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23 Nov 2017

Operation Cherrytree “Scum & Honey” 2017 Germany Indie Rock,Stoner,Crossover Prog


Operation Cherrytree “Scum & Honey” 2017  Germany Indie Rock,Stoner,Crossover Prog
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Brachiale Fjordromantik  romance on self-discovery tour: Operation Cherrytree present their new work “Scum & Honey”. An album that sounds as unique and unadjusted as the story of its creators. A good dose of Seattle attitude resonates in the sound of the quartet. Bay Area rowdiness. A little Texas blues. Way of life, sadness, nostalgia. Optimism. Experimentation. Sometimes pissed off, sometimes melancholic, sometimes beautiful. Always unconventional. Packed in 12 songs full of passionate riffs, thrilling beats, pulsating grooves and furious solos. Above all, the great vocals of vocalist Wyno, ranging from pissed-off shouts to hypnotic spoken-word interludes, to bittersweet-epic melodies. Operation Cherrytree take you on a journey into the deepest self. Friends of the Deftones, Soundgarden but also the Chili Peppers will love Operation Cherrytree……..

»Brachial Fjord Romantic on Self-discovery Tour« is the title in the biography of the four musicians. And this biography has it all, because on the one hand it is so extraordinary that it can only be true. Only life is capable of such coincidences, too, or just when the meeting of the four musicians sounds like a road movie script. 
It all started in Norheimsund, “sometime in June .” There is the singer Wyno, who has dropped out of his life as a sociology and music student. Then Jansen, the accountant, who is tired of looking for himself. Wyno wants to get up to the North Cape. With the thumb pointing in the desired direction on the roadside. He meets Jansen , whose old Bulli, a T3, just in Norheimsund no longer wants to continue and stands around with a broken gear. 
Then there are the two musicians Sieks and CHwho have been traveling together for 30 years and have just come from a festival in Bergen. And in the evening, coincidence then hits: the four meet and as a result the musician’s debut “Scum And Honey” is now spinning in my player. The men must have spent a great and long evening. And they must have understood each other, because the album, in which they tell of their lives and experiences, is full of a unity that you would expect from people who have known each other for a long time. Probably the vagrancy made sure that the heads of unnecessary ballast were so liberated that they could indulge themselves fully in the music. A music that is not constricted by any stylistic border and that simply delights. 
Without a doubt, Wyno’s voice is the band’s figurehead . It transports longing and also aggressiveness in a gracious juxtaposition. In interaction with Sieks'Guitar playing, which skilfully arranges itself with the vocals, plays around fantastically, nothing can go wrong. Yes, you just can not remember what would have happened if the protagonists had not accidentally met at the butt of the world. This mix of metallic nagging, furiously shouted vocals and extremely harmonic vocals are rarely heard together on a record. The guitar playing, as mentioned, is on the same track. Be it brutal heavy metal grasping, playful prog passages or the presentation of even herbaceous tunes, everything harmonizes to every second and is accompanied extremely professionally by woofers and drums to where the point landing is to take place. 
Besides, the quartet has more than the famous knack to generate exciting compositions. It is much more than creating skilful passages, because the numbers have sustainable substance from beginning to end. In addition to all sorts of instrumental highlights, all four musicians are already on the mic and throw convincing backings into the scenery. And if those voices sound like a monk choir in deep church vaults, then you just can not do it any better, which makes the prospect of a follow-up album a tense one. 
The label Noizegate certifies “Scum & Honey” “a good dose of Seattle Attitude, Bay Area gusto, a bit of Texas blues, way of life, sadness, nostalgia, spirit of optimism, joy of experimenting, sometimes pissed off, sometimes melancholic, sometimes beautiful …” Yes, yes and again yes. And much more, and above all: Operation Cherrytree has more than a handful of powerful catchy tunes on the disk. A very brilliant debut…..By Ulli Heiser……….

It is always fascinating, what so snowed us as CD’s in the house. This time it is the debut album of Bielefeld-based quartet Operation Cherrytree. Quite impartially I put the Silberling in my player and actually I wanted to press the stop button after the first songs, but something was there, which captivated me. At the end I pressed again Repeat and with each pass, I liked the Silberling more. Meanwhile, I read through the CD booklet and researched on the Internet and what the record company about the band has left information for me. 

Noizegate Records describes the sound as “a good dose of Seattle attitude, Bay Area nonchalance, a bit of Texas blues, way of life, melancholy, nostalgia, spirit of optimism, love of experimentation. Sometimes pissed off, sometimes melancholic, sometimes beautiful. Always unconventional, full of passionate riffs, gripping beats, pulsating grooves and furious solos. ”, I could not describe it better. For me, the story of the disc sounds like a real road movie, four globetrotters, all in love with music that fate brings together somewhere in Norway … The material could also be the script for a music documentary and indeed a damn good documentary. It would be inconceivable if fate had not brought the boys together. 

Let’s start with “Nighthike In The Woods”, a spherical-sounding song that starts with fingerpicking, birdsong and partly electronic distorted voice of Wyno. At first getting used to and when in a Depri phase, maybe not worth listening to. But then the song picks up speed and the vocals come out powerfully from the system. It follows with “The Dawn” a song in which Wyno apparently roars all his fears into the micro. This song is especially worth listening to because of the constant change between the screams, gentle acoustic sounds and pleasant blues vocals. 

Much faster is “Generation Fear And The Rats”, which thrills with a great solo part of Sieks and ends with a hint of Doom-Metal. After that it gets romantic and at the same time “Colorful Bird” with its constantly changing vocals from clean, over Wisky-swaggered up to high octaves, is a very interesting mix. It’s hard for me to describe the song “Black Is Black”. Influenced by a constantly repeating chorus, pierced with blues, it’s best to make yourself a picture. Just like “Kings And Crowns”, which somehow can not be put into a grid for me. 

In “That Is True” it becomes spherical and experimental again. Just the spherical voice of Wyno on this disc reminds me again and again of David Bowie. After that, the song “Blurring Shadow” just growls out of my speakers. Very blueslastig and the voice changes between very gentle, almost tender sounds and then shouted out roaring again. The song “Minus Hero” starts rocking, the guitars with a slight gain, but the voice takes some getting used to in some places. In the end, it’s a great song again, the beat of which makes you want to rock and reminds me a bit of “Schools Out” by Alice Cooper. 

For the song “Today” ( Video), the band has got vocal support from Björn Eric Brodner, who has also produced the disc. You clearly hear his voice, but personally, it does not fit into the overall work, but Wyno’s voice saves the song. It follows the very experimental title song “Operation Cherrytree”, which unfortunately can not convince me so. It almost seems to me that the band just started jamming and somehow made a song out of it. Completely different sounds, it almost seems like a different band, finally sounded on the last song “The World Is Too Fast”. The dominant feature is the cello-playing by Patrick Urban, which stylistically raises this song completely out of the previously heard. At the same time, this is the quietest song, yes, you almost want to say the “bouncer song”, 

Finally, I can say that it almost seems to me that Operation Cherrytree has processed all the songs they’ve been through in their lives. Rarely have I heard such a varied disc and I think that’s why I did not have the heart to make out the CD player. If you are up for not just listening to musical pabulum and want to hear something new and unique, I can really recommend this album to you…..by Dirk Draewe…………………..

It sounds like a new Swedish novel: Four dropouts meet by chance on a road trip, found a band and are signed by a well-known German label. I would probably never buy so much as read, but as soon as music comes into play, things look different: namely, Operation Cherrytree have come together in exactly the same way, are now based at Noizgate Records and bring the end of the month with “Scum & Honey” her debut album out. The four of them are no longer 20, but the band photo here and there shows gray beards and wrinkles - which, strange as it sounds, fits wonderfully with the music, which somehow finds itself between Alternative, Crossover, Grunge and Stoner and the troupe, above all Singer Wyno, presented as astonishingly variable. 

With “Today”, the quartet has logically decoupled the track as the first single, which seems most accessible on “Scum & Honey” and is the earliest in the ear - overall, it’s quite curious on the record. Starting with the surprisingly gloomy, melancholy “Nighthike In The Woods” and seamlessly merging to the much dirtier, with nineties grunge crossover vibe provided “The Dawn”, in which Wyno can really let off steam in madness chorus really nice. Here, however, there is already a first element that can cause confusion - with the jumbled vocals and guitars mixed into the background - if you are not so fascinated by the neat mix of vocals and roar that one of his environment at all still something. 

It gets exciting then in the almost tough “Black Is Back”, in which a gloomy atmosphere is built, which moves somewhere between Grunge, Stoner and Doom; with partly doubled vocals and often repetitive parts by no means a simple piece, but nonetheless one of the tracks of the disc, which one should absolutely pay attention to several times. “Blurring Shadows” offers then as almost obligatory quieter piece (the word “ballad” you would not actually want to put in your mouth) rather a gap filler, but delimits wonderfully to the directly following, equipped with sleazy guitar “Minus Hero”, where especially the eightiesdrive and the partly high vocals should appeal to the older Metalheads. 

Rarely could an album be so difficult to enumerate suitable musical categories; an endeavor that is always annoying, but still somehow necessary to bring the songs at least halfway to the readers. With “Scum & Honey” you can get involved with the following common denominator, no matter how small: If you like rock and metal, you should definitely take the album to heart and make your own judgment - starting with “Today ”, One can durchboxen to the less accessible songs; The name song “Operation Cherrytree” is certainly a great figurehead as well - like most of the tracks on the record, there is also a rather gloomy mood, which is underpinned by a pleasingly dominant bass. The rating is correspondingly difficult - with eight points there is certainly still a bit of room for improvement, but some of the songs also need significantly more than a handful of runs to unfold their effects. Either way, the disc will certainly not dust on the shelf…. by Katharina Neuert……


Line-up Operation Cherrytree: 
Wyno (vocals) 
Sieks (guitars) 
Jansen (bass) 
CH (drums) 
Patrick Urban (cello -#4,8,12) 
Till Sadlowski, Johannes Gerber (additional vocals – #5) 
Björn Eric Brodner (accordion – #6, additional lyrics & vocals -#10)

Tracklist “Scum And Honey”: 
Nighthike In The Woods 
The Dawn 
Generation Fear And The Rats 
Colourful Bird 
Black Is Back 
Kings And Crowns 
That Is True 
Blurring Shadow 
Minus Hero 
Today 
Operation Cherrytree 
The Wold Is Too Fast

Karkhana "For Seun Matta" 2017 Middle East Jazz Avant Garde,Experimental,Free Jazz


Karkhana "For Seun Matta"  2017 Middle East Jazz Avant Garde,Experimental,Free Jazz 
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Limited 500 - Recorded in Montebelluna, Italy (OutsideInside Studio) in 2016. Mastered in Chicago, USA.

“Featuring some of the most innovative players from Beirut, Cairo and Istanbul, Karkhana met for the first time in Beirut in 2014, bringing together influences from the three major experimental music scenes of the region and beyond. Through their live shows, the band’s seven multi-instrumentalists build a transcendental atmosphere developing what could possibly be called free Middle Eastern music. Shades and traces of shaabi, tarab, sufi and much more are heard in the distinct blend of free jazz and psychedelic krautrock they’ve created. 

Recorded and mixed by Matt Bordin at Outside Inside Studio - in only two days - and mastered by Carl Saff at Saff Mastering Studio in Chicago, For Seun Matta is the first studio album by the band, following Nafas (Omlott, 2016) and Live At Metro Al-Madina (Sagittarius A-Star, 2015). Featuring Sharif Sehnaoui on electric guitar, Sam Shalabi (The Dwarfs of East Agouza) on oud and electric guitar, Maurice Louca (The Dwarfs of East Agouza) on organ and synth, Umut Çağlar (Konstrukt) on zurna, gralla, bamboo flutes, and percussion, Mazen Kerbaj on trumpet, Tony Elieh on electric bass, and with the recent addition of Michael Zerang on drums. 

“I wish I could track down more of this tantalising outfit’s music to share…This Middle Eastern supergroup first got together to celebrate the music of Egyptian surf guitarist Omar Khorshid – who was also a key figure in Oum Kalthoum’s orchestra – but their remit has expanded somewhat and now they’re fully committed to outer-perimeter explorations in Krautrock-leaning, cosmic free jazz” (John Doran, The Guardian)”…


Karkhana is the ensemble featuring Sam Shalabi and Maurice Louca (two-thirds of Dwarfs Of East Agouza ), the Chicago-based percussionist Michael Zerang (so many collaborations behind him, including Peter Brztzmann) and musicians from the Middle East coming from collectives such as Konstrukt (from Istanbul, now home on Holidays Records) and Omar Orchestra (from Beirut, of which Shalabi and Louca are the same) for a total of seven elements. The deadly combo had already released a live-made record in 2015, and is now on his first test in the recording room: to oversee the Matt Bordin recording of the Omega Team at his studio at Montebelluna. It seems that the sessions have been little more than a walk (straightforward, zero overcoding: practically one shot, one kill) and the perfect feeling between the parts is easily seen in what is the end result. 

For Seun Matta remembers very closely his own Bes, the Dwarfs Of East Agouza album that can be considered one of the most tasty things of last year’s musical vintage. The same mix of torrential psychedelia and Middle Eastern influences (chaabi, tarab, sufi music …), played with a free pattern approach: here, to further tease the ears of the listener well-versed to travel without any itineraries or predetermined goals, crammed, medley colors and a must-see dancing characters - free jazz shooting: we imagine the Master Musicians Of Bukkake touring for the Sun Ra helioscent worlds. The opening trace is a sort of crammed tarantella accompanied by the devastating battery of Zerang and tormented by free faded. Pony Ride starts from a slow hallucinatory phase and leads to an awesome crap made of saxil rags,Omega Team . Gavur moves dynamically and sinuous and flows into an oriental night that refers to desert landscapes; Nafas Kahrouba'i, last of the four episodes, moves from the solitary solitude, so it goes hypnotically to build up to the noisy disintegration. Ethnodelia that is enriched with nuances to every new listening, a pleasant, varied, polychrome coacervo of influences, this is the music of the Karkhana, a collective between the space patrol and a caravan of nomads that runs between the Mediterranean and the lands of the East…..ANGELO BORELLI…..


Karkhana twists Konstrukt’s cosmic chaotic concept with more Middle-Eastern flavors. This supergroup, bringing together improvisers from Turkey, Çağlar who plays here on exotic reeds, Lebanese guitarist Sharif Sehnaoui, trumpeter Mazen Kerbaj (who also drew the cover) and bassist Tony Elieh, Egyptian guitarist and oud player Sam Shalabi and keyboards player Maurice Louca, plus Chicagoan drummer Michael Zerang, who is a first-generation American of Assyrian descent. Karkhana - after the Turkish word كرخانة that alludes to the selling of taboo, often prostitution, but today is often used to describe wild parties - convened for the first time in Beirut in 2014. For Seun Matta is its third album and the first one to be recorded in the studio, released on a limited-edition of 500 copies (another album of Karkhana, Al Dar al Hamra, is already in the pipeline, again, as a limited-edition vinyl in 150 copies). 
Seun Matta is a mysterious character. He was called as a substitute for Elieh and Zerang during the 2017 edition of the Konfrontationen Festival, but none of Karkhana members remember much about him, if anything at all. This recording captures faithfully the powerful transcendental atmosphere of Karhana’s live shows. “The Seventh Seun” that opens side A offers an hypnotic trance of surfing guitars and oud, eastern folk reeds and driving rhythms. “Pony Ride” is an hyperactive mix of thorny, krautrock-tinged guitars, exotic, funny noises, Sun-Ra-like cosmic-spacey keyboards flights and reeds that sound like erupting from ancient Master Musicians of Jajouka album, all colored by Zerang’s arresting drumming. “Gavur” is an enigmatic-dreamy oriental dance that seduces the listener even deeper into the untimely sonic universe of Karhana. Shalabi leads the last piece, “Nafas Kahrouba'i”, opening with a rhythmic oud solo, then accompanied with psychedelic-bluesy guitars but later all surrender surrender to the hallucinogenic, repetitive techno-like pulse.  …


Credits 
SHARIF SEHNAOUI: electric guitar (Lebanon) 
SAM SHALABI: oud, electric guitar (Egypt/Canada) 
MAURICE LOUCA: electric organ, synthesizers, fx (Egypt) 
UMUT CAGLAR: double reeds, bamboo flutes, percussion, violin (Turkey) 
MAZEN KERBAJ: trumpet, objects, percussion (Lebanon) 
TONY ELIEH: electric bass, fx (Lebanon) 
MICHAEL ZERANG: drums, cymbals, percussion (USA)


Tracklist 

A1 The Seventh Seun 8:00 
A2 Pony Ride 11:35 
B Gavur / Nafas Kahrouba'i 19:16 

Dave Peace Quartet ‎ “Good Morning Mr. Blues” 1969 UK Psych Blues Rock


Dave Peace Quartet ‎ “Good Morning Mr. Blues” 1969 UK Psych Hammond Blues Rock
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UK 12-track LP, the bedut and only band from the blues outfit, featuring Dave Pegg who later became a member of Fairport Convention & Jethro Tull, front laminated picture sleeve. …


Ever since I can remember I’ve had a copy of the Dave Peace Quartet’s Good Morning Mr Blues LP in the collection. Judging by some of the prices reached on Ebay, this LP appears to be quite rare. It’s notable for being one of the early blues LPs featuring the young Dave Pegg on bass, who later went on to have success in both Fairport Convention and Jethro Tull. Before joining Fairport, immediately after the departure of Ashley Hutchings, Peggy was involved in various Midlands-based outfits including The Crawdaddies, Dave And The Emeralds, The Exception and most famously the Ian Campbell Folk Group. The Dave Peace Quartet never achieved any real success during their time together but this 1969 LP still continues to pop up in auction listings and provides a nostalgic glimpse at the Birmingham blues boom of the late 1960s






Dave Peace — vocals, guitar 
- Dave «Lilly» Loyd — guitar 
- Dave Pegg — bass 
- Mick Walsh — drums


Tracklist 
A1 Good Morning Mr. Blues
A2 Shine Your Shoes
A3 Blues In C
A4 Drunkard’s Blues
A5 Search This Town
A6 Take This Carbine
B1 Couldn’t Bear The Sight
B2 Never Did The Thing That I Should
B3 Help Me Jesus
B4 Every Day
B5 Wee Wee Baby
B6 Loser’s Blues 

Pandora “Space Amazon” 1974 New York Garage Glam Rock


Pandora “Space Amazon” 1974 New York Garage Glam Rock
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Very heavy, very groovy, very loud, very nasty, filled with crazed guitar assaults and charismatic vocals…but by whom? These hard rocking tracks from ‘73-74 (?) sound enough like Granicus, that many have speculated that this is a second Granicus album. This is also in part because Granicus drummer Joe Battaglia produced these sessions. But alas, it is not so, although the confusion certainly speaks well of the music! Project supervisor Doug Sheppherd said the following about Pandora: “I suppose you can believe whatever you want to believe, but Pandora is not Granicus. I interviewed Al Pinell (whose house is where I found the tapes and the flexis—literally every one of them in collectors’ hands came from me) and Joe Battaglia at length and talked to them many times over the course of 1992-1997. If there were an issue with the identity, then they would never have let us put it out. Joe doesn’t remember their names—other than that their bassist was named Martin, something he remembered after we did the reissue… He knew them for two weeks, maybe not even that. They didn’t socialize as far as I know. They just came down to Cleveland from Long Island in the summer of '74 to record, did the recording, and split.” Even so, this is the only Arf Arf CD that ever got reviewed in Rolling Stone… by RS editor David Fricke, who gave it a 4-star glowing review. 


You already know what happened to Pandora herself when she opened the box, but it won’t prepare you for the Daze of Madness that will follow when you experience this hypodermic needle prick of New York glamshock from '74. The quasi-mystical imagery, crunching metallic guitars and forthright rhythms of this baby could send a few Spiders back to Mars! Or some overhyped Dolls from the Big Apple back to the cabbage patch…


Mystery solved…at least part of it. The singer is Frank Karuba, stage name Ric/Rick Prince, formerly of Plum Nelly who released the album 'Deceptive Lines’ on Capitol in 1971. Prince/Karuba also fronted an early lineup of Twister Sister pre-Dee Snider, and appeared under the name of 'Rik E’ on half of the Black Widow IV album by UK band Black Widow which was recorded in 1972 but shelved and not released until 1997. To hear for yourself check out the Plum Nelly song 'Deception’ on Youtube…..By Michael Kelley


Were to begin with this lot? Firstly, if you’re expecting some elegant glam Bowie-isms, then look elsewhere. Same with the New York-style glam punk of this band’s contemporaries. No. Pandora basically sound like a glitzed-up, whacked out, sexually ambiguous, glam version of Led Zeppelin! Throw in some Stones, Who and Stooges as well for one of the best GLAM HARD ROCK ALBUMS OF ALL TIME! 

Most of the tracks are quite long (the title track running almost nine minutes!) - some not even knowing where to end; but no second is wasted - the song writing is top-notch! And the singer?! Oh f__k, prepare to meet THE rock god! Soft and delicate (and a somewhat camp) one moment, screaming out in a mad fury the next! The musicianship is right on the mark. It’s also recorded well! As a matter of fact, the sound quality is better than some official releases from that era! And the lyrics? Oh man, they’re quite the trip. Sample, first verse of title track: “You’re a super lady of the night/Like the Venus trap you’ve held your bite/You’re the hero of flash and conquered waste/But to hold your bond is an acquired taste/There can be no doubt you’re mortal man/Yet you tower high above your rockin’ band” - you’ll be singing along in no time! 

So, anyone into glam or hard rock should definitely add this to their collection. No contemplation needed! 

However…. Who the hell is this band?! The liner notes tell the story well, but it’s not enough! Surely some fan, journalist, club owner or something must remember them! Maybe they never played live? Maybe they changed their name prior to recording, then broke up? Don’t any of the members look themselves up on the internet in a faint hope of finding some reference somewhere? Maybe they all died in a tragic airplane crash. SOMEONE must know SOMETHING! I can’t even begin to imagine what they must have looked like! Typical NY-drag? Nah, that doesn’t fit their sound. And that’s another thing. The singer sometimes has a slight British accent, his pronunciation of “husband” in Only Seventeen being a perfect example. Maybe they weren’t American? As unlikely as it sounds!….By Glenn Baxter…


Were to begin with this lot? Firstly, if you’re expecting some elegant glam Bowie-isms, then look elsewhere. Same with the New York-style glam punk of this band’s contemporaries. No. Pandora basically sound like a glitzed-up, whacked out, sexually ambiguous, glam version of Led Zeppelin! Throw in some Stones, Who and Stooges as well for one of the best GLAM HARD ROCK ALBUMS OF ALL TIME! 

Most of the tracks are quite long (the title track running almost nine minutes!) - some not even knowing where to end; but no second is wasted - the song writing is top-notch! And the singer?! Oh f__k, prepare to meet THE rock god! Soft and delicate (and a somewhat camp) one moment, screaming out in a mad fury the next! The musicianship is right on the mark. It’s also recorded well! As a matter of fact, the sound quality is better than some official releases from that era! And the lyrics? Oh man, they’re quite the trip. Sample, first verse of title track: “You’re a super lady of the night/Like the Venus trap you’ve held your bite/You’re the hero of flash and conquered waste/But to hold your bond is an acquired taste/There can be no doubt you’re mortal man/Yet you tower high above your rockin’ band” - you’ll be singing along in no time! 

So, anyone into glam or hard rock should definitely add this to their collection. No contemplation needed! 

However…. Who the hell is this band?! The liner notes tell the story well, but it’s not enough! Surely some fan, journalist, club owner or something must remember them! Maybe they never played live? Maybe they changed their name prior to recording, then broke up? Don’t any of the members look themselves up on the internet in a faint hope of finding some reference somewhere? Maybe they all died in a tragic airplane crash. SOMEONE must know SOMETHING! I can’t even begin to imagine what they must have looked like! Typical NY-drag? Nah, that doesn’t fit their sound. And that’s another thing. The singer sometimes has a slight British accent, his pronunciation of “husband” in Only Seventeen being a perfect example. Maybe they weren’t American? As unlikely as it sounds!…..By Glenn Baxter…


Erik Lindgren’s Arf! Arf! Records is known for gathering the most obscure unreleased vintage tapes for historical purposes. (They’re also known to have a giggle now and again; a couple of the label’s supposedly vintage unreleased tapes are at least suspected to be by modern-day groups recording in note perfect re-creations of period styles.) Though most of the label’s vintage tapes are from '60s era New England bands, given Lindgren’s proximity and tastes, the 1997 release Space Amazon is actually a bunch of circa 1974 recordings by Pandora, a Cleveland, OH, band. The tapes were produced by Joe Battaglia, drummer for Cleveland metallurgists Granicus, and only the first two, the thumping “Space Amazon” and “Daze of Madness,” were ever released, and even then only on a flexi-disc given away by a local magazine. The glammy songs have a heavy, proto-punk edge, as if the group were heavily into the Stooges and the first New York Dolls album, and the theatrical vocals and self-consciously “decadent” lyrics suggest a strong Bowie/T. Rex fixation as well. Fun stuff, no matter when it was recorded…. by Stewart Mason…


Scintillating 1974 NYC glam shock rock on overdrive. Prepare for the 'Daze Of Madness’ that will follow when you experience this hypodermic needle prick. The quasi-mystical imagery, crunching metallic guitars and fortright rhythms of this baby could send a few Spiders back to Mars! Or some overhyped Dolls from the Big Apple back to the cabbage patch…


Erik Lindgren’s Arf! Arf! Records is known for gathering the most obscure unreleased vintage tapes for historical purposes. (They’re also known to have a giggle now and again; a couple of the label’s supposedly vintage unreleased tapes are at least suspected to be by modern-day groups recording in note perfect re-creations of period styles.) Though most of the label’s vintage tapes are from '60s era New England bands, given Lindgren’s proximity and tastes, the 1997 release Space Amazon is actually a bunch of circa 1974 recordings by Pandora, a Cleveland, OH, band. The tapes were produced by Joe Battaglia, drummer for Cleveland metallurgists Granicus, and only the first two, the thumping “Space Amazon” and “Daze of Madness,” were ever released, and even then only on a flexi-disc given away by a local magazine. The glammy songs have a heavy, proto-punk edge, as if the group were heavily into the Stooges and the first New York Dolls album, and the theatrical vocals and self-consciously “decadent” lyrics suggest a strong Bowie/T. Rex fixation as well. Fun stuff, no matter when it was recorded…..music emporium…..

“The band was recorded in Cleveland, but it was only released in 1997. About the band’s history, you can find out more about the accompanying booklet. (which should not be confused with Sweden’s progressive rock band of the same name). Although it is related to the North American glam scene, the sound goes far from being compared to the New York Dolls, Kiss, T Led Zeppelin influenced, sometimes remembered Stooges, but at the same time, remember for the sonority, German bands like My Solid Ground and the Gift A very well captured record, strong hand drums, potent riffs, and soils at full volume! Pure rock n 'roll of the 70’s, straight as a punch in the stomach! ”…



Tracklist 
1 Space Amazon 8:45 
2 Daze Of Madness 3:58 
3 Country Boy 6:37 
4 Only Seventeen 4:18 
5 Crack Your Skull 4:11 
6 Hot Rocker 6:27 
7 You’re My Woman 5:36 
8 King Queen 6:14 
9 Don’t Pity Me 7:36 
10 Leather Boys 5:24 

Evening Fires “Light From On High” 2013 US Psych Space Rock


Evening Fires “Light From On High” 2013 US Psych Space Rock 
Evening Fires  “Barn I “ vimeo 
https://vimeo.com/6865582

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“Light from on High” by Evening Fires In which Evening Fires see the light, and, through the use of secret backwoods sonic distillation techniques, transmute it into psychedelic musical experiences. The refining process is key: Original recordings were gathered in root cellars, churches, and all-wooden rooms around central PA, then reverently transformed via the magical mystery machines of BW’s migrating studio. The results? Well, you got some sanctified rural acid rock, jubilant space-synth testifying, interplanetary ritual ethno-foraging (Mars bass), and a solid helping of hellfire’n’brimstone. At one point the album’s working title was Stoned on Jesus Love; what more do you need to know? Five tracks, 54 minutes…




Showbiz hobnobber that I am, last week I commented to Evening Fires’ Kevin Moist via the miracle of e-mail that their album Light From On High sounded “pastoral”. Gently reproaching me he suggested the alternative tag of “rustic”. This set me thinking and ultimately led to the conclusion that we’re both wrong. 

“Pastoral” evokes an ideal, an idyllic countryside life that probably doesn’t and has never existed, an obvious example being The Kinks’ ‘Village Green Preservation Society’. An album that may sound pastoral, such as Paris 1919 by John Cale is actually quite dark once you read the lyrics. On the flip side, “rustic”, when it doesn’t refer to a gastro pub serving you chips on a wooden board, relates to having a simple, plain quality. Which simply doesn’t account for Evening Fires. Stadium rock is plain and simple, if you want plain and simple, go see Status Quo, if you must. So where does this leave us? 

Evening Fires are rooted in the Earth and the soil. Inspired by the Appalachians and their native Pennsylvania they set their surroundings to music, but not in a grand, cinematic post-rock way. Luckily, the kind of picture-painting they go in for has a universal appeal, anyone who has lived or grown up in somewhere out-of-the-way can relate. Growing up on the foot of the Pennines (American readers may wish to imagine the Appalachians, but smaller, greyer, wetter, with the occasional sheep stood on a 45 degree incline not far off becoming a disappointing Sunday roast) I can easily attest to the landscape being conjured. Hell, parts of Middle Earth probably sound like Light From On High.Enough prevaricating, lets actually listen to Light From On High. ‘Pulpit Rocks’ starts with messy piano before organ washes, guitar scratches and the rhythm section kick in. Displaying a nonchalant groove, the laid back tone is impressive considering the propulsive drums. 

‘Strange Meridians (I)’ starts with the kind of sleepy psych that label mate E-Gone specialises in, with a droning unreality raining down a funereal tone of dread. All of a sudden the rains have descended and the mist wraps itself around you. There is a certain sense of decay and entropy, reminiscent of Bowie’s Berlin albums, possibly even ‘Decline Of The West’ by the B.E.F. Excellent stuff. 

I was just thinking that the third track sounds exactly like dawn breaking when I glanced at the song title: ‘Greet The Brand New Day’. Consider that a job well done, lads. Sprightly piano, light percussion and a sharp, yet distanced guitar carry this song, carved this same cloth as Tom Verlaine’s ‘Days On The Mountain’. 

‘Magic Hippie Force Field’ sees ghostly wailing and strange going on in the corner of your vision. A fog horn calls out mournfully, a long, long way away. A slight dub sensation ensues. The song still has an energy though, like a nightclub deep in the bowels of the earth for the undead. 

Finally, ‘The Molten Fingertips Of God Almighty’ has more crystalline guitar, like the clear water of a river passing through a forest brook, underpinned by a quietly impressive bass guitar amble, foraging like a stoat in the undergrowth. Building and ascending, led by the guitar, the song takes you to the peak of a mountain to survey the kingdom that stretches for untold miles before you. 

The songs unwind in their own good time, the shortest being over 7 minutes. But then, this is an album that doesn’t need to get anywhere fast. The use of guitars in achieving these textures is impressive, considering most bands opt for dominating strings or keyboards to attain the effect. The drums are often jazzy, without being wanky and the interplay stellar. 

The sound of telling spook stories around a crackling camp fire, Light From On High is perfect for those cold winter nights, with a book, a warm drink and snack food. Or simply lie back and let the sleepy psychedelia wash over you and let your brain waves tune in to the magical frequencies of Evening Fires…


Tracklist 
1 Pulpit Rocks 7:26 
2 Strange Meridians (I) 9:19 
3 Greet The Brand New Day 11:27 
4 Magic Hippie Force Field (II) 14:56 
5 The Molten Fingertip Of God Almighty 10:46 

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