Psych

Strange Cages (Newbreed)

Strange Cages are based in Brighton, UK featuring band members: Charlie McConnochie (Guitarist, Singer) Elliott Loughridge (Bass player) Ellis Dickson (Drums), we caught up with them recently for a nice chat.

01. How long have you been active for and how did you get together?

Just over 2 years. I found Ellis in a ditch. His legs were sticking out. They’re far too large for any ditch.

02. What influences do the band members have in common?

We have many influences in common. Some examples are: The Cramps, T Rex, The Jesus and Mary Chain.

03. Are there any other bands you’d recommend from your area? Why?

Wax Machine are a great band of groovy freaks with good solid tunes. Skinny Milk is another band worth checking out too, they are a two-piece bass and drums combo with a great sound (they’re much better than Royal Blood).

04. How would you describe the style you play?

Noisy rock and roll for reptiles. Music that makes you want to run around in the woods downing wine, smoking and dancing until you pass out.

05. What are your live shows like?

There is a lot of sweat. We recently played Green Door Store at 2am and things got quite wild. There was a woman swinging her jumper round, then she knocked the mic over and tried to get on the stage. At first, I thought she was really enjoying the gig, but then realised she was trying to get on stage to kill me. A bouncer had to stand with her for the rest of the gig.

06. What are your main influences in music? Who do/would you play covers by? And who do you despise?

We like to occasionally play ‘Jack the Ripper’which is an old garage song, covered by a lot of artists like Screaming Lord Sutch and The Horrors. We’re inspired by The Horrors’ version mainly. There’s not a lot better than howling “Jack the Ripper” down a microphone. I don’t like boring bands who play boring music and look bored whilst playing it. What is the point? Do you not feel anything? Do you want to be the same as everyone else? It baffles me.

07. What’s your favourite song in your repertoire currently? What’s your favourite song by another artist?

In our set: I like to play ‘Ego-Killer’ because I get to make a lot of noise. It’s usually our last song and it will be out on the EP next month.
Another artist: I keep listening to Autumn’s Child by Captain Beefheart because it’s just so so right. As is the rest of the album “Safe As Milk”

08. How would you describe the current underground scene? Do you participate?

It’s great, there are loads of great things going on Brighton. We’ve recently started a new night called Strange Cages’ Deadbeat Disco. We’re getting our favourite bands to play in a tiny space and it’s all free. It’s once a month, so come down and do a little dance.

09. What has been the biggest challenge to date?

The hardships of having to work and play music. It’s a bit of a nightmare working until 4pm, travel to a different city to play a gig and then leave straight away to get to work at 8am. Of course it’s worth it though and it obviously takes a long time for anyone to make money from music – if ever.

10. What do you think of the music coverage in the media?

It’s okay. There are plenty of good sites etc. I wish there were better magazines on paper. The NME has clearly gone downhill, a good example of this is that Chris Moyles was on the front cover. I also wish people would write more honest reviews of bands rather than just throw in superlatives.

11. Do you rate any current mainstream or underground bands?

I watched Goat live at Field Day festival and it was incredible. I didn’t know what the fuck was going on but loved it. If you don’t know who they are you should go and see them live as soon as you can.

12. Who/Where would you most like to record with and why?

I’d like to record with Josh Homme in his desert studio. I think we’d quite a lot of fun if that happened. I’m also looking forward to recording at Hermitage Works Studios with producer Margo Broom again. It’s where we recorded our upcoming EP and I don’t know if there’s anywhere around that’s better.

13. What should we expect from you in the future? What are your plans and ambitions? What interesting gig dates have you got coming up?

Our first EP will be out late July/August. We’ll be doing an EP launch at our Deadbeat Disco. I can’t wait to play 1234 Fest in September with Jesus and Mary Chain and Gang of Four. We plan on recording and releasing stuff at a much better rate in the future.

Discography:
Free download – Desert (2014)
Single on Strong Island Recordings – Pony (2015)
Free download – Catharsis (2016)

Web Links:
facebook.com/strangecages/

Updated Releases and Tour Dates 2016:
6th July – Shacklewell Arms, London
17th July – The Lock Tavern, London
28 August – Sticky Mikes Frog Bar, Brighton Psych Fest


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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July 5, 2016 By : Category : Bands Beat Front Page Fuzz Garage Interviews Music Psych Scene UK Tags:, , , ,
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Super Lungs (Newbreed)

Super Lungs hail from Brighton, UK with band members: Billy Doyle (main vocals & rhythm guitar) Ben Varnes (Lead Guitar) Kieran Mansfield (backing vocals & bass guitar) Markus Sasse (backing vocals, drums & keys)

01. How long have you been active for and how did you get together?

About a year and half ago Ben and Billy started working together at a bar in town, Then Ben had to go on tour with the growlers, and Billy got really jealous and asked Ben to be in a band with him, I think he’s regretted it since. Once we got some songs together Ben asked Kieran to play Bass and Billy got his “mate” Markus to play drums. The first band practice turned out to be pretty sweet!

02. What influences do the band members have in common?

We all have our own influences that we bring to the table, but we have somehow managed to agree on freestyle jazz as a common one. Although we just play 60’sesque, RnB, surf, rock, blazecore.

03. Are there any other bands you’d recommend from your area? Why?

Gang are the most unique garage-y grunge guys I’ve seen for a while in the sea of Brighton bands, they have some really unusual melodies and tones that make us all really happy at SL. And Post-Heather having well written songs and melodies served up as an explosive 2 piece that sound like grace slick merged with Unkle. Bosco Rogers from Hastings are pretty sweet too!

04. What’s the 60’s/underground scene like where you’re from?

You see a lot of sixties fashion in Brighton, and a lot of appreciation for that era of music it just seems to be the norm.

05. How would you describe the style you play?

We like catchy vocal and guitar melodies driven by tight groovy beats and bass. Our guitars are nearly always clean in tone and appearance. I’d say we go for a spaghetti western vibe sometimes – kind of hard to describe.

06. What are your live shows like?

If they’re not awkward, they’re funny!

07. What are your main influences in music? Who do/would you play covers by? And who do you despise?

We play a mean rendition of George Michael’s careless whisper, its Kierans favourite – he really loves singing it. We would like to cover “Tu Fais partie du passé” by ZouZou but its all in French and Bill can’t do that.

08. What are your main influences outside of music?

Being kind to strangers.

09. Who writes your songs and what subjects do you deal with?

Writing process varies from song to song, but generally Billy writes rough songs that we all work on together until they’re ready for your ears! But we’re still changing things on songs we wrote a year and a half ago. Our songs are about life – a very broad subject. haha

10. What’s your favourite song in your repertoire currently? What’s your favourite song by another artist?

Our new song “Leave it all behind” is quite the “banger”. And we are really enjoying The Seeds – “Pushin’ too hard”

11. How would you describe the current underground scene? Do you participate?

All of us had been in bands before SL about 2 years ago that you could say were in the scene, but I wouldn’t say that now we participate as much. Although we do maintain a good network of friends that do great jobs promoting a lively garage rock scene in Brighton like Acid Box, Teen Creeps and so on.

12. What has been the biggest challenge to date?

Our drummer Markus had to be deported after the EU referendum result. Just joking he’s gone to Uni in Cologne for a while, so were in an international band now by default.

13. How often do you Rehearse? Play Live? Record? Anything interesting coming up?

We rehearse when we can, Ben and Billy live together so they jam and write a lot. Kieran comes over a fair bit but Marktin is in Cologne. We have a new drummer but we thought we’d make sure that the man himself got a mention for all his hard work… Marktin – we couldn’t have done it without you. The mystery drummer will be unveiled soon.

14. What do you think of the music coverage in the media?

I don’t think mainstream media really reports much new music but channels like KEXP do a great job getting all sorts of styles on film with great sound! We would love to feature one day!

15. Do you rate any current mainstream or underground bands?

Tame Impala, Doug Tuttle, The Seeds, Fairport Convention, Mac Demarco, Home Shake, UMO, BJM , Vague, Magic Castles and all the nice bands out there.

16. Who/Where would you most like to record with and why?

We’d like to record on our friends boat at the marina but sadly none of the tech to do it with or on top of Kilimanjaro.

17. What should we expect from you in the future? What are your plans and ambitions? What interesting gig dates have you got coming up?

At the moment we are just trying to get our new songs mixed and mastered so everyone can hear them. We have also been focusing on bringing a longer set to our live shows with some fresh songs to dance to, Ultimately we are looking to go on some sort of tour maybe in foreign lands! Peace out!

Discography:
2015 “Smoke forever demo” – I lost my way.

Weblinks:
facebook.com/SuperLungsUK
twitter.com/SuperLungs
soundcloud.com/super-lungs
instagram.com/SuperLungs.UK


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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July 13, 2016 By : Category : Bands Front Page Fuzz Garage Interviews Music Psych Tags:, , ,
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Hey! Mr DJ – Lee Petryszyn

This entry is part 18 of 19 in the series Hey! Mr DJ 3

How and when did you get into music and what were you listening to then?

Growing up there was always music & records about, me old dear loved Motown, the old mans a huge soulie (DJ’s himself still) but was my older brother who introduced me to everything that was good growing up through the 90’s with Blur, Oasis, The Verve then the inspirations to those bands like The Who, Small Faces etc… It was The Horrors fanzine that I first got my early glimpse into Psych with a track off a CD that used to come with it… Hooterville Trolleys – No Silver Bird, which blew my mind and opened up a new one seeking similar sounds!

Where was your first DJ slot?

Used to play a couple of mates indie nights but the first 60s bash was as resident for a night that used to be called Psychedelic Sunday’s at the Lexington with my pal Jamie Cook a few years back with mostly cheap nuggets singles.

What was your most memorable DJ spot?

My second time at Mousetrap, one of my favourite 60s haunts as a punter, always a game crowd in a nowadays rare club that has all the right ingredients for a top night. At the brilliant Margate Mod weekender – playing records with my old man for a good while in the day. The farewell night at Berlin Beat Explosion which was open deck at Wowsville bar playing back to back with Riccardo Para from Italy.

What so far, has been your worst DJ experience?

Fortunately in my thus far short-lived Dee Jin escapades I’ve not endured any too drastic, My first time at Mousetrap had a couple of hiccups with the mixer not working to start with which didn’t help calm the nerves!

Your favourite scene DJ’s and why?

Joseph Spurgeon was the first DJ that initially captured my psychedelic imagination! Rob Bailey, Carolina Pastore, Rhys Webb, Peter Feeley, Holly Calder, Stephen McConville – in fact anyone who collects and plays as it’s not a cheap game to be in!

What has shaped your DJ sound and why?

Mostly anything from 66 to 71 that’s uptempo, fast and frantic with a good groove.

What was your best ever find/discovery?

Discovering Psychedelic Music and all the nights that play it like Hidden Door Club/Cave/Le Beat Bespoke/Mousetrap.

Who was your biggest influence musically and your favourite artist(s)?

My Brother, My old man for the thirst for Vinyl, Cave Club & Mousetrap nights and the DJs that play. Brian Jonestown Massacre being my favourite artists.

Do you collect specific labels/artists/genres?

If I could choose it would be British Demos & Pictures sleeves but any great tune will do,but predominately French Psych/British & Dutch/Belgium Freakbeat.

Where can folks currently catch your DJ set?

Hidden Door Club at Mascara Bar in Stoke Newington Friday 8th April. Margate Mod & 60’s Weekender on Sat May 28th 2016, see all the details HERE!

What is the record you would most like to own?

Adams Recital – There’s no place for lonely people.

Please give us a top 10 all time favourites and a current top 5 spins?

Top 10 Tracks of All Time:

The Fox – Hey! Mr Carpenter (CBS)

Legay – No one (Fontana)
The Accent – Red Sky at Night (Decca)
July – Dandelion Seeds (Major Minor)
Ruperts People – Dream on my Mind (Columbia)
The Mickey Finn – Garden of my Mind (Direction)
The Koobas – Royston Rose (Columbia)
Dragonfly – Celestial Empire (Philips)
The Orange Alabaster Mushroom – Tree Pie (POP 24)
Pink Floyd – See Emily Play (Columbia)

Current Top 5 Tracks:

Peshka – Danse Du Ventre (JAG)
Glass Sun – Silence of the Morning (Sound Patterns)
Sheephouse – Ladder (Decca)
Joys of Life – Descent (Columbia)
The Fairytale – Guess I Was Dreaming (Decca)

Web Links:

Facebook: facebook.com/LeePetryszyn
MySpace: myspace.com/drfloorshaker
Twitter: twitter.com/LeePetryszyn
Soundcloud: soundcloud.com/drfloorshaker


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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May 4, 2016 By : Category : Beat DJs Front Page Fuzz Garage Interviews Music Psych Tags:, , , ,
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Roky Erickson Live – Darius Drewe

ROKY ERICKSON plays the music of the 13TH FLOOR ELEVATORS

Forum, London

13 April 2016

In “popular” music, most performers, once they pass 50, tend to find themselves tagged into one of several loose categories. There are greats, and there are not-so-greats: there are heroes, there are unsung heroes, and also-rans. And then there are legends.

But what exactly is a legend? And how do you become one? While there are obviously no easy answers to these questions, my own personal estimation would run something like this: any artist, performer or musician who, either by default or design, presaged an entire sea-change in their chosen field, pioneered developments before their widespread popularisation, and whose reputation, irrespective of all later achievements, continues unabated several decades after these events first took place.

In which case, it’s a term that definitely applies to Roky Erickson. The minute he sets foot onstage, white hair cascading over purple suit, the applause that follows can only be likened to the kind usually reserved for a Dimitri Payet goal. Not, of course, that it’s in any way unjustified: as the man who, with the 13th Floor Elevators, was among the very first if not the first to describe his music as “psychedelic”, and who genuinely dragged U.S. rock kicking and screaming from the quiffs of the greasers, the shorts of the surfers and the pop of the preppies into an altogether darker, dirtier and more twisted palace of mind-bending eargasm, he deserves more respect than any white American musician of his era (with the possible exception of Brian Wilson, Van Dyke Parks and Mike Nesmith) still living. Yet even their greatest works were polite and subdued compared to the Elevators’ output, which (to the relief of those who remember his puzzling, blues-oriented shows at the South Bank six years ago) forms the entirety of Roky’s set tonight: 50 years on, even played by younger musicians (including his eldest son on jug) it still sounds like the incendiary work of frenzied demons, and even the slightly muffled sound, which is soon remedied anyway, can’t stymie the power of Fire Engine , Earthquake or Slip Inside This House (how’s THAT for an opening triumvirate) in all their twanging, spingalanging glory.

Riffs echo, bass lines thud, drums bash: just as the Sonics did a year ago in this very same venue, Erickson and his merry band lay down an 80-minute crash course in the essentials of rock’n’roll, only augmented by the unique floating strains of electric jug rather than honking sax. Unbelievably, there are still some today who complain about the instrument: yet to these ears, it was always the establishing factor in the Elevators’ unique identity, the next logical step in the evolution of American music from the concept of the folk, rag or literal “jug band” to what we now casually refer to on a daily basis as “garage psych”, and, in the absence of any back projections (obviously the budget didn’t quite cover such things) a reassuring pleasure to still see in evidence.  Faced with the relatively prosaic environs of the Forum on a foggy Wednesday, we still need at least one direct line to outer space: besides, without it, Erickson’s music has never been quite the same, and though his “horror songs” of the 70s and 80s were undeniably great, without that hollow, echoing boop, there was always something missing.

By marrying such a unique instrument to screeching feedback that reflected the band’s love of the blues (lest we forget, Texas is officially in the South) and primitive rhythms that took as much influence from Gene Krupa as they did Ringo Starr or Jerry Allison (though the structures and dynamics of the Crickets were inevitably writ large throughout Roky’s songwriting and Stacy Sutherland’s guitar playing) the resultant sound, though undeniably that of a rock’n’roll band, couldn’t fail to be anything but psychedelic in nature. And, five decades on, even with different musicians though during the last 12 months, the actual Elevators have reformed and played back at home it still is. More to the point, so is his voice: sure, towards the end, there are a few sploughs and cutters, but mostly, his banshee-like wail is exactly as you imagine it to be, his unique mixture of eloquence, menace and pained emotion untroubled by the passing years.

She Lives In A Time Of Her Own, I’ve Got Levitation and my own personal favourite Reverberation (how many 90s bands named themselves after these tunes?) are both angry and joyous, uplifting and sultry: depending on which sector of the audience one stands next to (scenester Mods, bowl-bonced Nuggetheads, ageing punks, bearded hipsters, headbangers and my personal favourite at any psych gig, the dreadlocked crustie who dances like a twat, entirely oblivious throughout as to how much of your personal space he’s encroaching on) the reception is exultant for these, yet perhaps more muted for mellower numbers from the underrated Bull Of The Woods. The combined population of all those subcultures, however, are evidently gearing up towards one moment and when it finally arrives, You’re Gonna Miss Me is the thunderous finale of finales, the man himself practically drowned out by the yellings of 1500-odd acolytes who probably thought they’d never see this happen.

I don’t think he can quite believe it either: though the lead guitarist and bassist (again, probably still pinching themselves) do step in with the odd fumbling introduction on his behalf, Erickson’s only non-sung words to the audience throughout have, almost by way of sheer incredulity, been “thankyou”, and like many musicians who’ve spent their entire lives in North America, both he even though this is his third visit now and band are clearly overjoyed to be in London. As a result, they can’t quite leave yet, and so it’s with the screeching proto-metal thrash of Two Headed Dog that they take their exeunt: at least for now it’s final, though as with all musicians of a “certain age”, you hope that you’ll see them again soon and that the next time won’t be the last. Nevertheless, if this does prove to be my sole encounter with Roky Erickson, it’s one that will remain forever imprinted on my memory, regardless of its relatively brief duration: maybe, on reflection, that’s the definition of a legend…


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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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April 27, 2016 By : Category : Front Page Fuzz Garage General Music Psych Reviews USA Tags:,
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Le Beat Bespoké 10 – Review

This entry is part 3 of 20 in the series Live!

LE BEAT BESPOKE 10 – A DECADE OF DELIGHTS 

Thursday: WOLF PEOPLE/PURSON  by Dave Johnson

I was very curious about the opening night of LBB10 having never seen both bands before. I had heard great things from friends and both bands were on my must see live acts list.

Would they live up to my expectations?

Purson certainly look the part and as soon as lead singer Rosalie launched into the first number I could see what all the fuss is about. She sings like an angel but looks like a devil and sure plays a mean guitar and had the audience transfixed. Purson romp through numbers from the album ‘The Circle And The Blue Door’ and the EP ‘In The Meantime’ with style and panache and won many new fans with tonight’s performance. Expect big things from this band in 2015.

A short interlude and some more great sounds from Wolf People tour DJ Richard Gibbons before the aforementioned band hit the stage. They apologise before starting by announcing they are a bit rusty having not played live together for a while. They shouldn’t have bothered, it was a masterful set peppered with numbers from the impressive back catalogue together with a couple of numbers I was not familiar that sounded like potential numbers for the forthcoming album which they are currently working on. Needless to say Wolf People reaffirmed everything I had been told by fellow music fans as a band not to be missed. Another fan converted and looking forward to hearing that new album.

After the live acts I headed into venue 2 for the DJ after show party where quality records one after the other kept the fun seekers happy until tomorrow night.

Friday: GLEN CAMPBELL’S MISUNDERSTOOD/KALEIDOSCOPE/THE LOONS  by ‘Dashing’ Drewe Shimon

Mike Stax, the expatriate Brit with the full trans-atlantic twang, is in his element tonight: not content with simply fronting his own fine garage-powerpop combo The Loons alongside his cool and talented bass-playing wife Anja, he also gets to be in the headline band! Nice work all around… The Loons with their juxtaposition of ebullient originals (referencing influences from the Pretty Things to the Strawberry Alarm Clock) and classic covers, set the tone perfectly for a very special LBB indeed.

That said, the Toytown popsike of Peter Daltrey’s Kaleidoscope still resides worlds away from the fuzzed-up San Diego frat-house: in fact, despite the lineup’s heavy reliance (original percussionist Danny Bridgman notwithstanding) on a latterday Glaswegian infusion from alt-folkies Trembling Bells, “Dive Into Yesterday” “Flight From Ashiya” and “The Sky Children” remain as quintessentially English as a blustry day on Turnham Green, which is possibly where half of them were conceived to begin with. And, whilst undoubtedly a slightly less overtly ‘religious’ experience than last year’s Islington show, tonight’s vibrant performance surely reinforces Daltrey and Co’s vital upper place in the psychedelic tapestry: it might have been, at times, ever-so-slightly inaudible above certain segments of the audience, but this is also a club event too, and if Dave and Lisa from Penge want to catch up with Enrico and Xavier from Toledo and discuss their plans for this year’s Euro YeYe during the quieter passages of “The Murder Of Lewis Tollani”, then they have every right to. After all, the social aspect of NUTs has always been every bit as important as the music.

A few eyebrows raise when the Misunderstood kick off with their two best-known songs (“I Can Take You To The Sun” and “Children Of The Sun”), but with Glenn Ross Campbell’s squealing steel-slide-guitar-contraption-thingy exploding centre-stage, and Mr & Mrs Stax again vibing the freak angle to the max, quality is thankfully retained. Sadly, they DO have to resort, like Kenney Jones last year, to repeating two already-aired tunes, including the oft-trodden “Who Do You Love”, as an encore, but considering that said number features surprise appearances from original ‘Stoodster’ Tony Hill (also of The Answers and High Tide) and Ray Owen (co-founder, with Campbell, of Juicy Lucy) the issue is soon rendered irrelevant, and the band’s legend reaffirmed. Despite perhaps slight befuddlement as to why recognition has taken so long, Campbell looks like the happiest man in W1, and right now, he probably is. Magical!

Saturday Daytime and Night: NUTSMAG, VINTAGE MARKET, RECORD FAIR –  by Graham Lentz

After the euphoria that followed The Loons, Kaleidoscope and The Misunderstood, Saturday afternoon was a very nice tonic. The Vintage Market was set up and the stall holders had some quality wares on offer. From clothes to handbags, records to memorabilia, there was something for everyone.

By mid afternoon, the first of the two bands took to the stage. Magnetic Mind played to a packed Beat Basement who really enjoyed their brand of psych sounds.

The harmonized vocals of Ellie Foden and Paul Milne have great impact and with their Jefferson Airplane and Peanut Butter Conspiracy influences in evidence.

The set included their current single, ‘(Like You) Never Kept Me Waiting’, which for my money, is one of THE outstanding psych singles of the year so far and sounded even better live. They finished their set to much deserved rapturous applause.

Before long, the Spanish psych outfit Fogbound were eagerly anticipated and steam rolled through record releases ‘Whispering Corridors’, ‘Purple Wax’ and ‘Come And See’ and a brilliant version of ‘Strange house’ by The Attack. The audience loved and the lads came back for an encore and made quite an impression on their London debut. It would not be too long before another total musical contrast for the Saturday Evening session, would be underway.

Saturday Night – by Graham Lentz

One of the real pleasures of Le Beat Bespoke is the way it opens its self up to something a bit different, and Saturday night traditionally tends to focus on rockabilly/rock & roll culture. It is great to see people with differing music and style all mingling together and no-one bats an eyelid. There in the packed main room were rock & rollers, mods, northern soul fans, psych and garage fans all there to enjoy the live music and everyone looked fantastic.

First on stage for the Wild Records Review was the extraordinary Gizzelle. Singing tracks from her two albums to date; ‘Devil Or Angel’ and ‘Rhythm And Soul’, what makes her extraordinary is how such a powerful voice can come such a petite frame?

Highlights included her rousing version of ‘Hound Dog’ and ‘I’m A Good Woman’ and such was the applause, she returned for a much deserved encore.

Next up was the equally formidable voice of Marlena Perez who fronts The Rhythm Shakers. Again, the contrast in delivery and style were evident. Gizzelle, giving everything, but with controlled assurance. The Rhythm Shakers, all power and passion. They really are one of the best rock and roll bands around right now. Their album of a few years ago, ‘Flipsville’, got a decent representation, but the focus was on the newer material on their current LP ‘Voodoo’. Both albums are as good as each other, which says a lot about the high quality of their writing. They too, were called back for an encore and both acts were virtually mobbed at their merchandise stand afterwards.

Cosmic Keith, Dr Rockin’ Blues and Julliette (the latter both from Paris) kept the rockin’ crowd royally entertained through the entire night.

Meanwhile, Alan Handscombe and Tim Ott-Jones presented their RnB123 Club in the R&B room, while Holly Calder joined Dr Robert and European guests DJ’s in the Beat Room until the early hours.

Sunday night: CROSSFIRE – by Graham Lentz

The grand finale of Le Beat Bespoke 10. The Crossfire Allnighter is a huge event on the calendar and this night was no exception. The queue outside was constant as the doors opened at 10pm. With Northern Soul in the main room, Mousetrap in the R&B Room and Paddy and Sarge and Rhys joining Dr Robert, Lolo and Traxel in the Beat Basement, this was a night primed to close the weekender with a bang.

Without doubt, the tone of the night was set by Les Grys Grys from Southern France, who repeated their explosive performance at the August Bank Holiday in Brighton last year. To say the atmosphere was electric was an understatement. The last time I saw the Beat Basement that packed was when The Strypes were on stage. Les Grys Grys ask no quarter and none is given. Theirs is a full-on assault on the senses and they really deliver.

As I said, they set the tone for the whole night in all three rooms and it was a fitting end to another wonderful Le Beat Bespoke weekender. Only another twelve months and we can do it all again !

Sundy night: LES GRYS GRYS by ‘Dashing’ Drewe Shimon

“GADAAANNGGG…”

With short sharp bursts of frenzied drumming, plonking bass and off-the cuff maraca-shaking from their resident loonhouse blues harp wielder, French upstarts Les Grys Grys set out their stall immediately, purveying classic white R’n’B in the style of the Yardbirds, Outsiders (Neth), Pretty Things, Blues Incorporated, Them, Downliners Sect and (of course) the Stones: there’s also a hint of the howling acid blues of the Groundhogs, TYA and Savoy Brown, but that’s more in the crunching tone and hair-shaking antics of the lead guitarist than the construction of the numbers. As with the Strypes and 45s (although they’re considerably older and longer-haired than both) their material predominantly consists, at this moment, of covers – yet these Montpelier Mods have taken things one step further by showing as much deference to their blue-eyed heroes as the genre’s black American originators. Thus, “Neighbour Neighbour” rubs shoulders with “Mystic Eyes” and the Masters Apprentices’ “Hot Gully Wind” without batting an eyelid: of course, not everybody is an expert on the derivation of rock’n’roll, but this Le Beat crowd sure knows its blues from its snooze.

A frantic blur of fringe, deerstalker, tambourine and axe-fire, these eminent Grys (see what I did there?) are one of several currently emergent bands capable of reminding you exactly why you first loved these three things called blues, soul and rock’n’roll. The question remains as to what will happen when they start writing their own material, but it will happen, and the development will be, just as it was with those lads from Dartford and Erith 50 years ago, fascinating to observe: even if they never put pen to paper, they’ll still be unmissable live.

A win-win proposition, then, and a suitably butt-kicking prelude to the finale of LBB 10: despite nipping out after the Grys’ set for 3 hours, the party is still at full tilt in the Beat Basement upon my return, propelled this time by an equal mixture of faces and tunes old and new. All DJs were exemplary, but special mention must go to Rhys’ bold inclusion of “Is It Love” by Jon, a tune which I had hitherto believed myself to be the London scene’s sole fan of: indeed, whereas certain elements last year left me knackered, this was just one of many ways in which tonight found my muse rejuvenated. Roll on 2016.


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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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April 27, 2015 By : Category : Bands DJs Events Front Page Fuzz Garage Psych Reviews RnB UK Tags:, , , , ,
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Legay – High Flying Around – EP Review – Dr Robert

This entry is part 2 of 2 in the series Record Picks

Legay – High Flying Around EP

Well worth the wait ‘High Flying Around’ finally sees the light of day on a 60 gram vinyl EP looking like an acetate from the golden era housed in a brown paper bag with a free Legay pin and postcard with a picture and history of the band. What about the music I hear you say? Well the title track has been getting a hammering by DJ’s Speed and Dr Robert at clubs and events all over Europe for the last few years. A killer Pop-Sike dance floor filler that surpasses the classic 1968 Fontana release. ‘No One’ for me is the more polished of the four tracks. ‘Minstrel Boy’ has more of an early Move late Action soulful feel and ‘You’re on my mind’ is frantic freakbeat and demonstrates what an exciting live band Legay must have been. ‘Impartial Judge’ rounds of the EP, grab one quick from Circle Records here: www.circlerecords.co.uk


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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April 29, 2015 By : Category : Bands Beat Front Page Fuzz Garage Music Psych Reviews Scene UK Tags:, , ,
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Le Beat Bespoké 6 LP review – Rhys Webb

This entry is part 1 of 2 in the series Record Picks

Le Beat Bespoké, now at volume six has been delivering a tailor made compilation of underground Sixties club hits for a decade now. Compiled by New Untouchables organiser Rob Bailey it has been an introduction for many to the sights and sounds that have been fuelling the dance floors of happenings like Mousetrap, Crossfire and the annual Le Beat Bespoké festival.

Where infamous compilations such as Pebbles, Back From The Grave and Rubble have focused on the lost treasures and treats from the vaults of fanatical collectors, Le Beat Bespoké differs in that it is made by a DJ with the intention of delivering an LP that will keep your feet moving from start to finish. For those familiar with the club nights it’s a flashback to evenings spent enjoying the tunes and for the uninitiated it’s an invitation to experience what lies inside those legendary London haunts that have become so important to so many.

The twenty tracks on volume six stomp and shake through a variety of genres from the distorted crunch of opener ‘I’m The Man’ by Jerry Holmes to the swinging euro soul of Belgium’s Birds And The Bees with ‘Tiger Dance’. There’s a few great Belgian cuts to be found here ‘Girl In The Future’ is a great example of the fine fuzz-tone the countries more weird and wonderful producers seemed to favour back in those hazy days.

Soul is also represented with Monica’s deep funk take on the Richie Havens classic ‘Freedom’, It’s a belter with a truly way out wah-wah guitar solo.

You can find fantastic American garage punk collected here too ‘It Happened’ by Paul Martin is a moody organ lead snarler, ‘Rat Race’ by The Tears is a Beatlesque pop treat and ‘Poor Poor’ Genie by Damon is probably one of my favourites collected on this LP. Recorded by a mysterious traveling musician in 1969 and laced with finger symbols, Eastern rhythms and lysergic acid drenched guitar lines, it’s certainly a 3-minute trip I’m happy to keep dropping.

There’s only a couple of UK cuts represented on this volume but I have to say that Samurai’s ‘Temple Of Gold’ released in 1968 on United Artists is one of the most exciting discoveries of recent years for me. Although not strictly a British group, (band leader Tetsu Yamauchi was Japanese), the single was recorded in London with British musicians and is a super psychedelic track complete with Flutes, Sitars and Strings, this is a 45 I’m sure will be found on countless want lists for
years to come.

Album closer ‘The Lesson’ by The Cords, from Texas, is a great choice of final track and will remind many regular attendees of the compilers long running club nights about how much fun can be had listening to this great music. The album is a great document of whats happening right now at those clubs. Although not every track might be your cup of tea, this is a fantastic glimpse in to the record boxes of one of the scenes most progressive DJ’s. Grab your copy here!

 


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Rhys Webb

Horror by day, vinyl junkie by night, Rhys is a DJ and collector whose passion for underground sounds started back in his teens attending the Mousetrap allnighter. Promoter of London club ‘the Cave’ he has also been seen moonlighting in another combo called ‘The Diddlers’ masquerading as a demented frontman about to smash his numerous sets of maracas on your bonce.

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April 29, 2015 By : Category : Beat DJs Front Page Fuzz Garage Inspiration Music Psych Reviews Scene UK Tags:, , ,
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Le Beat Bespoké 6 LP Preview

I recently caught up with NUTs Head Honcho and DJ Dr Robert and spoke to him about the 6th in the series of the mighty fine Compilations Le Beat Bespoke. You can also get the latest Mousetrap Anniversay Single here at the NUTSTORE!

01 When did you first start on the road to becoming a DJ?

My interest in Djing started in 1985 at our local Cool Running Scooter Club nights in Ditton Community Centre. The system was rudimentary with two old hi fi turntables wired together to an amp and some old 100 watt speakers. No one really wanted to DJ back then everyone just wanted to have fun and get trashed but I got the bug and never looked back.

02 Le Beat Bespoke is an Event that it now in its tenth year, tell us about it?

The story begins in 2004 after a highly successful Modstock that celebrated 40 years of Mod. John Reed at Sanctuary records had contacted me about putting a compilation together of popular dance floor winners from the Mousetrap and New Untouchables events for his discotheque series. John had picked up my earlier compilation series on cassette called Hipshakers during the mid nineties. The New series would be on vinyl and CD and called Le Beat Bespoke. After the success of the Modstock I wanted to do an annual festival with a similar format but a wider musical and cultural compass.

With Pip! Pip! on board the first Le Beat Bespoke event was held at the Rocket over the Easter bank holiday 2005. The live music highlights included Love with Arthur Lee and Johnny Echols together for the first time in eons. It also turned out to be the last time Arthur would perform in London. A personal blow for me as I never managed to get my records signed by the great man as he locked himself in the dressing room before the performance and disappeared immediately afterwards. Two U/S garage heavyweights from different eras the Chocolate Watchband and The Fuzztones also performed. However the live music is just part of the LBB philosophy, International DJ’s and guest club nights at the top of their game feature at the allnighters. Other attractions include a market, record fair; go go dancers and light show. We also programmed a sorta pop-up cinema showing long lost vintage cult flicks!

03 How many LPs are there in the series?

There are six albums in the series available on both vinyl and CD except Le Beat Bespoke 4 vinyl which has sold out. We offer deals on the full set from the NUTSTORE.

04 Any personal favourite tracks that stand out?

Too many to mention as they are nearly all songs that have featured in my DJ set over the last decade. Right now I would say Jerry Holmes, Samurai or The Tears from the new LBB6 album. You always think the current tracks you spin are the best of course but I believe the new comp is the strongest collection so far.

05 How has your approach to compiling these collections changed over the years if at all?

The concept was to try and recreate a DJ set with songs sequenced like I would in a live DJ setting with short gaps between the tracks. I wanted to make an album that could also be played in a house party as well as your car and personal hifi. With the advent of downloads the new album will also be available on I-Tunes but the bespoke artwork from Pip! Pip! is part of the LBB experience IMO.

06 How do you technically set up for the Studio sessions, how does that develop over time?

I learnt a lot of valuable lessons over the years when compiling these albums. I have a good idea after researching and compiling several versions of the album at home before going to the studio. Getting masters for all the tracks is impossible so a studio with good restoration skills is important when using original vinyl.

07 If people are yet to explore the series, how would you describe the concept behind the sounds and why should they buy them?

I may have touched upon this one earlier but he overall concept has been ‘all killer no filler’! I remember buying many comps down the years and only listening or buying for a couple of tracks often. Well it’s a good way to listen to a few thousand pounds worth of songs often never compiled before for a tenner. They might be songs you have enjoyed from my DJ sets or a good introduction to what you can expect to hear at Le Beat Bespoke.

LBB6_LP_sleeve_packshot

08 Are there any themes that root into each individual compilation or are they quite freeform?

My tastes are always changing there is more Garage sounds on Le Beat Bespoke 6 but still plenty of Psych, Girl Groups and Funky Rock sounds.

09 How difficult is it to continually source quality tracks to include?

As every year passes since the golden era and more comps are released it gets more difficult to source interesting tracks of the same standard. I had a three year gap since LBB5 which is why I feel this is the best compilation so far.

10 Le Beat Bespoke 6 is just about to hit the shelves, tell us the story on this one?

As I mentioned above after a three year gap gave me that extra year and more time to compile a set list largely based on what I have played out over that period and given those songs more time to gain popularity.

11 You have tried various different labels to spread the good word about Le Beat Bespoke?

Sanctuary done an amazing job on the first New Untouchables production which set the bench mark for the series but they went bust shortly before LBB2. The series moved to new home fellow NUT’s DJ Speed’s Circle Records for the next four releases. Pete’s knowledge and meticulous standards helped the series develop with artistic freedom. The Modstock project on Detour Records worked very well together last summer so a move to Detour for Le Beat Bespoke 6 made perfect sense.

12 How tried and tested are the tracks that make the final selection, what is the process?

Many of the tracks are tried and tested on the dance floor at Mousetrap first and then other events I DJ at around Europe before being compiled. One or two have great potential and a couple have been revived from the past that deserved another lease of life.

13 How do you see the market for CDs against say Vinyl and downloads in today’s world?

I’m very happy vinyl is having a renaissance it’s the best way to experience music IMHO. CD sales are falling all over the World and won’t stand the test of time like Vinyl has but are useful for the car especially. Download is killing music in some respects and takes away half the pleasure of experiencing music, but it’s the twenty first century and you got to work with it.

14 What types of tracks tend to work in the UK as opposed to the European dancefloors?

In the same way as different regions and crowds in the UK have varying styles and sounds; there have always been fads within the scene.

 15 You did the Rolling Stones post Glastonbury set a while back; can we expect anymore non-scene sets such as this?

Yea that was a real eye opener it was like watching a heard of wildebeest with all the dust and noise getting ever closer when The Stones finished their epic set, a real honour to be asked to DJ at Glastonbury. I have played Japan, Canada and the USA including events with a wider audience. The thing I always notice when playing these festivals/clubs is that the crowd dance to the beat and if it has a good groove it doesn’t matter if it’s fashionable on the scene they will dance.

16 Any future plans that you wish to share or talk about?

The new Mousetrap 45 is out now and features a mind blowing Psych track from San Francisco in late sixties by Dirty Filthy Mud and on the flip from just down the Californian coast Judy Hughes groovy tune ‘Fine, Fine, Fine’. Two tracks that will take you well over your overdraft limit if you can find a copy.

Le Beat Bespoke 6 is out soon, available on CD and LP from the NUTSTORE.

Grab Tickets Here for Le Beat Bespoke 10!

You can also get the latest Mousetrap Anniversay Single here at the NUTSTORE!


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admin

Pip! Pip! Are the Creative Business Engine behind various music based organisations of the cool underground variety. Providing angst, confusion, bewilderment and annoyance in equal amounts. We design/host/manage great sites like this one! Why not hire us one day soon?

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March 31, 2015 By : Category : Beat Front Page Fuzz Garage Interviews Music Psych UK Tags:, , ,
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Night Beats (Newbreed)

This entry is part 5 of 22 in the series Newbreed4

The Night Beats are an American psychedelic, garage and soul group based out of Seattle, Washington. The group consists of  Danny Lee Blackwell (Guitars, Vox), James Traeger (Drums) and Tarek Wegner (Bass/Vox). Night Beats incorporate sounds of early R&B, Texas Psychedelic Rock, Blues, Folk and Soul.

Discography:
2010 – Single ‘H-Bomb’
2011 – LP ‘Night Beats’, Split Single 10” Night Beats/UFO Club
2012 – Split Single 7” Night Beats/TRMRS
2013 – LP ‘Sonic Bloom’

Tour Dates: 
31/07/2014 Spain, Gijon – Euro Ye Ye Festival

Check our Facebook page for all other dates in August & September.

01. How long have you been playing together for and how did you meet?

James and I since we were 14, in grade school. Tarek in Seattle around 2009.

02. Two of you are from Texas originally, which has a rich history of psychedelic music, and Seattle is of course home to the Sonics. How have these, such important places, influenced your music – if at all?

Both places have been influential. From the R’n’B side of things to the freedom heard in a lot of the Texas psych. But our influences range from everywhere. Not to one genre or era, people listening should know this.

03. What are your main musical influences? There’s an obvious love of psychedelic garage shining through in your music, but your name is taken from a Sam Cooke record? Are Soul and R&B as big an influence as psychedelic music to you?

Both are important. So are movies. Places and people. We try not to focus or put things in order of influence.

04. You’re based in Seattle, are there any other bands you’d recommend from your area?

La Luz.

05. What’s the 60’s/underground scene like in Seattle, is there one? Do you feel a part of it?

60s scene? What year is it? We have our place in the underground yes, but it’s hard to see under the dirt and moss so were not sure sometimes.

05. Night Beats have played with some incredible acts… Roky Erikson, The Zombies, The Black Angels, The Black Lips, The Growlers. You are constantly touring, be it on your own tours or playing every psych festival going. What have been some of the highlights for you?  Do you prefer playing live to recording?

You’ve mostly listed them. We went to South Africa and made good friends down there. That was a big highlight. They’re 2 separate things so I can’t say.

06. Are you looking forward to playing Euro YeYe/in Gijon? You’ve toured quite extensively in Spain haven’t you? I hear their crowds can be pretty wild…

Yes. We love Spain.

07. What’s your favourite song in your repertoire currently? Is there anything you really love, or hate playing live?

Some things were tired of playing. So we give it a rest but maybe bring it back.

08. How do you approach the recording process, I can imagine it’s not very technology heavy – do you take a more, I guess, honest approach similar to your garage influences, using analogue equipment? Is it important to you to have a live sound, so you can easily replicate this on stage?

We generally use tape. Sometimes a little digital. We use electricity and some acoustic instruments. We record live. Some overdubs here and there. Not gonna give away any secrets.

09. Your second album, Sonic Bloom was released in Autumn last year, and showed a real progression from your self-titled debut. Have you already started thinking about recording the follow up? Or have any plans for any singles coming soon?

Thank you. Yes. Stay tuned

10. Between your non-stop touring and own releases as Night Beats, you have various collaborations under your belts already… you seem to be the hardest working band around! Danny Lee has put out some releases with Christian Bland of the Black Angels as The UFO Club, and with Curtis Harding and some of the Black Lips as Night Sun. How did these come about? Are there any more collaborations to look out for, or new projects planned? Will there be any more releases from these bands? Are Tarek or James working on anything on the side of Night Beats?

It happened naturally with each of my projects… Friends coming together with mutual respect and desire to collaborate. Night Sun and UFO Club releases coming soon. Also a jazz record. Tarek is working on a solo album as well.

11. Who are Night Beats listening to at the moment? Who are your favourite artists around right now, and who do you always return to listening to?

The new White Fence. The Oh Sees. An old ‘Sounds of Spain’ record I got for 5 cents. Donny Hathaway, Los Saicos, random hip hop, Love.

Web Links:

facebook.com/thenightbeats
instagram.com/thenightbeats


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Holly Calder

I’m one half of Eyes Wide Open in Glasgow, where we run a club, a label and now the Double Sight Psych & Garage Weekend, which takes place at the start of October. I love psych, garage, freakbeat, popsike, and have even been known to enjoy a wee bit of R&B! Always enjoy travelling to 60s clubs and weekenders around Europe, whether I’m there to DJ or just to mingle and dance!

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July 25, 2014 By : Category : Bands Front Page Interviews Music Psych Scene USA Tags:, , ,
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Fogbound (NewBreed)

This entry is part 9 of 10 in the series Newbreed3

Fogbound was born at the very beginning of 2012 with Fabio Mahía (lead vox & guitar), Borja Fernández (bass & backing vox), and Fernando Vilaboy (Hammond organ). Starting off with covers of forgotten and obscure psychedelic songs, but Fabio — counting with his previous experiences in other bands — began composing songs on his own that gradually took shape. Amongst their closest influences we can count resonances of freakbeat, Westcoast psychedelia and neo-psych from the 90’s onwards. Apart from the goal of finding a personal touch, the band strives for the best possible melody with psychedelic nuances and an audience loyal to their style.
Borja Fernández, on bass, performs with The Twin‑Sets playing guitar and Fernando Vilaboy is the Hammond player on One Of These Days & Thee Heavy Random Tone Colour Lab.

Headquarters:
A Coruña/ Galicia/ Spain

Band Members:
Fabio: Vox and guitar
Borja: Bass guitar
Fernando: Hammond

Discography:
2014 – SINGLE ‘Whispering Corridors’.

1. How long have you been active for and how did you get together?

We’ve been playing together for 2 years… We started off with covers of British psych songs and the love for this kind of stuff brought us together.

2. What influences do the band members have in common?

The common link is the classic pop from the 60s but Fernando enjoys heavy prog psychedelia, Borja is a powerpop fan and I personally love popsike.

3. Are there any other bands you’d recommend from your area? Why?

Yep, I prescribe a big dose of One Of These Days & Thee Heavy Random Tone Colour Lab they are the best band around here… totally dope prog psych!

4. What’s the 60’s/underground scene like where you’re from?

It’s small but cozy and warm.

5. How would you describe the style you play?

If freakbeat means obscure psych, then it’s what we do.

6. What are your live shows like?

I’d say our live shows are raw, powerful and passionate.

7. What are your main influences in music? Who do/would you play covers by? And who do you despise?

Beatles, Pink Floyd, The Zombies sounds like clichéd… but they are a big influence. Obscure bands from the first UK psych era like The Attack are a massive influence on the sound and attitude of Fogbound.

8. What are your main influences outside of music?

Our song Come & See made reference to a Russian film with the same title… so the cult films are another influence.

9. Who writes your songs and what subjects do you deal with?

This is Fab here, the composer… the songs are about oneirism and reality in near and equal measure.

10. What’s your favorite song in your repertoire currently? What’s your favourite song by another artist?

“Castles In a Sandbox” is a top favourite, and I’ll choose “From The Pipeline” by King Midas.

11. How would you describe the current underground scene? Do you participate?

The psychedelic music has embarked on its second youth thanks to bands such Temples, Tame Impala, The Black Angels… they have commercial pull and people seem to be more interested in this kind of music. Wish us luck hehe!

12. What has been the biggest challenge to date?

I think the lack of stability is the biggest challenge for a group.

13. How often do you Rehearse? Play Live? Record? Anything interesting coming up?

Nowadays, we’re searching for a new drummer but we will keep on working on the future LP.

14. What do you think of the music coverage in the media?

It’s poor and commercial.

15. Do you rate any current mainstream or underground bands?

As I said in question number eleven psychedelic music even shoegaze, post punk, noise pop are trendy. And we celebrate to hear more bands with these tags.

16. Who/Where would you most like to record with and why?

We think Liam Watson is the perfect producer to record us. We have similar tastes and he own one of the best analog studios in the world.

17. What should we expect from you in the future? What are your plans and ambitions? What interesting gig dates have you got coming up?

First of all, please find the bastard son of Mitch Mitchell (haha) and then try to record one of the best psychedelic albums that has ever been recorded in our country and beyond. We’d like to highlight our appearance at Euro Ye Ye Mod Festival (Gijon, SP)

Web Links:

facebook.com/fogboundband
soundcloud.com/fogboundofficial
fogbound.bandcamp.com


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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July 8, 2014 By : Category : Europe Front Page Interviews Music Psych Scene Tags:, , ,
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Carlo Sesto – Hey! Mr DJ

This entry is part 20 of 20 in the series Hey! Mr DJ

Carlo Sesto is based in London, UK but originally from Pisa, Italy and describes himself as a collector and dealer at Casbah Candy Records, founder of The Impossibles Italian Mod List. He took some time out recently to talk to Dr. Robert @ Nutsmag.

1. How and when did you get into music and what were you listening to then?

I don’t recall a time when I haven’t bought records. Since a small kid I’ve been purchasing singles (mainly cartoon soundtracks), then during my teenage years I was very keen to explore and experiment any music genre (at the time we swapped tapes at school). Through listening ska revival and Quadrophenia and the Who I started getting to the whole mod thing, with northern soul (a total new and obscure thing to me) and 60s beat.

2. Where was your first DJ slot?

Can’t really remember but probably a one off 60s party in my home town. By 1996 I was running my first monthly club in Pisa called “Treacle Toffee World”, named after the Fire tune.

3. What was your most memorable DJ spot?

Of course djing at Modstock and Le Beat Bespoke is a huge thing to me coz I have been in the same ticket with many artists I love. But clubs in Venice, Up Club in Germany, the wild and crazy Ye Ye in Gijon and the legendary Mod Chicago are all great memories too.

4. What so far, has been your worst DJ experience?

Probably first Volcano night in London when speakers blown, but the real worse is when I have been asked a couple of times to dj at weddings… man… never again!

5. Your favourite scene DJ’s and why?

I love Speed and Rob Bailey, but surprisingly to some I actually like a lot Catford Chris and Lee Miller.

6. What has shaped your DJ sound and why?

I play mainly UK psychedelia and freakbeat. And I’m quite orthodox with that. Was in love dancing to it in my twenties at the time when Mousetrap was on two floors. My favourite club ever.

7. What was your best ever find/discovery?

In those ancient times pre ebay I was lucky to obtain some bargains through the Record Collector ads, specifically I remember a £15 Rebel Rousers “As I Look”. Sometimes u get lucky to buy some records before they become massive. In 2004 it was great to go through the BBC stock that Reckless had acquired with my big friend Irish Paul, who worked there, and discover a bunch of fantastic new tunes “Pretty Blue Bird”, Steve Ryder “Remember me”, Spirit of progress “Om pa pa”, Promise “Nine to five”… to mention a few….

8. Who was your biggest influence musically and your favourite artist(s)?

My favourite bands are all mod/underground british acts of mid to late 60’s. Smoke, Creation, the Eyes, the Birds, the Attack, Fleur de Lys, Rupert’s People etc

9. Do you collect specific labels/artists/genres?

I collect exclusively British pressings but various genres, mainly as said psychedelia, freakbeat and blue eyed soul, but got a nice collection of soul, Rnb and 60’s ska.

10. Where can folks currently catch your DJ set?

Next spot will be at Modstock 2014 which I’m very looking forward to…

11. What is the record you would most like to own?

Southern Sound – Just the same as you on UK Columbia

12. Please give us a top 10 all time favourites and a current top 5 spins?

Top 10 Tracks of All Time:

01. Birds Birds – Say Those Magic Words
02. Richard Kent Style – All good things
03. Creation – Tom Tom
04. Action – I’ll keep on holding on
05. Open Mind – Magic potion
06. Tintern Abbey – Vacuum Cleaner
07. Calum Bryce – Love-maker
08. Aquarian Age – 10.000 words in a cardboard box
09. Turnstyle –Riding a wave
10. Pretty Things – Midnight to six

Current Top 5 Tracks:

01. Barrier – Dawn breaks through
02. Wimple Winch – Save my soul
03. Smoke – Dreams of dream
04. Toby Twirl – Romeo and Juliet 1968
05. Enough’s Enough – Please remember

Web Links:

casbahcandy.com (under construction)
facebook.com/casbahcandy

Next Club Spots:

Modstock April 2014, London


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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March 7, 2014 By : Category : DJs Europe Front Page Interviews Music Psych Scene Tags:, , ,
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Live! – The Moody Blues

This entry is part 5 of 20 in the series Live!

The Moody Blues @ Oxford New Theatre – 5th June 2013

It’s 8.10pm, the Moodies are onstage, tearing through “Gemini Dream” and “The Voice”. Brum’s most cosmic sons have always been wont to fiddle with the setlist, adding a song here and removing one there to surprise us with nuggets from their peerless 67-73 back catalogue, which to me still sums up the term “psych” better than any other UK act of the period bar possibly the Pretty Things – and tonight is no exception.

A tumbling, cascading “You And Me” (wow!) and a throbbing, twisted “Gypsy” (double wow), with all its aaaahs and ooohs firmly in place, blast us in quick succession. Fans in ’69 would have probably uttered something about their minds being “blown”. OK, that’s never going to happen in a seated theatre in 2013 surrounded by 1500 blue rinsers, but it can still rock it back and forth a bit.

It was never going to sound like the Isle Of Wight 1970, mods and hardened psych-proggers may despair at the PVC trousers (me among them) and Pinder and Thomas will never return (even if flautist Norda Mullen is a good stand in, the moustache and the baritone vocals remain wanting). But If you don’t go expecting total authentic vintage, you won’t be disappointed, and you get a great rock ‘n’ roll show for your money.

The eerie Mellotron chords of “Tuesday Afternoon” may be convincingly simulated today by two banks of digitised keyboards, but Justin Hayward’s voice is still rich russet-brown and mahogany as ever, the song still conjuring images of wintry late 60s mornings in some Home Counties park, a beautiful girl in a velvet frock frolicking beside you as you light another Sobranie and prepare for comedown. Not that half the audience would know; unlike the band, who freely admitted they practically lived on LSD for a certain period, I doubt if anyone here other than me and ‘plus 1’ have ever ingested anything stronger than Douwe Egberts. It is for exactly those people, and their many wives, that the more AOR/MOR/soft-metal/yacht rock stylings of “Say It With Love” “I Know You’re Out There Somewhere” are turned out.

But why not? The MBs have been a giant-conquering stadium force in rock since the early 70s, more famous in some territories than most bands could ever dream of. Sure, I can think of loads of songs I would have preferred to have heard. The absence of Ray Thomas and Mike Pinder these days means their songs go unaired but there are still enough crackers in the Hayward/Lodge/Edge catalogue for them to delve into.

Even I have to admit that 1981 rarity “Nervous” is a pleasant surprise, and I can’t really complain about “Your Wildest Dreams” either, after all, a certain Rob Bailey and his friends were in that video, way back in ’86. Justin’s twanging Gretsch and Telecaster work is still as resonant as ever, while John, king of the Fender Jazzmaster bass, is, since the death of the Ox, peerless in his field.

Graeme, now 72, is supplemented by a younger, more fiery drummer, but it’s that drummer who follows him rather than the other way round, assuring that the colourful patterns of “Isn’t Life Strange” “I’m Just A Singer” “Driftwood” and the evergreen “Question” (also featuring the world’s greatest 12-string riff and bassline) still sound as vital as they originally did. Plus, when he steps out from behind his kit to take lead vocal on the pummelling space-rock assault of “Higher And Higher” or chill-inducing, “Nights In White Satin”, prefacing poetry of “Late Lament”, we really are bearing witness to something rather special indeed. OK, until he starts riverdancing, but hell, after all it’s his birthday, let the geezer have some fun.

If I have one bugbear, it’s that the second set is exactly the same as it was in 2011, with no variation whatsoever and they still refuse to perform the spoken word “Departure” intro to otherwise perfect closing number “Ride My See Saw”, but that’s the Moody Blues for you – still confounding and delighting in equal measures after almost 50 years. If you can afford it, catch them whenever possible. As Lodge points out, they’re still here, and so are you. Retirement? Never ‘eard of it, mate.

Web Links:

moodybluestoday.com
facebook.com/MoodyBlues


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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

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September 20, 2013 By : Category : Bands Front Page Genre Music Psych Reviews Tags:, ,
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Tony Sanchez – Hey! Mr DJ

This entry is part 14 of 20 in the series Hey! Mr DJ

HQ: San Diego, Ca. Tony has graced the USA Scene for many years and put together the Fuzz, Flaykes and Shakes compilations, and also DJs at various clubs in Los Angeles and San Diego, we asked him a few searching questions recently and these were his responses.

01. How and when did you get into music and what were you listening to then?

I started playing 45s on my Mattel record player when I was about six years old. My sisters were teenagers in the 1960s, I found their records and I began spinning the Rolling Stones, Beatles and Kinks. My obsession continued well into high school watching local bands like the Crawdaddys. During this time, I listened to a lot of UK punk and power pop as well as the British-invasion groups.

02. Where was your first DJ slot?

I did a few guest spots at the Lhasa club in Los Angeles in the 80s but didn’t do a regular DJ slot until Hipsters in San Diego back in the 90’s.

03. What was your most memorable DJ spot?

My favorite DJ spot was at the Wild Weekend parties in the UK. and Spain. These weekenders brought together fans from all over the world and created many new friendships. I consider myself very fortunate to have been part of these festivals.

04. What so far, has been your worst DJ experience?

I don’t have a worst DJ experience, but the most challenging ones are when you are djing for a crowd of people requesting Madonna and Green Day.

05. Your favorite scene DJ’s and why?

I enjoy DJs that spin 45s that I don’t know but blow my mind on the initial play. European DJs always surprise me and in the States I always dig Jack White’s sets.

06. What has shaped your DJ sound and why?

I would say seeing live bands but I think as you age, your taste matures. Growing up in San Diego, bands like the Crawdaddys and the Tell Tale Hearts were my biggest influences and directed me towards British R&B, Dutch beat and American garage. As I grew older, I started digging psychedelia and some harder progressive sounds. Currently as long as it has a strong hook and is danceable, I’ll probably dig it. I have started to DJ songs that I never would have considered ten years ago.

07. What was your best ever find/discovery?

In 1986, during my first trip to London I found a copy of ‘Not to find’ by the Golden Earrings for eight pounds.  This is one of the rarest Dutchbeat 45s and was later valued at about 1,500 pounds. Another great find was in Phoenix, Az. I came across a copy of “Shadows” by the Electric Prunes for six dollars. This track is a one-sided promo that was released for the movie ‘The Female Trap’. I’ve recently been offered £3,281.75 for it but it’s staying in my collection for now.

08. Who was your biggest influence musically and your favorite artist(s)?

I think bands that I went to see and dance to in San Diego such as the Crawdaddys, the Tell-Tale Hearts. As for 60s acts, my favorite groups were Them, the Zombies and Love.

09. Do you collect specific labels/artists/genres?

I went through a phase of trying to find all UK beat 45s that were released as American pressings.  Some top ones include The First Gear ‘Leave my Kitten Alone’ on Mar-Mar Records and Tom Jones ‘Chills and Fever’ on the Tower label. I also will buy any garage 45 from San Diego even if it’s mediocre.

10. Where can folks currently catch your DJ set?

I was putting on club nights called Mind Machine and Haunted House-Au-go-go in Los Angeles but took some time off for personal reasons and now am back doing guest spots for various clubs in San Diego and L.A. I’ll be back doing another club night in L.A. soon.

11. What is the record you would most like to own?

I get asked this a lot but to be honest there are hundreds to list and most I don’t even recall until it lands in my hands at a record fair.

12. Please give us a top 10 all-time favorites and a current top 5 spins?

Top 10 Tracks of All Time:

  1. The Allman Joys – Spoonful (Dial)
  2. The Legends – High Towers (Railway Records)
  3. William Penn Fyve – Swami (Thunderbird)
  4. The Backgrounds – Day breaks at dawn (Cenco)
  5. The Trolls – Walkin’ Shoes (Peatlore)
  6. The Dream – Can I ask you one more question (Havoc)
  7. Washington Merry-Go-Round – Got-ta Got-ta (Piccadilly)
  8. The Coachmen – Grapes of Wrath (Sea-ell)
  9. The Allusions – G ypsy Woman (Parlophone)
  10. Raven – Calamity Jane (Rust)

Current Top five DJ Tracks:

  1. The Backgrounds – Day breaks at dawn (Cenco)
  2. Washington Merry-Go-Round – Got-ta Got-ta (Piccadilly)
  3. Sunlight – Colors of Love (Windi Records)
  4. The Chants – Hypnotized (B-ware)
  5. Indiscrimination – Wishful thinking (Decca)

facebook.com/tonythetyger


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drrobert

I run The New Untouchables organization and events like the Brighton Mod Weekender, Le Beat Bespoké Festival (and compilation series of the same name) and I co-organize Euro Ye Ye with the Trouble & Tea crew. I have run many clubs over the last 20 years in London, where I live and current nights include Timebox, Zoo Zoo, Crossfire, 100 Club and Mousetrap allnighter which has just celebrated its 20th anniversary in 2011. I have been lucky to DJ all over the globe including Japan, Canada, USA and Europe and met some great people on my journey. I run RnB Records to offset my vinyl addiction: newuntouchables.com/rnbrecords for rare vintage vinyl.

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June 3, 2013 By : Category : Articles DJs Front Page Interviews Psych USA Tags:, , , , , ,
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Masters – Tjinder Singh (Cornershop) Interview

This entry is part 10 of 20 in the series Masters1

There has always been an individual spark about Cornershop, While Paul Morley, the Observer, has said, ‘as interesting and adventurous as the Beatles’ and fans have described them as ‘instant aural sunshine for a grey day’. In the live arena they have toured extensively in mainland Europe and America with the likes of Beck and Oasis. Man about town, Darius Drewe, caught up with Tjinder Singh of Cornershop for an exclusive interview for NUTSmag.

DD: Why such a massive gap between albums? Five years passed between ‘When I Was Born’ and ‘Handcream’ and then a further seven before ‘Judy’. Are you perfectionists, extremely busy or just lazy?

TS: ‘When I was Born’ and ‘Handcream’ had a Clinton album between them, and between Handcream & Judy I did a film and we released a couple of singles through Rough Trade, and then set up our own ample play label.  Also we all had kids except our percussion who bought more congas and became a qualified nurse. In the last three years we have had three albums out. The average is plain to see even if you are not a further maths prog rock tutor. More seriously though, there is no point in pushing albums out unless you play the game, and we are not in it as part of the game.

DD: Back in the day you were photographed burning pictures of Morrissey due to a throwaway comment made and a misinterpretation of a lyric. How do you look back on all that 22 years on?

TS: Here was a person whose music with The Smiths we had all liked, putting out dubious feelers using Skinhead imagery, unqualified lyrics, Union Jack drapery, and like his denial on his sexuality (which is his right) not elaborating on the issue.  The unfortunate thing is that not elaborating on the issue of fascism still breeds race crime, from someone whom was very influential at the time. As an Asian at a time when Asians were seeing increased street violence this wasn’t something I, and we could let pass.  All these years later, I think we did the correct thing, and our stance on other issues has borne out that we did it with the right intentions.

DD: You were away for a few years, then returned with quite a different style, and a runaway no.1 hit thanks to the remix of ‘Brimful of Asha’. For five minutes, it looked like world superstardom beckoned, but somehow that never quite happened. Why do you think that was?

TS: After the ‘Women’s Gotta Have It’ album we spent a lot of time in America and then the ‘When I Was Born’ album did very well there. We would have been happy as we were to be John Peel’s festive 50 no. 1, but the Brimful Mix change things somewhat.  Even the label gave up on things after that, but for us we had started a Clinton album and that needed to be finished, and we continued as we were.

DD: The album ‘When I Was Born for the Seventh Time’ was very influential and innovative in that it took the ‘Britpop/indie pop’ template of the time (and the usual retro trappings thereof), your own Asian influences, and married both to hiphop beats, breakbeats and samples. Do you feel that, in a way, you were paving the path for a lot of the DJ culture that has followed? And prog rock men, the likes of Gruff Rhys and Gary Cobain, bringing guitar tunes to dance sets mining Eastern playback music?

TS: That is a lovely thought.

DD: What do you think of the recent compilations of Bollywood and Lollywood psych that have been doing the rounds? Do you think the compilers are finding the best tunes? And if not, give us the names…

TS: I’ve not heard much of it in comp’ed form, but there is some great stuff out there, as the music makers at the time mimicked western sounds, sometimes to hilarious results, and sometimes with the passing of time proves how great music can be.

DD: The album ‘Disco and the Halfway to Discontent’ came out under the name Clinton rather than Cornershop. Why was that? And will there be another Clinton record?

TS: Clinton was done so we could work with other people and take a fresh approach to what and how things were done. The music was not radically different, but more of the technology test department of what Cornershop did. In fact, the two are so similar that there probably won’t be another Clinton album. We are very pleased though that some say it predates much music by a decade, and even more pleased that not a week goes by without an inquiry about Clinton.

DD: After that came my personal favourite ‘Shop album, ‘Handcream for a Generation’ and the single, ‘Lessons Learned from Rocky I to Rocky III.’ The single itself, and some of the rest of the album, bore the influence of 1970s glam, while other tracks such as ‘Spectral Mornings’ delved further into the trance-like psych rock hinted at on ‘When I Was Born’. Who are the lyrics on that single referring to, the ‘soft rock shit’ and the ‘overgrown supershit’?

TS: Very glad you favour that album, and that’s why I said earlier that the record company gave up on us.  A lot of brain cells and effort went into that album.  Otis Clay opened it, & by touring with Oasis we had Noel on Spectral Mornings, and Guigsy did the bass on …Rocky I to Rocky III, then we had East London’s Nazerite reggae vocalists on Motion The 11, from USA we asked Rob Swift to help produce a couple if tracks. At the time I think I considered a lot of American groups as being ‘soft rock shit.’ I’m from the Black Country so considered groups like Metallica and Maralyn Mason as ‘soft rock shit’ and overgrown ‘supershit’ but in the fullness of time, I think they’re just shit. They certainly deserve everything that can be chucked at them.

DS: ‘Judy Sucks a Lemon for Breakfast’ seemed to consolidate that same early 70s sound, as if the band had finally reached their ‘happy home’ in an almost retro-rock World. Are you all a bunch of old mods and rockers at heart? And who are your greatest influences throughout? The first thing you tend to notice is a lot of Velvet Underground in the song construction and guitar riffing, and a lot of “soul-chick” backing vocals, which could hint at either the Stones or the Floyd, but how knowledgeable are you on your obscurities?

TS: ‘In terms of production I like the 70s sound, mainly because I lived through the 80s and no musician got out of the 80s unscathed. I liked the rawness of a lot of Indian music, so that always played a part too. In terms of influences, there has never been a strong defining one.  I think the Velvets are a big influence…

DD: The promo videos from that period, particularly ‘Who Fingered Rock N Roll’ all seem to be similarly retro as if you’re hankering after a Britain long past. Isn’t that the imperialist, semi-racist and narrow-minded Britain that you once railed against?

TS: The Who Fingered Rock N Roll video used old footage because friends of ours were helping certain London Borough to archive such footage. The line from the song of ‘Who built the city’ seemed to go well with such footage so that was that.

DD: And now to 2012, and ‘Urban Turban’ Where would you say Cornershop stand in relation to the 2012 music scene?

TS: The Urban Turban album only became an album after a series of singles under the banner of ‘The Singles Club’ were released. I had a good few songs that we not related in any way, and it seemed a good way to put them out, and give something different to our supporters. Then, the tracks seemed to work with each other once they were mastered, and so it became the album.

It’s good to be able to do that, to just put things out, and in relation to the music scene of now, we feel that we are happy to continue as we always have done, without much regard for what others are doing.  People seem to be slowly catching up with Cornershop, and that’s an even bigger thing we have in common with the Velvets than just their music.

We look forward to hearing their well crafted and unique psychedelic sound of sitars and guitars at Le Beat Bespoke 9 on Thursday 28 March 2013.


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Darius Drewe

Darius Drewe was born in East London in 1974. As a small child, both parents inflicted their musical tastes, from The Beatles and The Moody Blues to Ella Fitzgerald and Miles Davis, on him, and he was never the same again. Despite being born and bred a 'Cockney tosser', Drewe actually spent his teenage years in and around Birmingham, attending his first 60s/50s-themed nights there at The Ship Ashore, before "coming home" in 1993 to the South, where, with the exception of three years spent in Glasgow between 2007-2010, he has remianed ever since. In the almost two decades that have passed he has trod a strange meandering path from a shy 60s/70s-obsessed teen with no 'scene' to speak of to a Metalhead, sleaze-glammie, Goth, indie kid, glam-punker, garage-rocker, eventual Mod and psych freak (first attending Mousetrap in 2000) In that time he's also written for Shindig! Britmovie, DarkSide, Black Velvet and Get Ready To Rock, promoted various vintage and veteran acts at Camden Underworld, Glasgow Ivory Blacks and several other venues, DJed everything from psych, garage and soul to Metal at practically every well-known club in central London. Drewe is trying to build a time machine that will enable him to visit any period between 1960 and 1980 but still be able to use a mobile and Facebook. His ambition, aside from directing films and building said machine, is to morph into a cross between Jason King, Timmy Lea, Jerry Cornelius and Richard Hannay, and drift about the ether having adventures in a kipper tie, pinstriped flares and camel hair coat.

More Posts - Website - Twitter - Facebook

February 5, 2013 By : Category : Articles Bands Beat Front Page Interviews Modern Psych Tags:, ,
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