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The Embrooks
We all have no problem in giving pride of place and any amount of kudos to albums that were made by vintage names from the 1960s and 1970s, and we often place them on high and mighty pedestals. And rightly so, as these can often be more than affirmative listening experiences. They might even take up residence close to our hearts and may instigate major talking points within various friendship groups; some may even constitute a transformational, life-changing presence for us. What’s not all that frequent in this regard, however, are those albums made by more modern day acts; much less so even when it’s a group or artist who may have been around for a few years, but who then decide to split up, only to come back onto the scene more than a decade or so later for some still unfinished business. There won’t be too many of us who can name, nevermind laud many, if any, albums that were made by a 60s group who threw in the towel long ago but then decide to give it another go a decade or more down the line. And yet… there is one decidedly modern group who have just now turned this theory on its head, and this group is The Embrooks, from London and Folkestone down the south-east coast of England, who are easily one of the finest names around which is, or who are regally infatuated by the sounds made by 60s beat, garage and psychedelic groups. And this accolade is true not only for their original work done in the late 1990s, but also for now, today, in fact perhaps even more so now!
Bob Mould - “Sunshine Rock” (2019) review
Bob Mould - Sunshine Rock (Merge, 2019)
Mr. Mould may have more personal issues than I was aware of, saying “I’m sincerely trying to keep things brighter these days as a way to stay alive.” Whatever you think of this album, that’s a pretty drastic statement to make, and may just explain why this is his first album in nearly four years.
JAZZ CORNER Presents: 1000 Kings - Raw Cause (2018)
1000 Kings - Raw Cause (Jazz re:freshed, 2018)
Ahhhh … finally some new jazz fusion that I can sink my teeth into, music sounding as futuristic as it does timeless, feeling both of this world and entirely from outside of it in the same breath, a tempest full of whirling intoxication that blends ebbs flows flowers and nearly explodes with a haunting passion somewhere in the air between you and your speakers, refusing to be tamed, refusing to sit quietly, where sonic layerings by unknown celestial beings unfold their magic as I’ve only dared dream of.
Thomas Wiehe interview
Swedish singer/songwriter Thomas Wiehe made a couple of interesting albums in the 70’s. The Wiehe brothers originally played in the 60’s band The Moccers, and Mikael has appeared on some of Thomas’ albums. Mikael played with Hoola Bandoola Band before launching a solo career.
Hellebore interview
Hellebore are named after a flower that cures madness. This French experimental band started in the late 1970’s and released only one album, which is very ambiguous mix of avant prog, rock in opposition, zeuhl and also musique concrète & free jazz. This young musicians were very talented and were partly inspired by Henry Cow and This Heat. Il y a des Jours resulted as a very unique statement by Hellebore that soon fragmented in different projects, including Look de Bouk, NEO Museum etc.
Juleah interview
Juleah, which is actually Julia Hummer, is back with her new album Desert Skies, an enchanting hypnotic bit of sonic wanderlust with deep roots in the genres of blues, dream-pop and psychedelic manifestations. Juleah’s music is always compelling, belaying a sense of emancipation, delivered with a bit of swagger, where Julia’s vocals don’t stand in juxtaposition to the music, rather they’re intrinsically part of the sound she rolls out with an eloquent ease and grace, creating a warm atmosphere of raptured freedom.
Hypnodrone Ensemble interview
Aidan Baker & thisquietarmy’s expanded polyrhythmic avant rock collective, featuring the core trio of drummers Felipe Salazar, David Dunnett & Jérémie Mortier, occasionally joined by guests Felix-Florian Tödtloff and Garett Sweeney on bass, Simon Goff on violin, Duchamp on baritone guitar, Diego Ferri on keys/tape loops, Tom Malmendier & Seppe Batens on drums.
Sharron Kraus interview
Sharron Kraus is a singer of folk songs, a songwriter and multi-instrumentalist whose solo work and collaborations offer a dark and subversive take on traditional music. As well as drawing on the folk traditions of England and Appalachia, her music is influenced by gothic literature, surrealism, myth and magick. Her songs tell intricate tales of rootless souls, dark secrets and earthly joys, the lyrics plucked as sonorously as her acoustic guitar.
Goose Corp. interview
Chicago’s Goose Corp. drops their single “Out of Time” February 1st followed by their Jumbled Thoughts record release February 8th. The album is a culmination of the past 5 years since their inception as a trio in 2014. With Phil Sciurba on guitar and lead vocals, Matt Schirk on bass and backing vocals, and Andrew Giese “Goose”, on drums. Their most recent addition is the “4th dimension” also known as Ryan Flynn who accompanies on keys to complete the Corp.
Kungens Män interview
Kungens Män started out in 2012 in Stockholm, Sweden. Always new sounds and improvisations, different guest musicians, different happenings. Kungens Män are rooted in the psychedelic/drone rock tradition of bands such as Träd, Gräs & Stenar, but also add influences from ‘krautrock’, shoegaze, noiserock and free jazz.
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