wrote the ten tracks that became Bones You Have Thrown Me and Blood I’ve Spilled. They were recorded and mixed at The Diving Bell Lounge in Glasgow. Producing Bones You Have Thrown Me and Blood I’ve Spilled was Marcus MacKay. He also plays bass and rhythm guitar. Kathryn played piano and added vocals to the ten tracks. When they were completed, they became Bones You Have Thrown Me and Blood I’ve Spilled, which I’ll tell you about.
Opening Bones You Have Thrown Me and Blood I’ve Spilled is The Bird. Just a lone piano plays, while in the distance, “cheep cheep,” can be heard. Quickly, Kathryn’s vocal veers between fragile and vulnerable, to emotive and powerful. Soon, a bass cuts in and accompanies Kathryn and her piano. Sometimes, Kathryn’s vocal quivers. Especially, as she sings: “you do not know me, and never will, Bones You Have Thrown Me and Blood I’ve Spilled.” Meanwhile, the piano and bursts of drums add an element of drama. Then later, there’s an overwhelming sense of sadness as she sings: “you bring dead birds, then you go.” Ruefully and wistfully she delivers the lines to a captivating and dramatic track.
As the piano plays, The Blood takes on a wistful sound. That’s even before Kathryn sings. When her vocal enters, it has an almost otherworldly sound. It has the same vulnerable quality as she delivers a breathy, but urgent vocal. The drama increases when the rhythm section kicks in. Folk veers towards folk rock, and Kathryn seems to have been inspired by Astrid Williamson, Jerry Burns, Liz Fraser and Kate Bush. Especially Kate Bush, as she unleashes a vocal where power and emotion are omnipresent.
Washes of Kathryn’s vocal assail the listener on The Want. Her vocal is truly impassioned and becomes a plea: “hear me out.” Later, her vocal is tinged with regret as she sings: “I can’t be with you, hear me out.” Despite just accompanying herself on the piano, The Want is one of the most moving songs on Bones You Have Thrown Me and Blood I’ve Spilled.
The piano comes close to overpowering Kathryn’s ethereal vocal on The Why What, Baby? As a result, you listen intently as Kathryn delivers her lyrics. Again, her vocal has a vulnerable quality. Not when she delivers the line: “God knows what you are guilty of.” Anger and frustration shines through. Other times though, her vocal veers between tender and impassioned, as she breathes life and meaning into her powerful lyrics.
Just like previous tracks, The Outtakes opens with just Kathryn playing her piano. Her fingers flit nimbly across the piano, playing boldly and confidently. Soon, her tender, ethereal vocal enters. It quivers, before a pounding drum joins is added. Whether it’s needed at that point is debatable? Granted it adds an element of drama. However, so does Kathryn’s expressive vocal. Later, melancholy strings are added. So is a bass. Both add to the mix. It’s better with their inclusion. That’s even the case with drum, but just at that point. Everything falls into place, in what sounds like a homage to Kate Bush.
For the first six bars of The Bone it’s just a lone piano that plays. This isn’t unusual. Most of the songs on Bones You Have Thrown Me and Blood I’ve Spilled open with Kathryn’s piano. She plays unaccompanied, and sets the scene for her vocal. It’s heartfelt and impassioned, and has the same fragility of previous tracks. Another similarity is the use of a lone drum. It’s added at the nineteenth bar. Again, its raison d’être is to add a dramatic backdrop. This time it succeeds. Producer Marcus MacKay doesn’t overuse the drum. Nor does it come close to overpowering Kathryn’s captivating and impassioned vocal.
Slowly, The Crow decides to show its secrets. Lazily, the arrangement meanders slowly along the piano playing. By the fifteenth bar, Kathryn delivers a dreamy, ethereal vocal. Just the piano and plucked guitar accompany her. They play their part in a stark, understated vocal. It’s definitely a case of less is more, as a beautiful, emotive song unfolds.
The Mouth picks up where The Crow left off. Its arrangement is understated. For the time being, less is more. Just the piano, accompanies Kathryn’s vocal, which she almost turns into another instrument. Later, harmonies accompany her. Soon, the drum and guitar are added, as the arrangement swells. Seamlessly, the instruments, harmonies and Kathryn’s vocal intertwine, becoming one, and reach a dramatic crescendo. The instruments, harmonies and Kathryn’s vocal. Then it’s just Kathryn and her trusty piano, as the track reaches its sudden a poignant ending.
Each of Kathryn’s songs take the listener on a journey. The Good is no different. It may only be just over two minutes long, but Kathryn, accompanied by her wistful piano paints pictures. Her vocal is fragile and ethereal. Slowly and thoughtfully, she delivers the lyrics. She doesn’t rush. Instead, she dramatically and sometimes, defiantly delivers the lyrics.
Closing Bones You Have Thrown Me and Blood I’ve Spilled is The Weary, a homecoming song. It’s a fitting way to close Bones You Have Thrown Me and Blood I’ve Spilled is The Weary. Just like previous songs, Kathryn’s accompanied by her piano. One change is Kathryn’s vocal. Her accent is slightly stronger. On other tracks, Kathryn Joseph doesn’t sound Scottish. That’s not the case here. Another difference is the way the arrangement builds. It’s as if Kathryn’s determined to bring her debut album to a dramatic finale, with this homecoming song about The Weary traveller, home “safe and sound.”
Kathryn Joseph’s debut album Bones You Have Thrown Me and Blood I’ve Spilled features ten tracks and lasts less than a forty-five minutes. During this captivating musical journey, the listener is introduced to what many people consider Scottish music’s best kept secret, Kathryn Joseph. However, not any more.
Earlier this year, Kathryn Joseph was nominated for the 2015 Scottish Album Of The Year Award. Incredibly, she beat off competition from another 146 artists. The result was a first in the history of the Scottish Album Of The Year Award. No artist had won the Scottish Album Of The Year Award with their debut album. That was until Kathryn Joseph triumphed with Bones You Have Thrown Me and Blood I’ve Spilled. Winning Scotland’s most prestigious music award was a game-changer for Kathryn Joseph. Suddenly, her music was being heard by a much wider audience. Now she has just embarked upon a European tour, where Kathryn Joseph is sure to win over the hearts and minds of music lovers.
Especially given Kathryn Joseph’s vocal. It’s variously ethereal, haunting, heartfelt, melancholy and otherworldly. On each of the ten tracks on Bones You Have Thrown Me and Blood I’ve Spilled, Kathryn Joseph lyrics come to life. That’s down to Kathryn. She’s part singer, part storyteller. Each of her vocals are captivating. Partly, that’s because she tailors her vocal to suit the song. Sonically and stylistically, her vocal is unique. Especially, when she transforms her vocal into another instrument. This adds an extra dimension to the award winning Bones You Have Thrown Me and Blood I’ve Spilled. It’s an enchanting album. However, is it a worthy winner of Scotland’s most prestigious music award?
The fifteen months that the 2015 when the Sottish Album Of The Year Award covered, just so happen to coincide with the release of many critically acclaimed Scottish albums from Mogwai, Belle and Sebastian, Errors, King Creosote, The Phantom Band and Withered Hand. They had all been nominated and made the long-list. Some albums, including Lau’s The Bell That Never Raung, Bill Wells and Aidan Moffat’s The Most Important Place In The World and Vashti Bunyon’s Heartleap didn’t make the long-list. This just goes to show the strength in depth of the competition Kathryn was up against. However, when the long-list became the shortlist, Kathryn Joseph’s chances improved.
Incredibly, King Creosote, Mogwai, The Phantom Band and Withered Hand all failed to make the shortlist. Any one these albums would’ve been worthy winners. The loss of such high profile albums meant Kathryn Joseph’s odds shortened. Her chances of doing a Hubby improved.
Just like R.H. Hubbard in 2013, Kathryn Joseph snuck up on the rails to win the Sottish Album Of The Year Award by a head. The debutant had beaten veterans of Scottish music like Belle and Sebastian, and innovators and leaf lovers Errors. Just like the last couple of years, the Sottish Album Of The Year Award was won by an outsider.
Whether Bones You Have Thrown Me and Blood I’ve Spilled was the best album released between 1st January 2014 and March 31st 2015 is subjective. A strong case could be made for any one of eight albums on the long-list.
Ultimately, the winning album was the choice of twelve people. They sat in judgement, and eventually came up with Kathryn Joseph’s Bones You Have Thrown Me and Blood I’ve Spilled. Whether it would’ve been the choice of the public is another thing? That’s debatable.
If the Scottish Album Of The Year was chosen by public vote, the result could’ve and would’ve been very different. Any one of Mogwai, Belle and Sebastian, King Creosote, Errors, The Phantom Band or Withered Hand would’ve won. However, allowing the public to choose the winner of the Scottish Album Of The Year could’ve proved risky.
Leaving the record buying public to choose the winner of the Scottish Album Of The Year could’ve turned a prestigious award into a popularity contest? Imagine if populism had triumphed, and Paolo Nutini had won? The Scottish Album Of The Year would’ve lost its credibility. Thankfully, that wasn’t to the case.
Instead, Kathryn Joseph, one of the rising stars of Scottish music triumphed, with what was one of the best debut albums of the last two years. Against all odds, Kathryn Joseph beat off competition from another 146 artists to win Scottish music’s most prestigious price, the Scottish Album Of The Year Award. The winning album was Bones You Have Thrown Me and Blood I’ve Spilled, which looks like launching the career of Kathryn Joseph, who previously, was Scottish music’s best kept secret.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
Following up a critically acclaimed debut album is never easy. It never has been, and never will be. That’s why many artists labour long and hard over their sophomore album. In some cases, three years pass by. During this creative struggle, an artist is said to be suffering from second album syndrome. It’s like a musical equivalent of writer’s block. Eventually though, it passes, and the long awaited sophomore album is ready for release.
Often though, by the time the album is completed, music has moved on. That genre of music is yesterday’s sound. In the pursuit of perfection, the artist has become irrelevant. They failed to notice that music was changing, while they were standing still. As a result, their career is over before it’s started; and they became a footnote in musical history, remembered for one critically acclaimed album. While that’s happened numerous times, it certainly hasn’t happened to Glasgow based Miaoux Miaoux.
Although it’s been three years since Miaoux Miaoux released their debut album Light Of The North in June 2012, it’s just that the man behind Miaoux Miaoux, Julian Corrie has been one of the hardest working men in Scottish music. He’s been playing live and much in demand as a remixer. So, it’s taken three years for Miaoux Miaoux to release their much anticipated sophomore album School Of Velocity. Just like Light Of The North, it was released on Glasgow’s premier label Chemikal Underground. School Of Velocity is the latest chapter in Miaoux Miaoux story, which began in 2012.
That’s when Miaoux Miaoux released their much anticipated, debut album Light Of The North. It was released in June 2012, to widespread critical acclaim. Miaoux Miaoux seemed to have found the missing link between Mogwai and New Order. So it’s no surprise, that critics hailed Light Of The North as one of the finest debut albums of 2012. Critics also forecast a great future for Light Of The North. They were seen as one of Scotland’s rising stars.
Record buyers agreed. They too, were also won over by Miaoux Miaoux’s debut album. Light Of The North was a spellbinding, genre hopping musical journey. Seamlessly, Miaoux Miaoux married dance music and indie pop. The finishing touch to this captivating and glossy musical concoction, was a healthy supply of hooks. This ensured that Light Of The North was an irresistible soundtrack to the summer of 2012. Soon, word was spreading about Miaoux Miaoux.
Miaoux Miaoux head out on tour to promote Light Of The North. With his myriad of instruments and effects, Miaoux Miaoux hit the road. Before long, Miaoux Miaoux’s reputation was on the rise. This was helped by some high profile appearances, plus the fact that some high profile DJs were championing Miaoux Miaoux’s music. Meanwhile, other artists were aware of Miaoux Miaoux’s music and Julian Corrie’s skills as a remixer.
Light Of The North opened doors for the man behind Miaoux Miaoux, Julian Corrie. It was like his calling card, and showed just what he was capable of musically.Suddenly, the Glasgow based singer, songwriter, multi-instrumentalist, producer and remixer was being asked to remix other artists.
The first was one of Scottish music’s rising stars, Chvrches. They were just about to release their debut single The Mother We Share in 2012. It was given a Miaoux Miaoux makeover in 2012. Then in 2013, Miaoux Miaoux was asked to remix another Glasgow band.
This time, it was one of Scotland’s biggest bands, Belle and Sebastian. They asked Miaoux Miaoux to remix Your Cover’s Blown. It too, was given a dance-floor friendly sheen. After that, Miaoux Miaoux proved that he was an equal opportunities remixer.
Miaoux Miaoux headed off on a road trip down the M8. His destination was Edinburgh, where Miaoux Miaoux was going to remix a track by the acousto-electronic quartet,Discopolis. The track in question, was their single Zenithobia. It too, was remixed by Miaoux Miaoux. Having worked his magic, yet again, Miaoux Miaoux’s thoughts eventually turned to his sophomore album.
School Of Velocity, Miaoux Miaoux’s sophomore album was, as the man said, a long time coming. Almost three years after the release of Light Of The North, School Of Velocity was released on Glasgow’s premier label, Chemikal Underground. That’s not surprising.
Recording an album like School Of Velocity is, without doubt, a complex affair. Especially considering Miaoux Miaoux a “one man band.” This means Julian Corrie, the man behind Miaoux Miaoux, had to juggle numerous roles. He’s a songwriter, singer, musician, mixer and producer.
Having written the ten tracks, Julian add vocals, played a variety of instruments on School Of Velocity. Luckily, Julian plays a variety of instruments. He’s a talented multi-instrumentalist whose equally at home playing guitar or keyboards. Then there’s the vintage analogue equipment Julian deployed on School Of Velocity. Vintage keyboards, synths, drum machines and effects have been used effectively. They’ve played their part in an album where genres melt into one. The music is melodic, poppy and hook-laden. School Of Velocity is, as you’ll see, is the perfect soundtrack to the summer of 2015.
Launch Loop opens School Of Velocity. Sci-fi sounds provide an understated backdrop before the song explodes into life. There’s a brief nod to Simple Minds’ Up On The Catwalk. It’s a big, bold, gallus Glasgow sound. That’s until the tempo drops and the vocal enters. It’s tender and accompanied by crispy drums and synths that beep and squeak. By then, comparison can be drawn to Scritti Politti. From there, the arrangement veers between a floaty, dreamy and anthemic. It’s a vintage slice of pop perfection from Miaoux Miaoux.
Choppy synths open A Flutter Echo. Soon, thunderous 4/4 beats are added. They’re joined by a vocal that sounds as of it’s been inspired by Paddy McAloon. It’s like Prefab Sprout transported to 2015. As synths bubble and squeak, drums pound and Julian delivers a heartfelt, needy vocal. Later, steel drums and sci-fi synths are added. They’re a welcome addition to this irresistible hands in the air anthem, where indie pop and dance music become one.
Synths set the scene for Julian’s wistful vocal on Star Sickness. As a bass synth and drums interject, a bank of synths add an element of drama. They reflect the pain and hurt in Julian’s vocal. It’s rueful, as he thinks about what he’s lost. Meanwhile, this tale of love lost heads to the dance-floor. Guitars chime, while a bass adds some funky licks. Filters are added, while the arrangement is driven along by the synths and drums. They’re responsible for a trance influence. However, Julian’s vocal is indie pop all the way. Together, they prove a delicious and joyous combination.
Washes of shimmering synths are scene setters as Luxury Discovery unfolds. Soon, drums are added. When Julian’s vocal enters, again, it’s too a roll of drums. Again, there’s a Paddy McAloon influence as Julain delivers a slow, heartfelt, joyful and dramatic vocal. Harmonies augment his vocal, while glistening, elegiac synths and crispy drums frame the vocal. At the breakdown, one wonders if Julian’s taken a wrong turning? He hasn’t. After this clever twist, he continues to combine a combination of drama and joyousness, as arrangement builds to a beautiful, breathtaking crescendo.
School of Velocity sounds like a lost Prefab Sprout track given a makeover by Miaoux Miaoux. Washes of almost hypnotic, glimmering synths are joined by Julian’s tender, hopeful vocal. A rolling bass line sits atop the synths. Its ominous sound provides a contrast to the of the arrangement. Then a journeys round the drum kit adds an element of drama. Ethereal harmonies provide another contrast, before the arrangement explodes into life. Everything has been building up this, and what’s sure to be a crowd pleaser and festival favourite reaches a dramatic ending.
A wash of synths and slow, plodding drums are joined by Julian’s Prince like vocal on Giga Shrug. It’s obvious that Julian is a fan of the Minneapolis born singer. As the arrangement grinds along, banks of synths and drum machines provide an electronic backdrop, as Julian delivers a slow, sultry, vampish vocal.
It’s The Quick sees Julian deploy a vocoder. As he delivers the vocal, a moody, broody, vocoded vocal responds. Meanwhile, 4/4 pounding dance-floor beats and a bass synth combine with futuristic sounding synths. They beep and squeak as they deliver a futuristic language. They’re the perfect accompaniment to Julian’s vocal, on this 21st Century dance track.
Peaks Beyond Peaks sees a complete change of style. There’s almost a Bacharach and David influence. Nearer to home, it’s as if David Scott of The Pearlfishers has influenced Julian’s vocal. As he delivers the tenderest of heartfelt vocals, the arrangement is akin to musical merry-go-round. Indie pop and dance combine before Julian toys with the arrangement. A brief reggae influence can be heard, while sci-fi synths, bounding bass and filtered drums combine. It’s akin to a magical, musical merry-go-round.
There’s a Kraftwerk influence on Unbeatable Slow Machine. Think Man Machine. Industrial and futuristic synths accompany Julian’s defiant monotone vocal. Effects are deployed as the arrangement whirrs and grinds along. Ominously, Julian warns: “you will never win, you will never win, but you keep fighting against the machine.”
Mostly Love, Now closes School of Velocity. Banks of understated synths meander along, setting the scene for Julian’s vocal. Its entrance is accompanied by slow drums and ethereal harmonies. They sit well together, and prove a perfect combination. Later, Julian unleashes his inner rock star, and adds an element of drama to this quite beautiful ballad.
It might have taken Miaoux Miaoux three years to release School of Velocity, the followup to Light Of The North. However, Miaoux Miaoux pickup where they left off on Light Of The North, seamlessly combining indie pop and dance music. To that, elements of eighties pop, electronica, funk, rock and trance are added. There’s also a nod to Kraftwerk, Prefab Sprout and Prince. Nearer, to home, Glasgow’s very own Chvrches, Simple Minds and The Pearlfishers have all influenced Miaoux Miaoux on School of Velocity. Their influence can be heard on this genre hopping musical adventure.
I say adventure, because no two tracks are the same. Granted several tracks cane be described as ballads or dance tracks. However, not all ballads and dance tracks are created equally. Far from it. Each arrangement is different. The building blocks vary from track to track. As a result, when a track unfolds, you never know where it’s heading. Sometimes, School of Velocity is like Forest Gump’s box of chocolates, “you never know what you’re gonna get.” Especially when Miaoux Miaoux throws a curve-ball, and the arrangement heads off in a totally unexpected direction. Very occasionally, one thinks that Miaoux Miaoux has blown it. That’s not the case though. It’s a case of “take a good thing and make it better.” That’s the case on Flutter Echo and School of Velocity. A brief musical detour transforms the tracks and result in two of of Miaoux Miaoux’s finest moments on School of Velocity. They’re not alone though.
School of Velocity oozes quality. Miaoux Miaoux’s long awaited sophomore album, which was recently issued by Chemikal Records, is bound to be part of the soundtrack to the sumner of 2015. Especially the hook-laden anthems. They’re plentiful, and are sure to go down a storm with DJs. Similarly, these anthems will be festival favourites when Miaoux Miaoux plays live. The ballads show another side to Miaoux Miaoux. A reflective, rueful and sometimes hopeful and needy Julian Corrie lays bare his soul. This means there’s something for everything on School of Velocity. Whether it’s indie pop or dance music that’s your bag, then there’s something for everyone on School of Velocity, Miaoux Miaoux’s magical, musical merry-go-round that you won’t want to get off.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
Often, the hardest thing about forming a new band is coming up with a name. It can be a long and tortuous process. Especially, in the internet age. A new band have to ensure the dot com address hasn’t been taken. If it has, it’s a case of starting the process all over again. Either that, or negotiating with the owner of the dot com to buy the address. That can be an expensive and time consuming process. So for most bands, it’s case of starting again. That’s been the case since the birth of rock ’n’ roll. Even the biggest band of all changed their name. The Beatles started life as The Blackjacks, before briefly becoming The Quarrymen and then The Silver Beatles. It wasn’t until July 1959 that The Silver Beatles became The Beatles. Since then, countless other bands have had a similar struggle to come up with a suitable name. In 2007, Glasgow based singer-songwriter Louis Abbott decided to formed a new band with Kevin Brolly, Philip Hauge, Sarah Hayes and Joe Rattray. They settled on the name Brother Louis Collective. Two years later, and the Brother Louis Collective changed its name to Admiral Fallow. The rest as they say, is history. Since then, Admiral Fallow have toured the world, and played at some of the biggest and most prestigious venues and festivals. Admiral Fallow have also released a trio of albums. Their most recent album Tiny Rewards, was released recently on vinyl on Nettwork. Tiny Rewards is the latest chapter in the Admiral Fallow story. It began in 2007. That’s when Glasgow based singer, songwriter and Louis Abbott decided to formed a new band. This wasn’t going to a traditional indie band. Instead, Brother Louis Collective were going to fuse orchestral and indie pop. To bring this about, Louis was joined by four other Glasgow based musicians. This included the rhythm section of drummer and percussionist Philip Hauge and bassist Joe Rattray. They were joined by a two musicians who would help create the orchestral sound. Sarah Hayes played flute, piano and accordion, while Kevin Brolly added clarinet, keyboards and percussion. Along with Louis Abbot, they became Brother Louis Collective. With a lineup in place, the Brother Louis Collective set about honing their sound. The five friends quickly began to define their sound. Through the rest of 2007 and throughout 2008, the Brother Louis Collective were gaining a reputation as a popular live act. So in early 2009, Brother Louis Collective decided to record their debut single. For Brother Louis Collective’s debut single, These Barren Years was chosen. The B-Side was Gypsy Woman. These Barren Years was well received upon its release in March 2009. The single brought the Brother Louis Collective’s music to a wider audience. With the Brother Louis Collective’s recording career up and running, the band decided to change their name. Usually, bands change their name early on in their career. However, after nearly two years, the band realised something wasn’t quite right. That was the name. This resulted in a rethink, and Brother Louis Collective became Admiral Fallow. Given that the Brother Louis Collective already were a popular live band, and were attracting the attention of critics, a change of name could’v backfired on Admiral Fallow. All the time they had spent during the last two years could’ve been in vain. Fortunately, that wasn’t the case. Instead, the last two years had been time well spent. The newly named Admiral Fallow had spent much of the last two years playing live. This allowed them to hone and tighten their sound. It also allowed the band to grow their fan-base. Already they were a popular draw wherever they played. So, it made sense for Admiral Fallow to record their debut album. Boots Met My Face. In June 2009, Admiral Fallow made the short journey from Glasgow to Blantyre, in Lanarkshire. That’s where former Delgados Paul Savage and Emma Pollock’s studio is situated. Admiral Fallow were following in the footsteps of many successful Scottish bands. At Chem 19 Studios, Admiral Fallow met former Delgados’ drummer Paul Savage. By 2009, he had established a reputation as a successful and talented producer. Paul was the go-to-guy producer for many Scottish bands, including up-and-coming bands. This made him the perfect person to produce Admiral Fallow’s debut album. While Admiral Fallow were an experienced live band, they had only recored one single. Recording an album was very different. So, producer Paul Savage guided Admiral Fallow through the recording process. In total, ten tracks were recorded at Chem 19 Studios. The ten tracks were written by Louis Abbott. He describes the songs as autobiographical, and document his childhood and youth. Each song is based upon a person or event. This includes Subbuteo, where Louis remembers being beaten up in Edinburgh, where he grew up. A lyric from Subbuteo also provided the album title, Boots Met My Face. With Boots Met My Face recorded, Admiral Fallow started looking for a record label to release their debut album. However, that search was put on hold briefly, as Admiral Fallow played a band-storming set at Scotland’s biggest music festival. Although Admiral Fallow had only been together two years, they were chosen to headline the Sunday night T Break stage at T In The Park. For a Scottish group, this was a huge honour, one they must have hoped would help in Admiral Fallow’s search for a record label. That took a while. In March 2010, Admiral Fallow opened for fellow Scot King Creosote at the Fence Collective’s Homegame Festival. Then in April 2010, Admiral Fallow supported The Futureheads in Glasgow, This was perfect timing. In April 2010, Admiral Fallow released their debut single Squealing Pig on Lo-Five Records. That however, was a mere aperitif. Later in April 2010, came the release of Boots Met My Face. It was released to critical acclaim. A great future was forecast for Admiral Fallow, who were about to head out on the festival circuit. Admiral Fallow renewed their acquaintance with King Creosote at the Glasgow West End Festival. They then played the Wee Chill, Rockness and Insider festivals. However, it was at T In The Park that Admiral Fallow made a triumphant return. This time, Admiral Fallow were playing the prestigious BBC Entroducing stage. A lot had happened to Admiral Fallow since they took T In The Park by storm a year earlier. There seemed to be no stopping Admiral Fallow. They had played their first Scottish tour in August 2010. Then later in 2010, Admiral Fallow opened for another Scottish band, Frightened Rabbit. Then in October 2010, Admiral Fallow released the second single from Boots Met My Face, Subbuteo. This was the perfect way to round off 2010. 2011, looked like being a big year for Admiral Fallow. In February and March of 2011,Admiral Fallow hit the road, and completed their first tour of Britain. This was to coincide with the reissue of Boots Me My Face. Then on 13th March the band flew to Austin, Texas for SxSW 2011. Given this is one of the most prestigious American festivals, this was a huge boost for Admiral Fallow. During their time in America, Admiral Fallow were embraced by American critics. The critics forecast a great future for Admiral Fallow. They weren’t wrong. Tree Bursts In Snow. Just like Boots Met My Face, Tree Bursts In Snow was recorded at Chem 19 Studios. This time however, some guest artists would join Admiral Fallow. Among them were former Frightened Rabbit vocalist Gordon Skene, Jo Mango, Kenny Reid, Tom Gibbs and Tom Stearn. These guest artists featured on three of the ten tracks that became Tree Bursts In Snow. Before the release of Tree Bursts In Snow on 21st May 2012, Louis Abbot explained what the title meant. Tree Bursts In Snow Louis explained is: “the sound and the image of an artillery shell exploding into a cluster of snow-drenched trees.” It was a poignant picture that Louis Abbot was painting. Especially as he went on to speak about gun crime in America and: ”the effect that losing friends through violence, in particular during times of war or conflict has on young men and women.” Louis had thought deeply about this, and on Tree Bursts In Snow combined social comment and poppy hooks. When Tree Bursts In Snow was released, critics were won over by Admiral Fallow’s sophomore album. Superlatives were exhausted praising the Glasgow’s band’s unique brand of orchestral and indie pop. Admiral Fallow’s star was in the ascendancy, and would be during the rest of 2012. During the 2012 festival season, Admiral Fallow played The Great Escape, Glastonbury Festival, Latitude, Cambridge Folk Festival, Green Man and the End of The Road festival. There were also appearances at Sligo Live and Crossing Border. Later in 2012, Admiral Fallow were asked to open for Scottish indie pop royalty Belle and Sebastian. Admiral Fallow also opened for Paul Heaton and The Low Anthem. All this was good experience for Admiral Fallow, who were quickly becoming one of Scotland’s most successful musical exports. That’s been the case in the last three years. Admiral Fallow have gone from strength to strength. They’ve continued to play live, and are now recognised as one of the best Scottish live bands. However, in late 2013, Admiral Fallow cut back on the live shows they were playing. They had an album to record. That album would become Tiny Rewards, which was released on 25th May 2015. Tiny Rewards. Admiral Fallow’s weren’t going to rush their third album. Work began in late 2013. Admiral Fallow wrote the music and Louis Abbott wrote the lyrics for Tiny Rewards. This was Admiral Fallow’s third album, and second album for Canadian label Nettwerk. Unlike previous albums, Tiny Rewards wasn’t recorded at just one studio. Three studios, Angelic, Red Kite and Voltaire Road Studios were used. So were the familiar surroundings of Chem 19 Studios. That’s where Paul Savage took charge of “additional production.” However, Paul Savage wasn’t in charge of production. This time around, Admiral Fallow and Cameron Blackwood produced the twelve tracks that became Tiny Rewards. At the three studios, Tiny Rewards’ twelve tracks were recorded by Admiral Fallow and friends. The rhythm section featured guitarist and vocalist Louis Abbott, drummer and percussionist Philip Hauge and bassist Joe Rattray. They were joined by a two musicians who would help create the orchestral sound. Sarah Hayes played flute, piano and accordion, while Kevin Brolly added clarinet, keyboards and percussion. They’re joined by cellist Jackie Baxter, violinist Kristian Harvey and guitarist Stu Goodall. Once Tiny Rewards was recorded, it was mixed by Paul Savage and mastered by in London by Mandy Parnell. Only then was Tiny Rewards ready for release. The big day was 25th May 2015. That’s when Tiny Rewards was released to widespread critical acclaim. Tiny Rewards was hailed as Admiral Fallow’s finest hours. Here’s why. Opening Tiny Rewards is Easy as Breathing. A pounding rhythm section, stabs of keyboards and searing guitars create a dramatic wall of sound. In the midst of the arrangement, a piano carries the melody. It’s present when Louis Abbott delivers a soul-baring vocal. He doesn’t so much deliver lyrics, but lives them. Behind him, the thunderous, mesmeric arrangement has an anthemic sound. During the break, the arrangement is stripped bare. Just wistful harmonies, and piano accompany Louis before Admiral Fallow kick loose. By then, it’s easy to imagine East As Breathing becoming a festival favourite. A drum machine and synths are deployed on Evangeline, as Louis delivers a slow, melancholy vocal. Soon, chiming, crystalline guitars, bass and keyboards are added. They fill out the arrangement, as slowly and dramatically Louis delivers the lyrics. By then, Admiral Fallow sound like a 21st Century version of The Smiths. Later, Sarah Hayes’ backing vocals are the perfect foil for Louis. They’re reminiscent of Lorraine MacIntosh of Deacon Blue. As the arrangement continues to grow, electronica and indie pop combine head-on. It’s a potent partnership, one that’s not short of poppy hooks. Beeps courtesy of a synth and drums combine with a myriad of disparate sounds on Happened in the Fall. They create a lo-fi, left-field and almost robotic arrangement. Very different, is Louis’ despairing vocal. As his vocal drops out, a guitar rings out, and cuts through the arrangement. Then Louis, accompanied by Sarah Hayes, delivers a tender, hurt filled vocal as he sings: “ it Happened in the Fall” When Louis poignant vocal drops, a blistering guitar gives way to a wistful piano and strings. They frame Louis’ vocal as accompanied by harmonies, memories come flooding back. From the opening bars of Good Luck, it’s obvious something special is unfolding. A piano and drums combine, before a scorching guitar is unleashed. Then a roll of drums signals the arrival of Louis’ vocal. Slowly and deliberately he delivers the lyrics. Harmonies augment his vocal, as the arrangement grows in power and drama. Admiral Fallow aren’t afraid the unleash their inner rocker. Similarly, they’re not afraid to vary the tempo. This grabs the listener’s attention, and forces them to listen. A pleasant surprise comes when Sarah takes charge of the vocal. She’s a talented and versatile vocalist. Later, though, the baton passes to Louis. He takes charge of the vocal. Aided and abetted by harmonies, a storming, hook heavy anthem unfolds. Against the chatter of a radio playing, a piano plays and Holding The Strings begins. Drums provide the heartbeat as Louis delivers an emotive vocal. Ethereal harmonies, keyboards, a crystalline guitar and the rhythm section combine. Soon, the tempo is rising and the arrangement takes on a rocky hue. Dramatic flourishes and variations in tempo are used, before the rhythm section and guitar drive the arrangement along. Louis seems to have reserved one of his best vocals. With Sarah encouraging him every step of the way, he breathes life, meaning and emotion into the lyrics, delivering the lyric “we are old” poignantly. As a piano and drums combine on Sunday, the track takes on an almost hypnotic sound. Then when Louis’ vocal enters, it’s obvious he’s singing about being at a festival. “Far from being alone, surrounded by tents and future friends.” Soon, the track takes a dark twist. Especially, lyrics like; ”take those pills, you bought to take the guilt.” This leaves the listener to wonder what caused the guilt? Was it one night stand? From there, the arrangement becomes a lysergic merry-go-round. It also takes on rocky and sometimes dramatic sound. Meanwhile, Louis and Sarah combine, bringing to life the guilt on the day after the night before, as they leave the festival behind, and return to their respective lives. On the count of “5,6” a drum and crystalline guitar combine on Building As Foreign. They’re joined by Louis’ vocal and a prowling bass. Like so many of Admiral Fallow’s songs, the lyrics are based upon Louis childhood. That becomes apparent straight away:“how we ended up here, with the start we had is amazing.” He goes on to remembers “measuring his height by the door,” his first football strip, and “first kiss.” Accompanied by ethereal harmonies, pounding rhythm section and searing guitar, memories come flooding back for a wistful, grateful Louis. A lone guitar opens Salt. It’s just two minutes long, but is a quite beautiful song. The arrangement is understated. Just a chirping, mesmeric guitar accompanies Louis. He’s accompanied by Sarah. She’s a perfect foil for Louis. They’re like yin and yang. They compliment each other, on what’s a beautiful ballad. It shows another side to Admiral Fallow. Drums pound and crack, while washes of keyboards sweep in on Some Kind of Life. Slowly, the arrangement unfolds. Admiral Fallow don’t rush. They drop in a piano and bass. After a minute, Louis’ heartfelt vocal enters. As he sings: “I left the house and started the next chapter,” confusion and uncertainty fills his voice. Has, and is, he doing the right thing? Behind him, the rest of Admiral Fallow create one of the best arrangement. It unfolds in waves, as Louis delivers an emotive, soul-searching vocal. He describes this as a “never ending tussle with the mind.” By then, the arrangement has grown in drama and power. When Louis’ vocal is added, Some Kind of Life takes on anthemic sound. It’s also one of the highlights of Tiny Rewards. The drums that open Liquor and Milk are similar to those on Building As Foreign. However, this time, it’s mesmeric, deliberate stabs of piano that accompany the drums. They frame Louis’ vocal as he reminisces. Accompanying him is Sarah, her vocal equally impassioned and emotive. Their vocal take centre-stage, as the drums and piano provide the accompaniment. Later, strings and percussion are added, as the arrangement reaches a crescendo. Carousel see the tempo rise slightly. Admiral Fallow jump on the merry-go-round. It’s has a much more upbeat sound. Driving along the arrangement along are the piano and drums. They accompany Louis. However, Sarah steals the show, combining power and emotion. Meanwhile, a bass, keyboards and drums power the arrangement along. Louis and Sarah combine, hopefully singing: “get yourself out from under the weather, stick another pin in that map you drew, get yourself out from under the weather, and I long for this to be the pin you want to do.” Melancholy. That describes the slow, deliberate introduction to Seeds, which closes Tiny Rewards. Louis, accompanied by the piano, delivers a wistful, deliberate vocal. Drums rumble, while keyboards and piano combine with a clarinet. They set the scene for Louis and Sarah. As they sing: “we sow seeds wherever we go,” there’s an element of hope amidst the melancholia. It grows, as the arrangement builds, and Tiny Rewards draws to a close. Three years after the release of their sophomore album Tree Bursts In Snow, Admiral Fallow returned recently with Tiny Rewards. It was released on vinyl on the Canadian label Nettwerk. Tiny Rewards was well worth the three year wait. With its mixture of anthems, future festival favourites, heart wrenching ballads and cinematic tracks, Tiny Rewards is a captivating album. Lyricist and vocalist Louis Abbott is aided and abetted by Sarah Hayes. Together, they bring the lyrics to life, breathing life, meaning, emotion and sometimes, melancholy into the twelve tracks. Other times, there’s a hopeful, sound on Tiny Rewards, which is a career defining album from Admiral Fallow. Six years after the Brother Louis Collective became Admiral Fallow, the Glasgow based band are now one of Scottish music’s most successful exports. No wonder, given the quality of music on Tiny Rewards. It manages to surpass the quality of Tree Bursts In Snow. Many people thought Tree Bursts In Snow was an album Admiral Fallow would struggle to surpass. However, after three years hard work and the a little from help from their friends, Admiral Fallow return with Tiny Rewards, the eclectic album of their career. Tiny Rewards sees Admiral Fallow jump onboard the Carousel and combine disparate musical genres. Everything from electronica, folk, indie pop, indie rock, orchestral, pop, psychedelia and rock is combined by Admiral Fallow. The result is Tiny Rewards, the finest, and most captivating and eclectic album ofAdmiral Fallow’s career.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
ERLAND DAHLEN-BLOSSOM BELLS.
ERLAND DAHLEN-BLOSSOM BELLS.
Back in 2012, drummer and percussionist Erland Dahlen released his long-awaited, and much-anticipated debut album Rolling Bomber. By then, the forty-one year old was a veteran of the vibrant Nordic music scene.
When Rolling Bomber was released, Erland Dahlen was a veteran of countless bands, including HET, Boschamaz, Kiruna, Morris, Piston Ltd, Batagraf, The Sonic Codex Orchestra and Stian Westerhus and Pale Horses. This however, was only part of the story. H
Erland Dahlen was also one of Norway’s top session musicians. Over a ten year period, Erland Dahlen had played on over a hundred albums. Any Norwegian musician looking for a drummer, seemed to have Erland Dahlen’s number on speed-dial. This included Norwegian blues-tinged, alternative rock band Madrugada.
They recruited Erland Dahlen in 2005 Madrugada. For the next three years, Erland Dahlen was the band’s “semi-permanent” drummer. This was the best of both worlds. Erland Dahlen could continue doing session work, and played with Madrugada live and in the studio between 2005 and 2008.
Having joined Madrugada in 2005, Erland Dahlen played Madrugada’s fourth album Deep End, and the live album, Live at Tralfamadore. Both were released in 2005. Then in 2007, Erland Dahlen played on Madrugada’s eponymous sixth album. When Madrugada was released in 2008, it Madrugada proved to be the band’s swan-song. After this, Erland Dahlen returned to being a hired gun.
As one of the most respected drummers in the Nordic music scene, Erland Dahlen was never short of work. Like the musical equivalent of a gunslinger, Erland Dahlen travelled from city to city, playing album after album. Studios were a second home to Erland Dahlen. However, by 2011, and a lifetime making music, there was something Erland Dahlen…record his debut album.
So Erland Dahlen set about filling this one gap in his musical C.V. He had done just about everything else. Erland Dahlen had released a string of albums with the various bands he had been a member of; collaborated with some of the biggest names in Nordic music; and won a Gammleng Award. There was not a lot else he still had to do. Apart from releasing a solo album.
This came in 2012, when Erland Dahlen released Rolling Bomber on Hubro Music. Rolling Bomber was released to widespread critical acclaim, and was hailed as one of the most innovative albums of 2012 from this Nordic one-man band. Since then, critics, cultural commentators and music fans have eagerly awaited the released of Erland Dahlen’s sophomore album. They’ve had to be patient.
Three years passed before Erland Dahlen recently released Blossom Bells, on Hubro Music. That’s not surprising.
For Blossom Bells, Erland Dahlen has collected vintage percussion instruments. Erland Dahlen has spent countless hours searching second hand shops as he tours the world. When he’s at home, Erland Dahlen scours internet sites, constantly searching for instruments that can bring a new, intriguing sounds to his music. This includes havingnew instruments custom-built. Not many musicians would go to such lengths. However, Erland Dahlen is a musical innovator who constantly, pushes musical boundaries. That became apparent as recording of Blossom Bells began.
Erland Dahlen didn’t bring onboard a band to record Blossom Bells. Instead, he become a one-man band, playing everything from traditional instruments and a myriad of percussion, to homemade instruments that would grace any music concrete album. Then there’s the everyday items that can be found in most homes. This includes knives and forks and even a toy robot. All these instruments were taken to Oslo Klang Studio, where Erland Dahlen got to work.
At Oslo Klang, Erland Dahlen was joined by his co-producers Hallvard W.Hagen, Jens Petter Nilsen and Johnny Skalleberg. They watched as Erland Dahlen unpacked instruments, utensils and even toys. This included WFL drums from the late-thirties, steel drums, a log drum and marching toms. Then Blossom Bells, rack bells, hand bells, a temple block maracas, gongs and a xylophone made an appearance. So did keyboards, guitars, drone-boxes and string instruments. Sticks, mallets and bows were sued to play the string instruments. Slightly more left-field were toy robots, a typewriter and knives and forks. Then there’s a some custom-made instruments.
This includes cake moulds with springs built by Hallvard W. Hagen. Then there’s a custom-made percussion bass built by Harald Hougaard. Finally, Kenny Wollesen was responsible for building a windup wood instrument with elastic bands. These custom-built interments were playing an important part in what was an intriguing album, which also featured vocals which
came courtesy of Erland Dahlen. Most of the recording was done at Oslo Klang, with Hallvard W.Hagen and Jens Petter Nilsen recording the six tracks that Erland Dahlen had written. Other recording took place at Coffee Fabric, in Oslo. Once Blossom Bells was completed Helge Sten mastered the album at Audio Virus Lab. All the Erland Dahlen needed was an album title.
That wasn’t difficult. Erland Dahlen wanted to pay homage to the maker of one of the instruments which he played on the album. So Erland Dahlen’s sophomore album became Blossom Bells, which were made by
legendary instrument-maker Pete Engelhart. These unusual chromatic set of bells feature several times on Blossom Bells, which was one of the most eagerly awaited albums of recent years.
The first thing you realise when you go to play Blossom Bells, that this isn’t a sprawling album. Far from it. There’s just six tracks lasting around thirty-seven minutes. That’s not surprising. Hubro Music release all their albums on vinyl and compact disc. Indeed, if you buy the vinyl edition, it comes with a compact disc version. This means you’re getting the best of both worlds. However, for an artist, their album being released on vinyl disciplines them.
There’s a limit to the amount of music that can be fitted onto one vinyl album. Thirty-seven minutes, which is the length of Blossom Bells, is a return to the golden age of vinyl. Back then, albums weren’t sprawling affairs. Instead, they featured anything between six to ten tracks. This meant that you heard the best an artist had to offer. That’s the case on
Blossom Bells
From the opening bars of Snake, which opens Blossom Bells, it’s apparent that this is an ambitious, groundbreaking and genre-melting album. Mesmeric and pulsating describes the arrangement. Then an array of eclectic and captivating subtle sounds assail the listener. They arrive from right and left, teasing and tantalising the listener. It’s a case of expect the unexpected in this multilayered arrangement. Subtle percussion, a chirping string and chiming guitar. Soon, glistening chimes that hang in the air like an unanswered question. They’re joined by darkness and drama, as the arrangement becomes moody and broody. Cinematic, captivating and hypnotic also describes Snake’s arrangement as it meanders along fusing elements of ambient, avant garde, electronia, experimental and post rock. This whets the listener’s appetite, as the album prepares to unfold.
Straight away, a curveball isn’t so much thrown as launched on Pipe. What sounds like footsteps precedes drums that propel the arrangement along. Bells ring out, and a drone sounds ominously. By then, there’s an urgency to the arrangement. Again, it’s cinematic, as a wash of guitar unite with the drums and cascading bells, providing a propulsive, urgent, but joyous and playful post rock backdrop. It’s the work of just one man, Erland Dahlen and his unique and disparate musical arsenal.
Knife drones melodramatically and threatens to surge towards the listener. That’s before pedestrian drums begin to plod, threateningly and ominously. Meanwhile, otherworldly and futuristic sounds make their presence felt. Sounds flit in and out. Some linger longer, including the searing, rocky guitars. Others, including bells, make just fleeting appearances. They’re used sparingly, but effectively. They’re part of Erland Dahlen’s musical palette on what could easily be the soundtrack to a sci-fi film from David Lynch or Wim Wenders.
As Iron unfolds, elements of avant garde, experimental and music concrete. There’s even a nod to free jazz, as instruments flit in and out. Again, there’s cinematic sound. Just like before, the listener has to supply the scenes to this as yet unmade film. All they need to do, is listen intently and let their imagination run riot. When they do, they’ll here countless sounds that together, veer between moody and broody, to dark and dramatic. At one point, a string instrument seems determined to recreate the sound of a ship docking. Elsewhere bells and chimes join a myriad of percussion. They add an otherworldly sound, to what could be a the little shop of horrors. Maybe, Erland Dahlen has a future writing film scores? I wouldn’t be surprised, as the atmospheric Iron sounds like the perfect backdrop to a modern day horror movie. Indeed, Erland Dahlen’s music says more than a thousand words which is testament to a truly talented and innovative musical pioneer.
The ominous sound of a bass being picked opens Hammer. Meanwhile, a rocky guitar solo threatens to kick loose. Percussion and bells are added, as layer upon layer of music makes its presence felt. Soon, the drums are driving the arrangement along. An otherworldly, quivering, spine-tingling sound joins this six minute post rock opus. It sounds as it’s the work of five or six musicians minimum. It’s not. Instead, it’s the work of one of the most imaginative and inventive musicians in the vibrant Nordic music scene… Erland Dahlen. No wonder Erland Dahlen has played on over 160 albums. Sadly, his stunning sophomore album Blossom Bells is almost over.
Closing Blossom Bells, is the title-track. Its understated introduction showcases Pete Engelhart unusual chromatic set of bells. They take centre-stage, while a shimmering, otherworldly sound seems to have arrived from another world. Then Erland Dahlen adds his drums. Slowly, and with the utmost care, he fills out the arrangement. It sounds as if it belongs on a Pink Floyd album. Lysergic, otherworldly, spiritual, haunting and ethereal, it’s the perfect way to close Blossom Bells, a career defining album from Erland Dahlen.
He’s now forty-four, and has spent a lifetime making music. This includes playing on over 160 albums by other artists. He’s collaborated with some of the biggest names in Norwegian music, and is a veteran of many bands. However, until recently, Erland Dahlen had only released one album, Rolling Bomber in 2012. It was released on Hubro Music in 2012, to widespread critical acclaim. Surely, a followup would be released the next year?
2013 came and went. So did 2014. It wasn’t until recently, that Erland Dahlen returned with Blossom Bells, on Hubro Music. However, Blossom Bells has been well worth the three year wait.
Blossom Bells is a near flawless fusion of ambient, avant garde, electronica, experimental, Krautrock, Nordic Wave, post rock, psychedelia and rock. Genres melt into one, on an album that’s variously moody and broody, to dark and dramatic, to lysergic, otherworldly, spiritual, haunting, atmospheric and ethereal. The music on Blossom Bells is definitely cinematic. That’s the case throughout Blossom Bells. It sounds like the soundtrack to a film that’s yet to be made. Other times, the music on Blossom Bells becomes anthemic and up-lifting. Always, though, the music on Blossom Bells is captivating, cerebral, cinematic, inventive and innovative. That’s why Erland Dahlen’s sophomore album Blossom Bells deserves to find its way onto the lists of the best albums of 2015.
ERLAND DAHLEN-BLOSSOM BELLS.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
2015 has been the year of the comeback. Some of the biggest names of yesteryear have returned after a lengthy absence.
The year started well with critically acclaimed comeback album from Bob Dylan. Then recently, Dave Gilmour, released his first solo album since Pink Floyd called it a day. However, there’s been many more comebacks during 2015.
Troubadour James Taylor and former Eagle Don Henley both make welcome returns. Keith Richards made a return with was easily, the most overhyped comeback album of 2015. It was an album that was everywhere. Unlike Boz Scaggs’ recent comeback album Fool To Care. It was quietly released on vinyl on 429 Records.
Unlike many of his contemporaries who hit the comeback trail during 2015, it had only been two years since Boz Scaggs released his last album Memphis. It reached number seventeen on the US Billboard 200, and became Boz Scaggs’ most successful album since 1980s Middleman. Not only did Middle Man reach number eight in the US Billboard 200, but was certified platinum. However, Boz Scaggs was no stranger to commercial success and critical acclaim.
Middleman was Boz Scaggs ninth album since his 1965 debut album Boz. It was recorded on September 30th 1965, in Stockholm, Sweden. Later in 1965, Boz was released, but failed to chart. For Boz Scaggs it would another four years before he released another solo album.
During that period, Boz Scaggs became part The Steve Miller Band. He featured on their first two albums, Children of the Future was released in July 1968 and reached just 134 in the US Billboard 200. Three months later, and The Steve Miller Band released Sailor in October 1968. It reached number twenty-four in the US Billboard 200. Despite the commercial success and critical acclaim Sailor enjoyed, both Boz Scaggs and Jim Peterman left the band.
Boz Scaggs returned to his solo career, and in August 1969, released Boz Scaggs. This was the album that saw Boz Scaggs make a commercial breakthrough. Although it reached just number 171 in the US Billboard charts, it looked as if Boz Scaggs was on his way.
Two years later, and Boz Scaggs returned with the first of two albums he released during 1971. The first was Moments, which was released in March 1971. It reached 124 in the US Billboard 200 charts. For many, it looked as if Boz Scaggs career was on the up.
Sadly, that wasn’t the case. When Boz Scaggs and Band was released in December 1971, the album failed commercially, reaching just 198 in the US Billboard 200 charts. Things improved slightly, when My Time was released in September 1972. It reached number 138 in the US Billboard 200 charts. Was that a sign that Boz Scaggs fortunes were improving?
That was the case. Between 1974 and 1980, Boz Scaggs could do no wrong. His sixth album, Slow Dancer was released in March 1974. Although it only reached number seventy-four in the US Billboard 200 charts, it was certified gold. Two years later, and Silk Degrees hit the shops in March 1976. Quickly, it became Boz Scaggs’ most successful album, reaching number two in the US Billboard 200 and number six in the US R&B charts. Silk Degrees sold over five million copies, and was certified platinum five times over. After the success of Silk Degrees, it was nineteen months before Boz Scaggs returned with a new album,
That new album was Down Two Then Left, which was released in November 1977. It reached number eleven in the US Billboard 200 charts and was certified platinum. Nearly two-and-a-half years passed before Boz Scaggs released Middle Man in April 1980. Not only did Middle Man reach number eight in the US Billboard 200 charts, but number thirty-six in the US R&B charts. Boz Scaggs was on a roll. Even his 1980 Hits! album reached number twenty-four, and was certified gold. Boz Scaggs had been one of the most successful artists of the late seventies. It looked like this success would continue into the eighties.
Looking back, that might have been the case. However, Boz Scaggs decided to take a break from music. This break lasted eight years. It wasn’t until August 30th 1988, that Boz Scaggs returned with Other Roads, an album of AOR. Realising his audience were eight years older, Boz Scaggs figured that AOR would be what they were listening to. While Other Roads and the single Heart Of Mine proved popular in the AOR charts, the US Billboard 200 and US Billboard 100 were another thing. Other Roads only reached number forty-seven in the US Billboard 200 and Heart Of Mine reached thirty-five in the US Billboard 200. For Boz Scaggs, it was a Pyrrhic victory.
Another six years passed before Boz Scaggs returned with his next album Some Change on April 5th 1994. It stalled at just ninety-one in the US Billboard 200. Despite its lowly chart placing, some critics boldly pronounced Some Change Boz Scaggs’ finest album since 1976s Silk Degrees. Sadly, it hadn’t enjoyed the same success.
Neither did Fade Into Light, which was only released in Japan. The album was released on November 19th 1996, and was only released in America in 2005. Meanwhile, it was another five months before Boz Scaggs released another album in America.
It wasn’t until April 8th 1997 that Boz Scaggs released Come On Home. Just like Some Change, Come On Home wasn’t a commercial success, reaching ninety-four in the US Billboard 200. For an artist who once was used to gold and platinum discs, this was a frustrating time. Nor was it going to get any better.
Four years passed before Boz Scaggs released his next album Dig. Boz Scaggs had recorded Dig in February 2001. He waited another seven months to release the album. The day chosen for the release of Dig, was a day that changed history forevermore.
That day was September 11th 2001. It was meant to be an ordinary day. Some music fans awaited the release of album by one of the veterans of American music, Boz Scaggs. However, tragedy struck, and the last thing Americans had on their mind was music. Despite the tragedy that unfolded, Dig reached number 146 in the US Billboard 200. It was another two years before Boz Scaggs returned.
With Boz Scaggs no longer as popular as he once was, he decided to think outside the box. He came up with the idea of recording an album jazz standards. But Beautiful was released on May 20th 2003, and although it only reached 167 in the US Billboard 200, it topped the US Jazz charts. Despite finding an audience among jazz fans, Boz Scaggs didn’t release another album until 2008.
Speak Low was released in 2008, and reached number 128 in the US Billboard 200. That was an improvement on But Beautiful. Despite the relative success of Speak Low, Boz Scaggs didn’t release another album for another five years.
When Boz Scaggs did eventually return, he returned with album of blues and rock, Memphis. It was produced by Steve Jordan, and was well received by critics. Record buyers were also won over by Memphis, which reached number seventeen on the US Billboard 200. Memphis became Boz Scaggs’ most successful album since 1980s Middleman. Fired up by the success of Memphis, Boz Scaggs returned recently with what’s the nineteenth studio album of his career A Fool To Care.
Unlike previous albums, A Fool To Care, features eleven cover versions and just one track penned by Boz Scaggs, Fool To Pay. The cover versions are an intriguing selection. Among them, are Richard Hawley’s There’s A Storm A Comin’, Curtis Mayfield’s I’m So Proud and Huey P. Smith’s High Blood Pressure. Another is Richard Danko and Robert Guidry’s Small Town Talk. Then there’s Al Green’s Full Of Fire, which Al penned with Willie Mitchell and Mabon Lewis Hodges. They’re just five of eleven cover versions which Boz Scaggs’ and an all-star band give a makeover.
Recording of A Fool To Care took place at Blackbird Studios, Nashville. Steve Jordan, who produced Memphis, produces A Fool To Care. However, the band is a mixture of musicians who play on all tracks or on some cases, just one or two. The rhythm section features drummer and percussionist Steve Jordan, bassist Willie Weeks and guitarists Ray Parker Jr., Boz Scaggs, Reggie Young and Al Anderson. Joining them are Paul Franklin plays steel guitar, pianist Eric Crystal, organist Seth Asarnow and Clifford Carter adds synths. Jim Cox however, switches between organ, piano and Wurlitzer. They’re augmented by The Love Sponge Strings and a horn section. Jim Hoke plays alto flute and various other woodwind instruments. Backing vocals come courtesy of Conesha “Ms. Monet” Owens, Fred Ross, Steve Jordan and Tony Lindsay. That’s not forgetting two special guests, Bonnie Raitt and Lucinda Williams. They feature on A Fool To Care, Boz Scaggs’ nineteenth album. It was released recently.
Many critics saw A Foot To Care as Boz Scaggs picking up where he left on Memphis. It’s a far cry from the albums he released during his wilderness years. Back then, Boz Scaggs seemed to lack direction. Not any more. With producer Steve Jordan, all-star band and two high profile guest artists, Boz Scaggs was on the comeback trail.
Rich Woman opens A Fool To Care. Straight away, Boz Scaggs languid, lived in vocal doesn’t so much deliver the lyrics, but lives them. A crunchy guitar and bass are joined by guitars and drums. Soon, braying horns enter. They accompany Boz as blues, country and rock combine. A glistening guitar sits below the mass of horns and rhythm section. Washes of Hammond organ add an atmospheric hue, as Boz delivers this paean to his Rich Woman “whose all mine.”
The Ted Daffan penned I’m A Fool To Care is given a bluesy makeover by Boz Scaggs and his band. Scorching horns, a piano and the rhythm section combine with Boz and Ray Parker Jr.’s guitars. They provide the perfect backdrop for Boz’ needy, hurt-filled vocal.
Hell To Pay sees Boz joined by Bonnie Raitt. She shares the lead vocal and plays slide guitar. They’re the perfect foil for each other. As the rhythm section provide the heartbeat, Al Anderson adds chunk guitar and Jim Cox electric piano. Bonnie meanwhile, delivers a sassy vocal. She plays a starring role, while Boz is left playing a supporting role. That doesn’t matter, when everything is combined, the result is an irresistible bluesy shuffle.
Just a lone Hammond organ opens Small Town Talk, and accompanies Boz’s emotive vocal. Behind his impassioned plea, drums provide a subtle backdrop. Jim Hoke plays accordion, adding, while bursts of chiming guitar and subtle bursts of Hammond organ provide a backdrop for Boz’s soul-baring vocal.
A wistful piano opens Last Tango On 16th Street. Soon, a bass and accordion play. Drums and percussion open Boz’s worldweary vocal. It sounds as if he’s lived and experienced the cinematic lyrics. He paints pictures, of life on 16th Street, while behind him, the arrangement takes the listener to French Quarter of New Orleans with this melancholy and cinematic song.
There’s A Storm A Comin’ was originally written and recorded by Richard Hawley. Boz Scaggs stays true to the original, almost crooning the lyrics about hurt and heartbreak. Meanwhile, the arrangement is atmospheric, mesmeric and understated. It features just synths, organs and the rhythm section. Along with Boz’s guitar, they give the track a vintage sound. That’s something Richard Hawley’s original has. Where it differs is the accordion solo. This is part of Boz and producer Steve Jordan’s “sound.” Together, they give this a beautiful, understated song a twist, as Boz becomes a crooner.
Boz and producer Steve Jordan remember Miles Davis’ quote about leaving space in a song. They do that on the cover of Curtis Mayfield’s I’m So Proud. It has an understated arrangement. Just the rhythm section, chiming crystalline guitar and washes of Hammond organ accompany Boz’s tender, heartfelt vocal. Fills of vibes and harmonies add the finishing touch to what’s one of the best covers on A Fool To Care.
A lone acoustic guitar sets the scene on I Want To See You. Willie Weeks’ bass is joined by percussion and piano. They give the track a Latin sound as Boz delivers a rueful, needy vocal. Behind him, washes of Hammond organ and accordion are added. However, the Latin influence is still present, as a lovestruck Boz delivers a hopeful, heartfelt vocal.
It was Huey “Piano” Smith who wrote High Blood Pressure. Fittingly, it’s the piano that opens the track. Soon, the rhythm section, crunchy guitars combine. The guitars are panned left, and are muffled. Meanwhile, Boz has being somewhat ambitious, and seems to struggle to reach the higher notes. Good as his band are, Boz lets the side down. High Blood Pressure is more suited to Dr. John. However, the addition of gospel tinged harmonies partly, makes amends. By then, Boz’s vocal is more relaxed. He’s no longer forcing it. Later, Jim Cox unleashes a stunning piano. Along with the harmonies the song is swinging. It’s just a pity about the guitar and parts of the vocal.
From the opening bars, Al Green’s Full Of Fire is almost unrecognisable as it unfolds. That’s no surprise. Al Green’s original is the definitive version. So it’s a case of reinventing the song. One way to do this is smoothing the song out. When the horns bray, the rhythm section land down lay down a slightly funky groove. Boz’s vocal veers between AOR and soulful, as he demonstrates his versatility. As The Love Strings swing, washes of Hammond organ are joined by a searing guitar that cuts through the arrangement. By then, Full Of Fire has taken on a slick, almost AOR sound. It’s far from Al’s original. While it’s impossible to fault the musicianship and arrangement, it’s way too smooth and slick.
It’s just a Hammond organ and drums that combine to open Love Don’t Love Nobody. They set the scene for Boz’s soulful, wistful vocal. His delivery is heartfelt, as a piano plays, and a guitar chimes. Producer Steve Jordan realises that Boz is delivering one of his finest vocals, and ensures that the arrangement doesn’t overpower it. So everything is subtle. Whether it’s the piano, washes of Hammond organ, cooing harmonies or drums, they’re raison d’être is to frame Boz’s vocal. They do this beautifully, and this Joseph Jefferson and Charles Simmons’ song is one of the highlights of A Fool To Care.
Whispering Pines closes A Fool To Care, and features Lucinda Williams. She shares the lead vocal. Against a backdrop of accordion, rhythm section, guitar and washes of Hammond organ, Lucinda unleashes a soul-searching vocal. When the baton passes to Boz, his vocal is full of emotion. Then when Lucinda and Boz trade vocals, Lucinda sometimes overpowers Boz’s vocal. That’s a shame.Producer Steve Jordan had taken great care with his production. He adds a weeping guitar and Hammond organ. They’re meant to compliment the vocals on what could’ve been a heart wrenching track. It’s good, not great, purely because Lucinda’s vocal powerhouse, sometimes overpowers Boz. Sadly, it’s a slightly disappointing end to the vinyl versions of A Fool To Care.
Unlike the CD version of A Fool To Care, the three bonus tracks are missing from the vinyl version. That’s no great loss. Bonus tracks always divide opinion. Some people welcome bonus tracks, and see this as “something for nothing.” However, with some artists, it’s often a way of using up tracks that would never find their way onto an album. They’re merely outtakes, demos and alternate takes. Often, it seems that artists seem to be determined to fill up the eighty minutes of a compact disc. They’re like the child with their first colouring book, and they’re determined to use every square inch of paper. There’s no need for that. That was never the case when vinyl was King.
Back then, artists were limited by the amount of music that could fit on an LP. If they were really lucky, the could squeeze forty-five minutes music onto an album. That was pushing it. Mostly, though, albums lasted thirty-four to thirty-six minutes and featured eight to ten tracks. Occasionally, brevity was the order of the case. That was the case with Nick Drake, whose albums lasted twenty-seven to twenty-nine minutes. However, just like many other artists in the vinyl age, record buyers were hearing an artist’s best music. Albums were all killer and no filler. Not any more.
Since the advent of the compact disc, albums are sprawling affairs, and can feature anything up to twenty tracks. There’s no way that an artist can record twenty great songs. Nor fifteen. Even twelve is a push. That’s the case on A Fool To Care.
Of the twelve tracks on A Fool To Care, nine find Boz Scaggs rolling back the years. He comes up short on Hight Blood Pressure, Full Of Fire and Whispering Pines. This trio of tracks are far from disastrous. It’s just small things, that could’ve and should’ve been spotted. Boz’s seems to struggle to reach the higher notes on Hight Blood Pressure. Full Of Fire is way too smooth, and lacks musical ‘fire.’ On Whispering Pines Lucinda Williams overpowers Boz’s vocal. Despite these flaws, A Fool To Care sees Boz Scaggs more or less pickup where he left off on Memphis. Only time will tell whether it will sell in the same quantities. Personally, I think that’s highly unlikely.
Some of the artists on the comeback trail are no longer as popular as they once were. There are exceptions. Bob Dylan and Dave Gilmour will both sell huge quantities of albums. It’s unlikely that James Taylor and Don Henley enjoy the same popularity they once did. Even Keith Richards, with his latest effort is no longer the draw he once was. However, music and musical tastes have changed since Boz Scaggs’ glory days.
Despite this, Boz Scaggs is still a talented and versatile artist. He flits between blues, country, and rock on A Fool To Care. There’s even elements of funk, jazz, Latin and gospel tinged harmonies. A Fool To Care is an eclectic and captivating comeback album from Boz Scaggs, who fifty years ago, released his debut album Boz.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
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