HEATH : Isaak's Marble

 

The Netherlands hold some of the best kept secrets of the kingdom of rock'n'roll and a young band from The Hague has dug down to the roots of the genre to carve out a rough diamond from scratch : a psych blues debut album called Isaak's Marble. To engage in its listening experience is to embark on an eventful journey through sound, beyond time and realms . Come hell or high water, the ship sails smoothly, kicking off with this the self-titled opener. 

Symbolically, Isaak means one who laughs or rejoices and marble is believed to provide clarity, self-control and stability, both physically and emotionally. This odyssey is aptly-named, the listener is greeted with an endearing harmonica, a trademark for Heath's intense sound and an unfurling wave of blues adorned with storytelling vocals that keep you on tenterhooks.

 The band's prog dimension has a layered effect with every tune unfolding into several song structures that remarkably fit into each other while keeping you alert.

The record itself is divided into four major soundscapes that flow seamlessly whilst being subtly distinct in textures and atmospheres.

One may suss out that “Wondrous Wetlands” refers to Heath's homeland of The Netherlands, a very hypnotic ode that evokes no rain in its ambiance and is filled to the brim with bliss and euphoria. The intro is quixotic, a dreamy pinnacle in a league of its own that propels you to another dimension, an ethereal vortex that unravels as a colorful dreamland. The vocals are very fitting and uplifting, the kind of tune you feel like humming to and daydreaming to before it turns into a proper psychedelic rollercoaster that catches you off guard.

This flamboyant mosaic of sounds is not dissimilar to what Nolan Potter's Nightmare Band achieved with Nightmare Forever, bursting with mental pictures and lush musical influences poetically colliding and blending as in a chemical osmosis. This analogy is even more significant when the soundscapes switch to the third tune “Strawberry Girl”, which oozes fairy tale vibrations. Blink and you may just catch a glimpse of a dragon whilst the frontman's  snake-charming harmonica keeps punctuating the narrative as a connecting thread. These Dutch troubadours may have just magically crafted a medieval-psych-blues sub genre, against all odds.

The final track “Valley of the Sun” goes one notch deeper to cover its tracks, unveiling another epic incarnation that manifests strong Arabian Night resonances. It is a tour de force that closes the narrative yarn with much flair and a hint of mystery. “Fighting the desert king is the only end out of the nightmare” with a full canvas of musical hues merging in a glorious tale'n'roll  epiphany.

To be listened to at maximum volume and in compulsive rotations.

Isaak's Marble was released on May, 10th 2024.

GIRL SKIN : Lovemore

As a member of the outstanding band Beechwood,  multi-instrumentalist Sid Simons brings some infectious groove and has penned some cheeky numbers that can't go unnoticed. Both “Bigot in My Bedroom” and “Sucker” got me hooked and enticed me to explore his side-project Girl Skin. Sid's knack for songwriting is substantiated by the diversity of his songs, from bright ballads to bittersweet tunes filled with melancholy.

A striking example of his versatile prowess is the EP Lovemore he recorded with his girlfriend Foster James.

The picture perfect couple created a musical chemistry reminiscent of Gainsbourg and Birkin in some regards : sensual and witty, with a quirkier or more caustic side, depending on the track. Foster James's stupendously husky vocals magnify some sibylline and mercurial velvet tapestries such as “Fine Wine” or “Where Did Your Truth Go?”, Hope Sandoval inevitably springs to mind here as both vocalists possess that one of a kind suave and alluring pitch and texture that leave you longing for more. The analogy to Mazzy Star is also atmospheric, the pair nurtures intimate and languorously immersive ambiances like Roback and Sandoval.

“Darling” is the most enchanting song on the EP and a cracker of a melody. Miles away from the previous influences, its pop perfection and harmony is wrapped in a Lennon like beguiling swirl that feels like proper dopamine, it is a declaration of love and an utterly uplifting piece of music, an ultimate mood changer which is unadulterated bliss. Girl Skin have captured the essence of song structures that can insinuate themselves into the listener's psyche with sweet or cunning disguises.

A radiograph of two pulsating hearts which echo sonically to conquer their audience, this may be the best romantic match in the current music scene. “Meeting you was like being introduced to me.”, Foster sings in “Skin”.

Either with the rest of his outfit or with his partner and muse, Sid Simons's ability as a melodist is fully promising and appealing to all kinds of ears and also stands resolutely unlike any current trend, a breath of fresh air. Stay tuned for Girl Skin's adventures, their next landmark will be a full length debut record, to be released this year.

Lovemore was released in 2018.

BEECHWOOD : Inside The Flesh Hotel

In the age of gentrification when culture gets wiped out or too polished, rock’n’roll needs to be reminded of its primary purpose : raw, edgy, life-affirming sounds that take over our senses and provide primal pleasure. When it comes down to playing their guts out, artists either have it in them or they don’t. Beechwood has that fire and are a striking example of what music should epitomize to the core. Bold and fiery, enticing and versatile, these young New Yorkers know how to make the most of a wide array of influences, whilst crafting their own signature sound with sweat, blood and a few tears.

Inside The Flesh Hotel is a stylistic statement  that sounds neither modern nor overly retro, it comes out straight off in a league of its own. A flow of sensations initiated by a scream that prefigures the tone of the record, sharp riffs, a tight rhythm section and sexy vocals, in turn suave or crude, which endow the record with a distinct lascivious atmosphere. The production is tailor-made and brings out the chemistry of the three piece.

Ranging from sonic cathedrals like “Nero”, to funky glam numbers as “Bigot in my bedroom”, via the odd country song, each one in the band pens equally memorable pieces of music. They emerge as the one-off  love child of the New York Dolls, killing it with their audacity and flair. Their debut album Land of Nod had set the bar high and they fully substantiate their potential with Flesh Hotel. They have it all : the spirit, the groove, the stage presence, the sartorial class.  Think of your favorite outfits from the 70s, crammed in an ingenious latter day band.

Obstreperous and outstanding, Inside The Flesh Hotel pushes all pleasure buttons if you are looking for the real deal. Break the monotony and enter the flesh hotel at your own risk. A highly addictive vessel of songs to play at maximum volume !



Inside The Flesh Hotel is released on Alive Records on June, 8th 2018.

ALLAH-LAS : Worship The Sun

Worship The Sun, a perfect title for a record that totally honors the solar star and oozes  endless summers, retro rides by the ocean or colorful trips across the Joshua Tree.

These Californians know how to make music which is equally soulful, entertaining and visually inspiring. Their songs are compound of several layers, they are primarily infused with solar energy  and adorned with a timeless and otherwordly spirit, something one might even call karma. Whilst dropping the needle on this album, you will most likely catch a glimpse of Gram Parsons,  such an inspirational icon. His aura lives on with the vivacious LA band, they have that greater than life freedom vibe about them.

Allah-Las take after some of their legendary geographical ancestors,  The Byrds especially, with or without Gram. They possess the same ear for heartmelting harmonies and the same kind of casual and laid back appeal. Better Than Mine is the perfect example of this.  Whilst adding modern elements, they resurrect the golden sounds of the sixties with their fuzzy pieces of music. The instrumental bits have no lulls and even make the record sound more authentic. It is a proper journey.

The band is tight and their chemistry translates gloriously live.

Matthew Correia, the drummer,  designed the sleeves of both visually evocative records. The back sleeve of Worship The Sun clearly alludes to spaghetti westerns, there is a strong cinematic side to it.

Worship The Sun is a gem of a record and a proper escape, which instantly turns grey sulfur skies into heavenly kaleidoscope sights, music that puts you in the best mood with its catchy tunes that all fit into each other like a puzzle.

Buy the ticket, take the ride and get your load of vitamin D, the Sun King has pride of place all over these songs. Allah-Las are mind alchemists that should be prescribed against chronic depression.

Soul healers & mindblowers associates.

Worship The Sun was released on September, 16th.

THE PROPER ORNAMENTS : Wooden Head

The Proper Ornaments, a dapper name for a distinguished London band.

These gentlemen aren’t merely ornaments, they are the main attraction with their elegant style that evokes The Velvet Underground circa Loaded, the song Rock & Roll especially springing to mind as the cornerstone that shaped their trademark sound.

Those Londoners are by no means a rip off, they have soaked up the Velvets luscious vibe but have inserted other influences beyond this and from both sides of the Atlantic.

With the pristine “Always There”, they have inherited Felt’s lordly and poetic touch.

Partners in crime Argentinian Max Claps and British James Hoare (from Veronica Falls) combine forces and complement each other perfectly, vocally with their delicate and delectable singing as well as musically with chiming guitars.

Their collection of songs is made of a sleek and colorful canvas.

If one looked into it with a magnifying glass, one would find chiseled rare fabrics as well as precious bits and pieces. The Ornaments’ tone is lo-fi but constructive, they stand out from the crowd of  soundalike bands.

“Sun” is the perfect pop song, in its noblest sense. It radiates majestically. It feels like an exhilarating cinematic ride in a retro convertible.

Miles away from its dull title, Wooden Head is a dreamy technicolor record which is very coherent and intelligently entertaining, the type that lifts up the listener’s spirits and brightens their days.

To indulge in immoderately.

Wooden Head was released on Slumberland Records/Fortuna Pop on July, 9th.

THE MERRYLEES : Forever More

A breeding ground for generations of seminal bands, Scotland’s new recruit and best kept secret is called The Merrylees.

These young lads possess an eclectic musical range, a sound which is surprisingly mature, yet infectiously refreshing at the same time. Their innate gift for gem melodies makes their songs sound classic in the noblest sense, right off the bat.

For a band that is used to brooding skies and melancholy landscapes, they have the magical ability to draw colorful and ravishing mental pictures. 
They are not just entertainers, though, they are already proficient in escapism, which is the essence of music.  

Their new single “Forever More”, produced by Richard Hawley, is one of those tunes that capture your heart with its lordly harmonies and delightful guitars.

This is the type of music that oozes sincerity, there is something about the chemistry and vibe that strikes a chord and speaks volumes to the listener’s soul.

The Merrylees unveil their darker western side with the b-side “The Wind That’s Following Me”, a number whose exquisite narration reminds of some of Lee Hazlewood’s early work. Cinematic and outstanding.

These precocious troubadours may as well have lived in the sixties or seventies in California, they are out of this world.

Give them a listen and they will sail their ship to your shore...

THE HORRORS : Luminous

“We wear any colour you like as long as it’s black” is The Horrors’ motto.

Oscillating between darkness and light in their odyssey of sound, the five-piece makes no radical statement this time. Their three former albums were about as different as night and day but with Luminous, they have remained closer to the summery and bright atmosphere of Skying.

However, this new record sounds more mysterious than the previous one, especially vocally.

Faris Rotter’s singing outbursts are long gone, at least on record, his voice is now more crooner like, which is of course endearing and almost snake-charming, in a film noir shade of black way.

How did these vivacious Londoners who were once all over the place get so metaphorical?

Like wise Leonard Cohen said : “there is a crack in everything, that’s how the light gets in.”

The Horrors immerse the listener in hypnotic ambiances revolving around moods and personify the elements in this instance. The song titles are thoughtful and dreamy, a reminder of their exquisite lyrical range.

Luminous evokes sunshine, clear skies and oozes that mellow vibe that makes you feel high as a kite. “First Day of Spring” is the first pinnacle on the record, followed by “In & Out of Sight” that has a slightly electro added value with its finger on the pulse.

“Jealous Sun” epitomizes the best of this new effort with its poetic, original and evocative half lunar, half incandescent beam.

Is this record a transition before a more drastic statement like they used to make?

Time will tell how these sonic chameleons will keep defining their music.

With their chiaroscuro of black, they are able to take us to the moon and back whilst painting black and white rainbows and jet black vinyl sun.

Stay tuned for the next trip in space and time.

Luminous was released on XL Recordings on May, 5th 2014.

TEMPLES : Sun Structures

Treasure finders Heavenly recordings hold some of the brightest gems of contemporary British music. Along with TOY and Charlie Boyer & The Voyeurs, they have just released the eagerly awaited album of prodigious newcomer Temples. The Kettering band surfaced eighteen months ago and received lavish accolades in a short amount of time.

Judging on their incandescent debut album, all that praise is well-deserved. 
The four-piece have  many tricks up their sleeve,  they first and foremost have a striking ear for melody and the talent to make a song “universal”, that is to instantly make it a hit. This a quality they partially acquired from their various influences, amongst which The Byrds and The Zombies seem the most prominent.

Temples are clever enough to channel those influences whilst adding painterly detail and leaving nothing to chance.

What makes the band remarkable is primarily its obvious gift for instrumentation, chord progressions and astounding vocal harmonies (“Move With The Season” is one of the most vocally heartmelting songs I have heard since "Wild Mountain Thyme").

They also insert underlying esoteric textures in some of their most ambitious tunes, starting with the self-titled track “Sun Structures”, taking the listener to a higher and more metaphysical ground, which is echoed in the bedazzling “Sand Dance”, the most original song on the album. You will find other hints of that in  the intros to “The (wondrous) Golden Throne” and to “A Question Isn’t Answered”. Given the excellence of those tunes, they could probably make their next full album a book of exotic tales, a sort of psychedelic Arabian Nights.

As a whole, Sun Structures keeps you on tenterhooks with blooming pop patterns bursting with solar energy whilst weaving a colorful mosaic of quirks and twists.

The ultimate track “Fragment’s Light” makes a perfect ending to the record with its poetic epilogue structure, it has this troubadour charm about it that somehow reminds of “The Battle of Evermore”. This ellipsis might be the bridge to the band’s next effort.

2014 has just started but Sun Structures is already a hot contender for the album of the year. Seeing that Temples are aptly-named, they may also become England’s new favorite worship.  



Sun Structures was released on Heavenly recordings on February, 10th 2014.

FIRST COMMUNION AFTERPARTY : Earth Heat Sound

Few things are more enticing than a good record sleeve and Earth Heat Sound is one of the best I have seen, being utterly eye-catching, enigmatic, original and scrumptious. It also encompasses good karma and oozes serenity and sex appeal.

Leopard butterflies, tree of life, deep blue skies, dovelike clouds and baby doll hair, these elements are like a surrealistic collage that reminds of a Dali painting and endows the viewer with the wonderful sensation of floating.

As the title tantalizingly sets the tone, this record is ruled by the elements.

The aptly named “Awakenings” possesses an intense otherwordly and sensorial atmosphere that makes you step into unfamiliar, yet reassuring territory. 

It is an uplifting beam you feel inevitably drawn to… The record is permeated with this peculiar glowing vibe, a powerful cure for seasonal affective disorder.

Earth Heat Sound is colored with various influences which just beautifully mingle, from sixties psychedelic rock to shoegaze. The vocalists complement each other perfectly, one can hear a peaceful energy in their vocal harmonies, some of which may remind of Grace Slick and The Jefferson Airplane but Liam Watkins at his loudest can also sound a bit like Bobby Gillespie, something in his genes, I guess…

The Minneapolis band hits the bull’s-eye with “Sleep Away” which crystallizes the best of its chemistry. Its percussions have a growing power, they will take you to the top of the sky, amongst celestial creatures and leopard printed butterflies, and will give you a fine adrenaline rush.

Mysterious as can be, “21A”, the final track on the record, is an extensive and ambitious number which covers its tracks and leaves a lasting imprint on your mind, its rich and unusual structure increasing its impact tenfold. This is a song that can leave you completely mystified. The last notes and sounds echo the opener “Awakenings”, with that same compelling hint of magic.

First Communion Afterparty have reached a new landmark with this record which, like a book, is compound of several levels of interpretation thanks to its groovy layers, ambrosial voices and eerie bits and pieces. A precious work that will for sure delight escapists.



Earth Heat Sound was released on December 21st 2013.

http://pictureinmyearrecords.bandcamp.com/music

THE KVB : Minus One

Is black your favorite color? Do you like drum machines? Do you play jacks? Have you ever listened to Psychocandy on repeat?

If you check off any of the above boxes, you will most likely get entangled in The KVB’s web’s and frosty ambiances.

Somewhere halfway between The Soft Moon and The Go Go Darkness, Nicholas Wood and Kat Day bring sonic cathedral sounds back. Don’t get me wrong, this duo are no obscure copycats, they have retained the holy grail of shoegaze where many have failed before.

A minimalist band, they are loaded with sexual and psychological angst and thrive on mind games. This is sophisticated and intellectually-stimulating music on the razor’s edge. Don’t expect to be blown away by the lyrics as the vocals remain hazy and elusive, this is part of their mystery halo.

Like some of their illustrious mentors, this pair knows how to blow hot and cold, or rather how to reconcile chaos and bliss, which hold the key to their mojo. Either way, this is the sort of music that should definitely be played at maximum volume.

“Passing By” and “Endless” both have a spooky haunted manor vibe to them, with sinuous basslines that hang over rooms like ghosts.  

The much starker “Dominance /Submission” radiates with a nefarious magnitude.

This third record but first release on Anton Newcombe’s label A Recordings has a sprawling hallucinatory dimension, imagine being lost in an English maze whilst being under the influence…The pervading atmosphere of Minus One makes it memorable, the first dive into this wall of sound calls for more.

Reverb is the new black.

Minus One was released on November 18th 2013.

http://thekvb.bandcamp.com/album/minus-one-extended-edition

TOY : Join The Dots

Don’t be fooled by TOY’s name, these cunning song goldsmiths actually make the listener their own little puppet with magnetic, cosmic and entrancing multi-layered pieces of music, tunes that expand one’s mind as much as they stimulate the senses.

The London band is back just over a year after putting out one of the richest and most clever records of 2012, possibly the best British release since Primary Colours, The Horrors’ masterpiece. Let’s not forget that the former emerged in the latter’s emulating slipstream.

A swirling signature sound was crafted on their self-titled debut which, while it didn’t stick to one genre, was mainly reminiscent of shoegaze.

With their sophomore effort, they do not repeat themselves but substantiate their ability to balance pop patterns and celestial experimentation. “Conductor” is a jewel opening track, immersive as can be. An instrumental number, its beat is compulsively galvanizing, it is levitating and keeps you in orbit for over 7 minutes. Goosebumps galore! 

Does the rest of Join The Dots live up to this? The answer is positive.

The quintet excels at building a sensorial roller coaster, with no lull. Whilst revolving around time travel, the album also indulges a lot in bedazzling space travel.  

This is a band that never states the obvious and constantly surprises and plays with the listener, oscillating between heartswelling melodies, that may at times remind of the Paisley Underground, and experimental krautrock soundscapes. The whole thing remains coherent all the way through and is perfected by Tom Dougall’s luscious vocals.

Reiterating their prowess with this life-affirming and mesmeric record, TOY are in a league of their own. Creative world-class.

Join The Dots was released on Heavenly on December, 9th 2013.

THE WARLOCKS : Skull Worship

The lords of darkness have risen from the dead. Back with a vengeance, they are brandishing their emblematic skull to take possession of our minds.

Following Heavy Deavy Skull Lover and The Mirror Explodes, Skull Worship closes the circle of an inward bound introspective trilogy. Bobby Hecksher’s vocals sound hauntingly spectral, miles away from the exuberance of Phoenix.  

The Warlocks have come a long way, yet have maintained a trademark sound while constantly shaping it up and polishing it. They are a one of a kind quintet that once was a collective and has grown through chaos and many changes. Hecksher the mastermind has carved out his epic way through a long trenchwar and has found four other warriors : JC Rees, Earl V. Miller, Christopher Di Pino and George Serrano.

Each member fits in the puzzle to make music that has a drastic effect on the listener’s mind, mood and soul. The word sound alchemist is no overstatement, these guys are aptly named, they are purveyors of sonic witchcraft, the kind that takes you to the left and right of the moon via hell.

Cavernous and more ethereal than ever in the genesis of the band, this new record carries the ghastly lament of lost souls. “Dead Generation” is their anthem, then “Chameleon” and “Endless Drops” slot together perfectly, getting to the core of obscurity with vibrant sinuous rhythms. Lush and incisive guitars howl.

“Silver and Plastic” stands out with its apparent mellowness, the unusual added cello conveys  infinite sadness, this lyrical sound of despair constitutes the climax of the record. The second half of Skull Worship is more aerial, yet filled with the same ominous magical spell.

“It’s A Hard Fall” is the final stage in the Warlocks’ restless wandering, just before “Eyes Jam”, in reverse, marks a passage to a new land or dimension.

May these hypnotists keep more skeletons in the closet, the kingdom of skulls is to be worshipped indeed.





Skull Worship was released on Zap Banana on November, 25th 2013.

GUACHASS: PALADAR NEGRO

Guachass has returned with their best album so far to bewitch us all.

And it was about time they put us under their spell.

A record that took not only time but sweat, blood, heart & soul to release.

They’re a band that don’t know other way to work but with their four spirits put to the task, more than spirits one could picture these four friends as four forces of nature; and they’ve outstood themselves this time.

Leaving behind a blessed punk past that was built with their first album “Guachass” (Oui Oui Records, 2007) they have embraced with much responsibility and professionalism a deeper, thicker and more perfected stoner rock  with the second one “Paladar Negro”.

The first time I listened to the album I felt like a window to their lives was being open and I was being invited to witness and share, like in a ritual, a piece of themselves.

The band, from Montevideo (Uruguay) has been playing around the world (they’ve toured Europe and South America entirely) for the past 10 years and with much effort have come to a place where after much lived together they seem to be one big spirit of love and thankfulness towards those around them.

Photograph by Camila Montenegro Pitteta

I was honored to be present while the album was being rehearsed and I was shocked by the connection these guys have, I’ve worked with many bands; and I’ve seen many bands work and polish their art, but this one is one of those who actually mean it and who behind the curtains are the very same than on stage, and that is a rare thing to witness these days.

Uruguay has grown in terms of offer when it comes to music; the styles one can encounter with are way too many and way too different. It’s up to the ones holding the power (and that include us) to open up the game and let the “not so big” bands be a part of a business that has grown much bigger during these past years. THAT is something we all must look forward to and pressure to become reality.

The album was released during June 2013, and was composed and produced by the band.

It was recorded in Buenos Aires at Estudio “El Attic” by Patricio Claypole and mixed Justin Weiss at Trakworx Studies in San Francisco, (USA). It was released under the French/Argentinean Oui Oui Records label.

It holds 12 songs who were recorded analogically, using the good old metallic tape, hence the raw and honest sound. 

Some of them are quite strong hymns, such as “Montevideo”, “Ojos de lobo”, “Amistiki” and “Mamma”. Some of them give truly felt phrases such “I told you baby, without abyss there’s no love” (“Auto Dorado”) this puts us at a much closer range with the band and the connection has one direction, there are no middle men. The feeling is honest, so is the art.

They have left the house of their grandfathers, Los Natas, and have begun to walk with the mighty force of those who follow them behind, and that ain’t a small thing to have: loyalty.

You can listen or buy the album at the band’s Bandcamp.

Camila Gonzalez Jettar – Voice

Mariana Gascue – Guitar

Federico Molinari – Drums

Nicolás Tapauraskas - Bass

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THE ASTEROID NO.4 : The Asteroid No.4

Continuing its majestic journey, the brightest star in our galaxy is back with a self-titled record, its most mature effort to date. The band has relocated from its native Philadelphia to scenic California, moving closer to its neo-psychedelic peers.

Soaked in dapper melancholy, The Asteroid No. 4 primarily evokes autumn and the various sensations and colors attached to it. The Californians know how to write songs with painterly detail, using strings as brushstrokes and triggering that unique feeling that makes the listener feel safe whilst longing for something or someone.

“The River” makes a lordly opening track, being surprisingly much more grounded than their previous work and yet just as lush and layered. Neil Young circa 1970 springs to mind with this poetic, bittersweet and thought provoking tune that marks a new realm in their songwriting style. 
The latter reminds of Baudelaire’s quote :”I can barely conceive of a type of beauty in which there is no melancholy.”

Likewise, “The Windmill of the Autumn Sky” can be ranked as one of the band’s most solid compositions, encapsulating the fall in a glorious and timeless tune.

The Asteroid No. 4 remain flamboyant as well. "Rukma Vimana" and "Revolution Prevail" are epic electric anthems that take you straight on the band’s astral trail.

“Mount Meru” will remind old fans of the group’s early sound and debut album with its sitar and voice over while “Ghosts of Dos Erres” and “Back of Your Mind”  form links between outerspace and planet earth.

A  kaleidoscope of mental pictures, either earthy or otherworldly, is built all the way through. This album  possesses the ability to take you from vast terrestrial landscapes to orbit on a colorful ride.

Buy the ticket, enjoy the oddyssey!

http://theasteroidno4.bandcamp.com/album/the-asteroid-no-4

The Asteroid No.4 was released on October, 8th 2013.