After 2 long years of
preparation, you finally hold the KINETIC VIBES' international compilation: "ELECTRIC
CARNIVAL". 23 bands representing 10 countries; 73 minutes of intensity; a
12 page booklet full of liner notes; addresses + pix inside.
Only unreleased
songs.
VA - Electric Carnival
(Kinetic Vibes Records 1992) FLAC ART 320 incl. ART
Enjoy!
GARAGE Beat Blues Funk Instro Mod (Power)Pop Psych(obilly) Punk Rhythm'N'Blues Rock(abilly) Soul Surf Trash Twist......
Saturday, 19 October 2019
VA - Electric Carnival (Kinetic Vibes Records 1992)
Saturday, 1 June 2019
Tuesday, 26 March 2019
Get Lost! - Live @ The Underground 4.10.2002 + Never Come Back (Voodoo Rhythm Records 2002)
The Get Lost were a Garage Rock band formed in 2000 in Bern, Switzerland by founding members of the Portland, Oregon eighties garage revival band, The Miracle Workers. Members included Gerry Mohr (vox,guitar), Robert Butler (bass, guitar) Chris Rosales (drums) and Kat Aellen (bass). The group recorded one LP for Switzerland's Voodoo Rhythm Records in 2001 entitled "Never Come Back". -Source
Picking up where the Miracle Workers' classic Inside Out left off, former members Gerry Mohr and Robert Butler, himself also the founder of garage legends the Untold Fables, have promised to ignore all the modern trends and bring to the world the most fuzzed-out psychedelic/garage trio yet: the GET LOST!
After the Workers ended in the early 90s Butler moved to Switzerland and played with bassist Kat Aellen in the heavy psych group "Bishops Daughter" and garage beat-band "The In-Sekt." Throughout the 90s they also produced and engineered recordings for dozens of bands wanting their trademark hard-hitting sound, including a number of releases on the highly-respected Voodoo Rhythm label. With Voodoo Rhythm chief Lightning Beat-Man, they shocked and sickened audiences across Europe in the legendary spectacle/ritual/show/circus, the Bad Taste Rock'n'Roll Revue.
Meanwhile, former Miracle Workers vocalist Gerry Mohr was singing under the name "Malcolm Crowne" for the American psych supergroup the Cavemanish Boys, whose album was released in 1999. Mohr moved to Switzerland in the summer of 2000, and during a casual jam-session the three realized there was unfinished business at hand. They resolved to form a new band, one which would put to work all they had learned in their years of writing, performing and producing the world's greatest psych and beat music.
Believing that only the loudest and most savage rhythms could compliment the howling fuzz of their songs, it was decided that Chris Rosales, also an American ex-patriot and drummer well-known around Switzerland and elsewhere for his pounding with Lightning Beat-man's group, "The Never Heard Of 'Ems," The "In-Sekt", "Les Super Supers soul revue", and currently with The Reverend Beat-man's band, would be offered the chance to regularly destroy his drums on-stage with The Get Lost.
After signing a lucrative deal with Voodoo Rhythm Records in 2001, the band flew to London to record their debut waxing, "Never Come Back". The trademark "vintage" sounds from producer Liam Watson's Toe Rag studios proved a perfect match for the Get Lost's dynamic rock'n'roll attack.
In the fall of 2001 Bassist Kat Aellen left the band to devote more time to her new band the Mad Cow Girls. A few months later with Butler now on bass, the Get Lost emerged as a three piece ready to head out on the road for thier first tour of Europe planned in Spring of 2002. -Source
Get Lost! - Live @ The Underground 4.10.2002 (Direct@WAVE) 320
*** All the credit is due to MiTcH uSeLeSs ***
Get Lost! - Never Come Back (Voodoo Rhythm Records 2002)
Für Leute, die mittlerweile sämtlich die 30
überschritten haben, gab es Mitte der Achtziger eine Band, die in Sachen
Garagen-Punk das absolute Konsensding waren: die MIRACLE WORKERS. Manche gehen
sogar so weit, sie als die beste Garagenband aller Zeiten zu bezeichnen, was
immer dann schwer fällt zu glauben, wenn man sie selbst nie live gesehen hat.
Gitarrist der MIRACLE WORKERS war ein gewisser Robert Butler, der nach dem Ende der MIRACLE WORKERS Mitte der Neunziger in die Schweiz übersiedelte und dort mit Bands wie BISHOP'S DAUGHTER oder IN SEKT weiterhin Musik machte - wie auch in den diversen Bands von Voodoo Rhythm-Boss Beat-Man.
Und hier fängt der Kreis an sich zu schließen: Als der einstige MIRACLE WORKERS-Frontmann Gerry Mohr nach dem Ende seiner CAVEMANISH BOYS ebenfalls in die Schweiz zog, kam es, wie es kommen musste.
Mohr und Butler fingen an zusammen Musik zu machen, und nachdem mit Kat Aellen eine Bassistin gefunden hatte und Robert Chris Rosales, mit dem er bei LIGHTNING BEAT-MAN und REV. BEAT-MAN gespielt hat, als Drummer gewinnen konnte, war das Line-Up von GET LOST perfekt.
Logisch, dass dann für die Album-Aufnahmen nicht irgend ein Studio ausgesucht wurde, nein, es musste schon das Londoner Toe Rag-Studio mit Liam Watson himself als Produzent sein, und dass bei so viel geballtem musikalischem Sachverstand dann eigentlich nichts schief gehen konnte, war beinahe klar.
Und bei diesen Einflüssen überrascht auch das Ergebnis nicht weiter: GET LOST! setzen genau da an, wo Butler und Mohr Mitte der Neunziger getrennte Wege gingen, führen das Erbe der MIRACLE WORKERS fort, spielen mitreißenden, fuzzig-psychedelischen Garagenpunk der Extraklasse.
Das tun sie durchaus im Hier und Jetzt, will heißen man legt keinen großen Wert darauf, jetzt besonders altmodisch zu klingen. Ein feines Album, das einmal mehr beweist, dass Voodoo Rhythm derzeit ganz klar das heisseste europäische Rock'n'Roll-Label ist. -Joachim Hiller
Gitarrist der MIRACLE WORKERS war ein gewisser Robert Butler, der nach dem Ende der MIRACLE WORKERS Mitte der Neunziger in die Schweiz übersiedelte und dort mit Bands wie BISHOP'S DAUGHTER oder IN SEKT weiterhin Musik machte - wie auch in den diversen Bands von Voodoo Rhythm-Boss Beat-Man.
Und hier fängt der Kreis an sich zu schließen: Als der einstige MIRACLE WORKERS-Frontmann Gerry Mohr nach dem Ende seiner CAVEMANISH BOYS ebenfalls in die Schweiz zog, kam es, wie es kommen musste.
Mohr und Butler fingen an zusammen Musik zu machen, und nachdem mit Kat Aellen eine Bassistin gefunden hatte und Robert Chris Rosales, mit dem er bei LIGHTNING BEAT-MAN und REV. BEAT-MAN gespielt hat, als Drummer gewinnen konnte, war das Line-Up von GET LOST perfekt.
Logisch, dass dann für die Album-Aufnahmen nicht irgend ein Studio ausgesucht wurde, nein, es musste schon das Londoner Toe Rag-Studio mit Liam Watson himself als Produzent sein, und dass bei so viel geballtem musikalischem Sachverstand dann eigentlich nichts schief gehen konnte, war beinahe klar.
Und bei diesen Einflüssen überrascht auch das Ergebnis nicht weiter: GET LOST! setzen genau da an, wo Butler und Mohr Mitte der Neunziger getrennte Wege gingen, führen das Erbe der MIRACLE WORKERS fort, spielen mitreißenden, fuzzig-psychedelischen Garagenpunk der Extraklasse.
Das tun sie durchaus im Hier und Jetzt, will heißen man legt keinen großen Wert darauf, jetzt besonders altmodisch zu klingen. Ein feines Album, das einmal mehr beweist, dass Voodoo Rhythm derzeit ganz klar das heisseste europäische Rock'n'Roll-Label ist. -Joachim Hiller
Enjoy!
Monday, 25 March 2019
The Hanson Brothers - Live @ The Underground 13.5.2002 + some more
ATTENTION !!!
Please, DON’T mix-up these
brilliant “Puck-Rock-Punk-Band” with the chartstorming boygroup from Tulsa who
also called themselves “The Hanson Bros.” in their early days.Thank You!"
Wiki says:
The Hanson Brothers were a Canadian punk rock band formed in 1984 in Victoria and later based in Vancouver. The group included John and Rob Wright and Tom Holliston, all members of the punk rock band Nomeansno. The Hanson Brothers' band name references characters in the cult ice hockey film Slap Shot.... more Wiki here
The Hanson Brothers have got to be one of, if not the, most fun and yet technically proficient pop punk bands that has ever existed. The hockey-obsessed mutant alter ego of Canadian punk veterans NoMeansNo, the Hanson Brothers take a concept as simple as Ramonescore, crank the musicianship up to 11, and let their freak flag fly with a zeal, humor and strangeness that will probably never be matched. At no point is their brand of weird "puck rock” better exemplified than on their debut 1992 album, Gross Misconduct, 14 of the zaniest yet technically shredding pop-punk songs committed to tape.
Led by Tommy and Johnny Hanson (brothers Tom and John Wright), their image is composed of one part Ramones and one part eponymous “Slapshot” hockey goons. For all their weirdo posturing and hilarious on-stage antics, including goonish tough-guy banter and a bass player sporting a hockey mask with “DUMB” written on its forehead, the music speaks for itself; drawing from a range of influences while sticking close to the spirit of Joey and Company, the Hanson Brothers take the predictability of the genre and twist it into something wholly unique.... Source
... so, and here is the album to the “My Game”-Tour
Hanson Brothers - My Game (Mint Records 2002)
The Hanson Brothers last album (I'm assuming) is a
fine album, half or more of which is superb. (So is its cover, the 3rd in 3 to
show a brilliant sense of humor and tribute at the same time). While I will
always point anyone interested in The Hanson Brothers towards Gross Misconduct,
this has its share of great moments.
They actually make the song Get It Right Back LISTENABLE, and what's more--GREAT!!!
Other highlights are the tribute to Joey Ramone, Joey Had To Go (which, despite the first couple of tounge-in-cheek lines, IS a real heartfelt tribute to the KING of Punk; just see the Hanson Brothers' DVD for further proof.
I Know You sounds like a song I've heard before, it's strangely familiar; it's ALSO excellent! Honey, I'm Home is another great rocker, and Unsung Heroes is a beautiful instrumental, sounding both triumphant and serene at the same time. It's PERFECT, the best thing on here.
Geez, you NEED some Hanson Brothers if you like rock 'n roll-style punk, like The RAMONES, you need Something by these guys!
You could much worse than this CD. Give it a try.
And watch Slapshot!
The whole concept behind this band was more than just the Ramones sound and hockey; it was the greatness of how the hanson brothers,who in the movie Slapshot, are the scoffed-at, yet they are the most ass-kicking players there are; they take no s--t! No time to mess around! And the Ramones? They never got no respect either--But they didn't let that deter them! They showed the world they were the BEST!!
Shlomo Sinatra
They actually make the song Get It Right Back LISTENABLE, and what's more--GREAT!!!
Other highlights are the tribute to Joey Ramone, Joey Had To Go (which, despite the first couple of tounge-in-cheek lines, IS a real heartfelt tribute to the KING of Punk; just see the Hanson Brothers' DVD for further proof.
I Know You sounds like a song I've heard before, it's strangely familiar; it's ALSO excellent! Honey, I'm Home is another great rocker, and Unsung Heroes is a beautiful instrumental, sounding both triumphant and serene at the same time. It's PERFECT, the best thing on here.
Geez, you NEED some Hanson Brothers if you like rock 'n roll-style punk, like The RAMONES, you need Something by these guys!
You could much worse than this CD. Give it a try.
And watch Slapshot!
The whole concept behind this band was more than just the Ramones sound and hockey; it was the greatness of how the hanson brothers,who in the movie Slapshot, are the scoffed-at, yet they are the most ass-kicking players there are; they take no s--t! No time to mess around! And the Ramones? They never got no respect either--But they didn't let that deter them! They showed the world they were the BEST!!
Shlomo Sinatra
…jetzt noch eine tolle Plattenkritik für alle deutschsprachigen Leser dieses Blogs.
Eisrockey -
"The Hanson Brothers are best known for the many best selling
albums they've released under the name NoMeansNo, their long time side
project." Der erste Satz des
Wischzettels faßt fast die wichtigsten Informationen zusammen. Wo andere Bands
hier und da mal ein Konzeptalbum absondern, sind die Hanson Brothers die
Konzeptband der Menschen, die sonst NoMeansNo sind. Das Konzept heißt
Eishockey, und dementsprechend gibt es hier straighten In-die-Fresse-Punkrock
ohne Schnörkel. Mit dem frickeligen Hardcore der 'Nebenkapelle' hat "My
game" recht wenig zu tun.
Die Kanadier sind
beneidenswert, denn Eishockey ist ja als Volkssport so viel schöner als
Fußball. Mehr bodenständig als prollig scheint es zuzugehen, wenn denn der
Eishockeyrock der Hanson Brothers so authentisch und repräsentativ ist, wie es
die Coverfotos glauben machen. Und es gibt keinen Grund, daran zu zweifeln. Wer
jetzt aber bodenständig mit langweilig gleichsetzen will, sei gewarnt: Mit
dieser These bewegt man sich auf verdammt dünnem Eis.
Dem verstorbenen Spielführer
ihres Lieblingsteams haben die Hansons gar einen Song gewidmet: "Joey had
to go" ist eine wunderbar unsentimentale Hommage an Mr. Ramone und zeigt
gleichzeitig, daß Eishockey viel mehr als Sport ist. Es ist eine Lebenseinstellung.
Alles sollte einfach, schlicht und doch von hoher Qualität sein. Ein einziges
Mal weicht die Band kurz von dieser Maxime ab: "Unsung heroes" heißt
das Stück und ist sinnigerweise ein Instrumental. Soviel Hintersinn ist doch
schon fast akademisch. Punkrock ohne Text, das ist doch intellektuelle
Kunstkacke.
Der Rest
ist Eishockey, schnell gespielt, mit sauberen Bodychecks. Hart, aber fair. Ab
und zu darf die Fankurve mitsingen, wie bei "Give me anything" oder
auch beim großartigen "100 + 10%". In die Beine geht eigentlich die
ganze Platte ohne Ausnahme. Zu beachten ist nur
eines: "No fancy schmancy pants and / No dispy doodle dancing / It's
hockey a la Hanson." Rüdiger Hofmann*** All the credit is due to MiTcH uSeLeSs, especially for the "Live @ The Underground". ***
The Hanson Brothers - My Game (Mint Records 2002) @320
The Hanson Brothers - Gross Misconduct (Alternative Tentacles 1992) @320
Enjoy!
Friday, 22 March 2019
FIFI & THE MACH III - Live @ The Underground Vol. 27 ~ 8.6.2002 + Vol.70~28.10.2003
FIFI AND THE MACH III are/were one of the hottest punk bands from Japan,
founded 1983 in Kita Kyushu as the Mach
III. Just at this time Fifi became pregnant, must have to stop and the rest of the band had to continue with different singers, but since 1989 only Fifi sang and they changed the bandname to Fifi and the Mach III.
In 1990 they released a demo....and it even sold, preferably in Tokyo. The second demo then went to Kunio
Yoshiwara of Barn Homes/1 + 2 Records, who gave a copy to Jeff Dahl and who
then made sure that 1 + 2 Records signed them.
Nolly and Fifi
remember…."at first we only talked about a single, but in the end we
recorded 14 songs directly. We told him to pick the best, but Jeff decided to
take them all and put them on an album"….called “Attack The Zombies”.
Over the next 12 years, they
released another 3 Albums, 10 Singles/EPs and 3 Compilations.
They toured a lot and gained great reputation as a live band. In 2002 & 2003 Europe was their destination and in both years they visited the UNDERGROUND CLUB in Köln-Ehrenfeld, not without giving the people there what they want....loads of very fine punk rock bangers, somewhere between the RAMONES and Surf,
varied and driving….with very cool female vocals…wild, loud and snotty.
EXCELLENT!!!
A technical note:
The in total around 150 shows were recorded mainly through the soundboard, but, as usual in clubs of that size (around 300), guitars weren't put through the soundboard too loud as they come loud enough from the amplifiers.
MiTcH: "That might (compared with having been there that night) sound a bit lame and too voice-orientated, but in my opinion MUCH MUCH better than any audience recording.
The in total around 150 shows were recorded mainly through the soundboard, but, as usual in clubs of that size (around 300), guitars weren't put through the soundboard too loud as they come loud enough from the amplifiers.
MiTcH: "That might (compared with having been there that night) sound a bit lame and too voice-orientated, but in my opinion MUCH MUCH better than any audience recording.
By the way, ALL recordings were done with the band's permissions. NEVER
was a show recorded without the bands' OK !
Most comments were like as long as you don't make money with it, it's
fine for us".
*** All the credit is due to MiTcH uSeLeSs ***
Friday, 18 January 2019
The Young Pennsylvanians - The Incredible Sound Of.... The Young Pennsylvanians (Majestic Sound Records 2001)
The Young Pennsylvanians are from Kobe, Japan and were formed in
Summer 1998. They are playing real teen punk!!!… or better “100% Pure
Pittsburgh Beat” as they state on their website www.mindrocker.net. They have a lot of
influences, too many to mention here. They are still active, especially live,
but no further recordings have been made since 2009.
The band consists of:
Mammy Burgher: Bass Guitar
Kazuyo Burgher: Drums, Vocals
SY-Number1: Lead Guitar, Reverb & Fuzz
SY-Number2: Rhythm Guitar, Vocals
Mammy Burgher: Bass Guitar
Kazuyo Burgher: Drums, Vocals
SY-Number1: Lead Guitar, Reverb & Fuzz
SY-Number2: Rhythm Guitar, Vocals
Here’s a review from Ritchie Apple who runs the outstanding label “Screaming
Apple Records”, published in the German OX-fanzine. Nothing else found. Source
Japanische 6t´s Jünger
zelebrieren ihre Liebe für klassischen Beat und Garage-Punk bis ins letzte
Detail.Da hat NEATBEATS-Chef und Majestic Sound Records-Inhaber Mr. Pan mal
wieder ein gutes Händchen bewiesen, denn die YOUNG PA´S verstehen ihr Handwerk.
Ein langjähriges, intensives Studium der schönen (Garagen)-Künste zahlt sich eben aus. Bin immer wieder erstaunt, wie spielstark Bands aus Japan sind. Die Vier rocken sich durch den prächtigen Euro-Beat-Garten der Mitt-Sechziger und verstehen sich obendrein auch noch vortrefflich auf die Entsendung einer Teen-Punk-Hymne nach der anderen.
Da haben es wahrscheinlich selbst die "No Hit Wonders" besagter Dekade schwer gehabt authentischer zu klingen. Allerdings scheinen sie doch ein wenig Angst vor der eigenen Courage zu haben, denn sie verzichten fast durchgehend auf eigenes Material und bauen ganz auf die Klasse obskurer Coverversionen.
Eigentlich schade. Ändert aber nichts an der Tatsache, das "the incredible sound of..." vielleicht nicht unbedingt "incredible", aber in jedem Fall ´ne klasse Platte ist, die sicherlich zu den besten neuen Garagen Alben gehört, die ich in letzter Zeit gehört habe.
Wer also eine Vorliebe für "Pebbles" und "Back From The Grave" Compilations und Bands wie die frühen CHESTERFIELD KINGS oder THANES hat, wird um diese Scheibe nicht umhin kommen. Feines Teil.
Ein langjähriges, intensives Studium der schönen (Garagen)-Künste zahlt sich eben aus. Bin immer wieder erstaunt, wie spielstark Bands aus Japan sind. Die Vier rocken sich durch den prächtigen Euro-Beat-Garten der Mitt-Sechziger und verstehen sich obendrein auch noch vortrefflich auf die Entsendung einer Teen-Punk-Hymne nach der anderen.
Da haben es wahrscheinlich selbst die "No Hit Wonders" besagter Dekade schwer gehabt authentischer zu klingen. Allerdings scheinen sie doch ein wenig Angst vor der eigenen Courage zu haben, denn sie verzichten fast durchgehend auf eigenes Material und bauen ganz auf die Klasse obskurer Coverversionen.
Eigentlich schade. Ändert aber nichts an der Tatsache, das "the incredible sound of..." vielleicht nicht unbedingt "incredible", aber in jedem Fall ´ne klasse Platte ist, die sicherlich zu den besten neuen Garagen Alben gehört, die ich in letzter Zeit gehört habe.
Wer also eine Vorliebe für "Pebbles" und "Back From The Grave" Compilations und Bands wie die frühen CHESTERFIELD KINGS oder THANES hat, wird um diese Scheibe nicht umhin kommen. Feines Teil.
The Young Pennsylvanians - The Incredible Sound Of.... The Young Pennsylvanians (Majestic Sound Records 2001) FLAC 320
Enjoy!
Sunday, 6 January 2019
The Graves - Amazing Graves (Big Dipper Records 2002)
Amazing Neo-60’s Garage Punk from Norway. This release also contains the tracks of
their only 7inch Single "I Wanna Do It Again b/w I’ve Been
Thinking".
Here is a new band from Norway with their debut 45 on Big Dipper
Records, a label that released the debut LP by The Launderettes too. The Graves
are a fresh garage punk band and this 45 shows that these four guys and one
girl know how to do it. The first side begins with a guitar riff that reminds
me of “Bad Little Woman” and whole bunch of garage songs (that doesn’t mean
that isn’t this nice, ok?). The whole song is based on that riff and the result
is a real success! “I’ve Been Thinkin” is a cover of Paul Bearer & The Hearsemen
tune and is a great punker with swirling farfisa in front. The songs of that 45
may already have been released by Big Dipper on CD format too, so if you don’t
have a turntable at home (I bet you do!) you can also enjoy the Graves tunes on
CD. If you dig the 80s Scandinavian garage punk scene, don’t miss this
one! 8 out of 10 -Source
This was the 1st release by The Graves, a hot garage punk
outfit from the cold Norway. There are 5 songs in here from which ‘I Wanna Do
It Again’ and ‘I’ve Been Thinking’ were released as their debut 45 last year.
“Daytime Lover” which opens this mini-album is a wonderful garage pop tune with
strong refrain, female harmonies and catchy guitar. “Friday At The Hideout” and
“The Graves Theme” is in the best Lust-O-Rama and Cosmic Dropouts tradition. As
for the other two songs that I mentioned in the beginning you can go to
previous review to read about. -Source
Enjoy!
Thursday, 3 January 2019
The Indikation - In Terms Of... (Teen Sound Records 2004)
Ever since their first single on the French Larsen
label, there was something in the air “indikating” that something’s about to
hit the moderndaze sixties scene.
Over the past year or so, they kept us curious, breaking the uncertainty
with two more shiny little vinyl’s (another one on Larsen and
one on the German Screaming Apple label) and now here’s the
full-length experience, THE colourful beat stomp, in terms of The Indikation!.
The opening tune Search Your Heart is “indikative” enough of
the mid-to-end ‘60s mod aesthetics they are trying to preserve, through the
sound and the looks.
Of course, the Zombie-like “intelligent” r’n’beat is unavoidable and it
materializes in the shape of Looking At You, adding some McGuinn-ish
12-string flourishes and By My Side, with an almost gospel a-cappella
ending, while the catchy melody of Got To Tell Them turns them into
Go(u)ld-men.
As always, The Indikation also provide a coupla cleverly chosen covers,
making them their own (…like The Zombies’ What More Can I Do, Chad
& Jeremy’s Should I, the Donovan-written You Just Gotta Know
My Mind originally done by Karen Veros in ’65 and Dana Gillespie in ’68 or
The Times’ (She Can’t Replace) The Love We Knew).
Though I’m not much of an instro guy, even London Electricity,
which is actually a semi-instro, is a sure crowd mover containing lines such as
“If you need some satisfaction, Indikation’s got the action!”.
Of course, for the sake of authencity, Liam Watson’s Toe Rag
studio is the place that makes all of this really happening! -Garwood PickjonThe long awaited debut album by The Indikation is finally out! The Indikation have been around for at least 2 years since they put out their first 45 on Larsen Records. They did create a very good reputation with their following 2 45s on Screaming Apple and Larsen Records and normally the album followed. The result is brilliant. This album is wonderful, full of freakbeat, pop and RnB music recorded in Toe Rag studios in London by whom else but Liam Watson himself. Mr. Watson is again responsible for a high quality sound record though it isn’t the high standards of sound that makes this album perfect. It’s mostly the ability of each one Indikation members starting from Per Oydir (organ/piano), whose compositions in here stand above the rest: Songs like ‘Looking At You’ (composed in collaboration with Frode Skjold, guitar/vocals), ‘London Electricity’ (with Thomas Jamt Roaas – drums), ‘Go To Tell Them’ and ‘By My Side’ are simply remarkable. The same ability in compositions is not a charisma only for Per but for the other members of the band like Peder Bernhardt (vocals/harmonica/percussion) who is responsible along with Thomas for the album opening freakbeat/pop song titled ‘Search your Heart’ and the up tempo beatlesque beat titled ‘I Can End Your Misery’, which is one of the best moments of the album, for its tempo, harmonies and organ groove. I don’t have to be unrighteous with the bass player, Christian Brodsjo, who may not have any of his own compositions in here but it’s more than obvious that its his ability along with Thomas that offers The Indikation this tight and strong rhythm beat. The album includes overall 12 songs from which the half of them is covers and it’s going to be out in vinyl too in March (why not the Acid Lemon album too, Massimo?). ‘In Terms Of…’ is the best beat album since The Embrooks ‘Our New Day’ on Voxx Records! You can listen it to it at 6.00 AM either you just woke up or you are on your way home after hangin’ out! POP in terms of The Indikation, that is, of course! If you need some satisfaction, The Indikation got the action!!! -Source
The Indikation - In Terms Of... (Teen Sound Records 2004) FLAC 320
Enjoy!
Wednesday, 2 January 2019
Kek '66 - Kek '66 (Animal Records 1999)
Biography: (Translation by Google)
Continued on the Amsterdam neo-sixties group The Kliek, who in 1990 steals the hearts of many beat-lovers with their self-titled debut album in both the Netherlands and far beyond. Reference points for the music of Kek 66 are American garage punk from the years 1964-1967 and the Nederbeat of Q 65 and Golden Earrings from the mid-sixties.
1996 When the Amsterdam-based neo-sixties band The Kliek made a definitive end of it in 1995, singer Robert Müter decides to start his own band that goes further where The Kliek is held up. Together with drummer Stefan Sleutel, who has been part of The Kliek and bassist and second vocalist Marc de Regt in a gray past, they join forces and Kek '66 is a fact. The first single Na Na Na / Angela / You Treated Me Bad appears on the Spanish Guerssen label. Na Na Na is an adaptation of a Shoes classic, while Angela is a Spanish-speaking song. The single appears on a Spanish label, because there is hardly any interest in neo-sixties music in the Netherlands and Kek '66 already has a tour through Spain.
1997 Kek '66 leaves for Spain for the second time. During a Psychedelic Party at the Vrieshuis in Amsterdam, drummer Stefan Sleutel says goodbye to the band. Just like at the time at The Kliek, Stefan makes room for the Russian Zenja Guberman. In the sixties underground world Kek 66, now without apostrophe, starts to become a well-known name, without there being any great name recognition in the Netherlands.
1998 The second single How Many Times? / Land Of Dreams appears on the French Larsen label. In addition, the final hand is put on the debut album.
1999 In the "Paradiso" the first album, simply Kek 66 entitled, is being christened. The press unanimously praises the album that is released on vinyl by the Utrecht Pornogram Records. The music of Kek 66 goes back to the heyday of American psychedelic garage bands like 13th Floor Elevators and Electric Prunes and the Nederbeat of Q 65 and Golden Earrings.
2000 Kek '66 The CD version of the first album (with a bonus number on it) appears, partly inspired by an aversion to the Dutch music industry, with the Spanish Animal Records. The group undertakes a tour through Russia (where drummer Zenja was born), Germany and Spain. In the Netherlands, despite the good reviews, it remains difficult for Kek 66 to get underfoot.
2002 In the spring the second album On The Outside Looking In is released, both on CD and on vinyl. On the record Phantom Frank (former Treble Spankers) provides a special arrangement of the song Sandra.
Kek '66 - Kek '66 (Animal Records 1999) FLAC 320
Enjoy!
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