23 May 2015

Free Download Roundup - Citradels / Shadow Folk / Jane Weaver / Damien Youth


Here's another batch of excellent new releases, offered by the artists behind them as free or name your price downloads.

First is Melbourne band the Citradels, whom we've covered in the past (and featured an interview with recently too).  "A Night of Contemporary Feedback Music" is a step away from this extremely prolific band's usual heavy psych-gaze output, focussing more on acoustic based psychedelia,  including loads of sitar, tabla, mellotron, flutes, harmonium - all the good stuff really. Stripping back the layers of drone and feedback really helps to hammer home the fact that these guys are writing top songs, and the atmosphere here is terrific too. The thematic thread that holds these tracks together is of a poorly executed meditation session gone astray, but a few bad trips aside, it's mostly very melodic, gentle material, with hints of "Rubber Soul" nestled alongside much trippier moments, mostly delivered at their trademark 65bpm. You're definitely gonna need some joss sticks for this one. Quite possibly my favourite of their releases so far.
Free / name your price download here:



Our favourite Canadian psych-poppers Shadow Folk are almost as prolific, and back with another E.P "Mystery Park", on which they continue to diversify their ever expanding palette. This one's a little less cohesive because of the varied nature of its contents, but there's not a weak moment among them. Highlights here include "Red Shirt" which is some sort of bastard offspring of Ray Davies and Mississippi John Hurt, "Chaos" which is decidedly unchaotic, and built around a finger style guitar part which sounds like something that John Lennon brought back from India, and "Harold's Letter", which is a quirky psych-folk gem. And just to show they're still masters of wistful psych-pop, there's the fab "Chopper" too. #embarrassment of riches#
Name your price / free download below - available on cassette too!



Finders Keepers have a treat for us too. For those who have only become aware of Jane Weaver via her most recent (and admittedly most fabulous) album "The Silver Globe", this four track sampler of highlights from her previous releases will be just the trick to make you dig in to her back catalogue, and all it will cost you is your e-mail address. Seemingly compiled to show her at not only her best, but also most diverse, it shows that there's much more in her bag of tricks than the krauty synth pop of "The Silver Globe". Split half and half between spooky, music-box wyrd-folk, and aggressive PJ Harvey style rockers this will do very nicely indeed, thank you. Admittedly "The Silver Globe" was a step to the next level, but these early works are still treasures that other mere mortals would kill to have to their name.
Visit http://www.janeweavermusic.com/ and look for the "Silver Chords" box on the right hand side of the page to download.

And last but certainly not least is a new offering from legendary New Orleans' psych-folk artist Damien Youth, who has a recording history that dates back to the eighties, and is frequently (and deservedly) compared to Donovan, Robyn Hitchcock and Paul Roland. Youth's output has slowed to a trickle these days, making releases like the "The Woodlock Demos" all the more precious. No idea whether these two tracks are a teaser for something else that he's working on, but they're lovely acoustic gems, which sound complete in their fragile, unadorned states.  "Quest to Succumb" in particular, burns with a quiet intensity, which will get right under your skin. Gripping stuff! The master still has his hand in.
Free / name your price download available here:

22 May 2015

Nine Questions with Dodson & Fogg

Nine Questions is a regular feature on the Active Listener, where we ask our favourite artists nine simple questions and get all sorts of answers....

Today.... Dodson & Fogg's Chris Wade.


What was the first record you bought?
With my pocket money I remember buying Master of Reality by Black Sabbath when I was about 9. Relics in Leeds had vinyl for 3 quid and I got 3 quid pocket money a week, so it was perfect when building up my Sabbath collection.

What was the last record you bought?
An embarrassing one: Madonna - Rebel Heart on CD ..... (cough cough) But before that I got Anthology 2 by The Beatles on vinyl and Big Huge by The Incredible String Band, so I've redeemed myself there.

What's one thing about you that very few people know?
That I'm a Haemophiliac. It's a blood clotting disorder. The Russian Royals had it and so did Richard Burton so I'm in good, yet dead, company.

If you could record with any one artist who would it be and why?
Hmmm.... Lemme think. I didn't mean Lemmy just then. There's a few ridiculous ones that won't ever happen. I would love Ian Anderson to play on at least one Dodson and Fogg song, and I'd love to record with Chrissie Hynde, Neil Young or Paul McCartney. But then again I've recorded with a few of my very favourite people already like Celia Humphris, Scarlet Rivera, and the sitar player Ricky Romain, so I'm quite happy with the ones so far. There are loads of great musicians out there.

Who should we be listening to right now?
God don't ask me, I'm still getting used to Bob Dylan's 80s albums. I really don't have "hip" music taste at all, as you can guess by the fact I just bought Madonna's new album. I like the really obvious stuff, mostly classic rock and pop; Nirvana, Dylan, Beatles, Neil Young, Incredible String Band, Tom petty, Sabbath, Kinks. I love Incredible String Band and Trees, people like that. Only current artists I like seem to be underground, like Hare and the Moon and Sand Snowman, those types of chaps doing interesting and unusual stuff. But I wouldn't have heard of them if not for this website. (God I sounded like a real brown nose then)

Vinyl, CD, digital or cassette?
Vinyl! Then CD, followed closely by digital and then lagging behind sweating and flapping about the place, cassette. No I quite liked cassettes actually, used to love taping stuff off the radio when I was a kid and doing compilation tapes. Switch cassette and make digital last then. God I hate digital.

Tell us about your latest release.
I just released a Dodson and Fogg album on CDR and download called Warning Signs. I recorded it between Feb and April this year, and it features Ricky again on sitar and couple of other players, some trumpet and sax. It's a bit more rocked up than my last stuff, with more of a fuller sound, but I really enjoyed recording it.

What's next for you, musically?
I'm recording with Sand Snowman himself and we've nearly got an album together and I've been recording with Nigel Planer and his brother, some of Nigel's lyrics and we're setting them to music but that won't be finished for a while. Hoping to collaborate with others on some projects, and release the first Dodson and Fogg album on vinyl, which is looking definitely more possible now, so that's exciting. On top of that I have some books and stories I'm working on, so a pretty busy few months methinketh...

What's for dinner?
I was gonna have crumpets but I've run out of them, so I'll probably just go for the predictable sandwich option... tuna I think.

https://wisdomtwinsbooks.bandcamp.com/
https://www.facebook.com/pages/Dodson-And-Fogg/282552805161916

Dodson and Fogg "Warning Signs"


Reviewed by Grey Malkin (The Hare & The Moon)

On this, the 8th Dodson and Fogg release for the prolific and hugely creative singer songwriter Chris Wade, a strong argument is made for this quiet, self-effacing artist to be viewed as the UK's primary and most important exponent of modern psych rock. Over previous Dodson albums Wade has developed a distinctive style that harks back to classic rock genres such as acid folk, Kinks style English psych and Syd Barrett whimsy (hear his collaborations with Nigel Planer, from TV’s The Young Ones, for a distinctly surreal trip into an alternate Britain). He also displays a standard of classic yet leftfield song writing last seen this consistently from the likes of Kevin Ayers, mid 70’s Eno and Island era John Cale. 'Warning Signs' consolidates all these alluring aspects and more. If you haven't yet discovered Dodson then their back catalogue is so strong that any album is a useful starting point; however 'Warning Signs' provides a useful distillation of everything that makes this one man band so essential and captivating. This time round there is more instrumentation and a fuller sound than on the previous, more acoustic based 'And When The Light Ran Out' but the mainstays of the Dodson sound, Wade's distinctive vocals and fluid and inventive arrangements, remain central to their modus operandi.

Opener 'See the Warning Signs' is a warm, acoustic yet slightly off kilter ballad. Wade's delivery is dry and slightly sinister, evoking thoughts of the afore mentioned Barret and fellow psych master Paul Roland in a sense of 'this sounds like it should be a normal slice of psych but something is just not quite as it should be', giving the track an extra layer and edge. Wade is a master of this; everything can be listened to as an extremely strong set of classic and instantly memorable songs, however there are corners and shadows that add an additional shade giving the tracks an unsettling curious nature. 'You Got To Move On' is a mandolin inflected, perfect piece of folk pop whilst 'Following The Man' is a garage band stomp, a Hammond and fuzz guitar epic that decries the easy sycophancy and trend following of certain individuals. The guitar solo has to be heard; it passes from Sonic Youth type scorched earth runs to Thin Lizzy licks with seeming ease. Next 'Can You See' reminds this listener of Bolan, a delicate acoustic paean that sprinkles lysergic drops of piano throughout to come up with an album highlight. Evocative, beautiful and timeless this is music that needs no fixed settings in any age or place; it is one man's singular vision and could have been or could be released at any point in either the last or next thirty years. It would still sound just as fresh and accomplished.

'Maybe When You Come Back' adds sympathetic strings to the growling guitar and handclaps, the song itself a slow burner that builds and layers before inserting itself fully into your conscious in a manner that means you will be humming this for days afterwards. Ricky Romain's sitar adorns 'Everything Changes’; tabla adding a further hazy Eastern feel as Wade's vocal floats above the music like wisps of smoke. Truly trance like and a candidate for any future (decent!) adaptations of Alice In Wonderland this is psych of the calibre that deserves a much wider and more acclaimed attention than Dodson have been getting; this may well change with this album as they further their (well deserved) rise to prominence. ‘Just Stumbling Around' is a blues hued nugget of paisley loveliness that reminds this listener of George Harrison's solo work, with The Door’s Robbie Krieger perhaps helping out on guitar. This is followed by 'The Woman That Roamed', a classic late evening piano ballad that adds lazy trumpet to further suggest a melancholic Sunday sunset. This is the type of song Rufus Wainwright has been trying to write for most of his career.

'Oh What A Day’ is a Beatles-esque wonder with flute and mandolin creating a tapestry filled gem with a very English sense of whimsy and warm nostalgia, an absolute triumph. 'Give It A Little More Time' is a side step again, a blues stomp with brass and saxophone and wild guitar riffs the like of which probably haven't been heard since Denmark Street in the mid 60’s. 'You Can Make It' pulls the tempo back to a more reflective space, the track a rustic shimmering beauty that summons up the light of summer evenings and the sounds of a nearby river. Finally, 'Your Work Is Through' begins with an ominous keyboard motif, harpsichord entering along with some vintage sounding synths. Quite unlike anything else on the album it still ably settles among its fellow tracks as variety is always key and present in any Dodson album. The analogue keyboards fade as guitar enters, the pace quickens and Wade's echoed and flanged vocals take the song to yet another part of the Dodson universe; a more prog based corner that there will hopefully be more future exploration of. It is a fitting end to a diverse yet coherent, ambitious yet easily memorable, melancholic yet uplifting set of songs.

This album is yet another incredible Dodson release in a back catalogue already filled with countless treasures and jewels. With this level of mastery of their craft, Dodson should be a household name. Help make it so.

Available now on CD and as a download from Wade's own Wisdom Twins imprint below.

21 May 2015

Truls Mörck "Truls Mörck"


Reviewed by Nathan Ford

Sometimes it's the albums that take the longest to grow on you that keep on giving. So, I suspect, is the case with this debut album from Sweden's Truls Mörck. Not to be confused with cellist Truls Mörk (which google's search parameters constantly were), Mörck was lead guitarist for popular seventies style hard rockers Graveyard on their debut, before leaving, forming another band (who's name escapes me) and eventually rejoining Graveyard on bass. Somehow these comings and goings have left space for Mörck to whip up this eyebrow raising debut, which is about as far removed from Graveyard's output as you can imagine. There's not a trace of Pentagram or Sabbath to be found here; instead what we have is something which quite miraculously sounds like Midlake's "Trials of Van Occupanther", had it been raised on a diet of mid seventies Floyd, rather than Fleetwood Mac. And much like that opus, this is an ashamed, and perfectly observed homage to seventies conventions, which transcends its (presumably unintentional) self-imposed limitations.

I mentioned this was a grower, and for that reason it's likely to pass many listeners by. It certainly sounds unassuming on its first few passes, but the subtleties of Mörck's songcraft provide exponentially increasing returns for patient listeners.

Regular readers will find much to draw them in here; the carefully layered guitar solo on propulsive first single "Blizzard", or the "Riders on the Storm" keys of "Hanging" For starters, and those who allow themselves to be patiently drawn in will find themselves in the company of some of the finest songs of the year, bypassing big, obvious choruses, for intelligent builds with a pervasive charm.

One of the best of the year for me so far.

"Truls Mörck" is available digitally here (UK/EU), or here (US), with vinyl available here.

20 May 2015

The Active Listener Sampler 32


This month's sampler is a bit of a change of pace after last month's psych-folk dominated entry in the series. This month we seem to have a lot of jangly psychedelia which I'm sure you're all gonna love. This is one of my favorite samplers for a wee while now.

Tracklisting:

1. The Hanging Stars - Golden Vanity 02:49 2. Mystery Flavors - Land Of The King 03:31 3. Wesley Fuller - Melvista 03:54 4. The Noble Krell - Never Ever 03:06 5. Surfing Arcanis - Tenbrosa Silhouetta 02:24 6. Tangerine Love Puppies - Sleep Walker 02:58 7. Dynammo - Hologramas 03:43 8. Pretty Lightning - The Rainbow Machine 04:03 9. Crown Larks - Gambian Blue Wave 05:53 10. MYRESKÆR - Forgiftet Blod 04:15 11. The Hare & The Moon - Reynardine 08:34 12. Polypores - Strange Phenomena 04:22 13. Mr Pine - Deus Fax Machina 03:25 14. High Mountain Bluebirds - You Can See The Light 05:24

Please visit the bandcamp page here to download (free/name your own price), and check out the links on the same page to find out more about the featured artists - like them on Facebook and download their albums/E.Ps/singles.

Jackie Donner has once again supplied the sleeve art - check out her fantastic music blog here: http://archivalshift.com/. If you enjoy the stuff we cover, you're gonna LOVE her site.


19 May 2015

Larry's Rebels "I Feel Good - The Essential Purple Flashes of Larry's Rebels 1965-1969"


Reviewed by Nathan Ford

Larry's Rebels were one of New Zealand's most popular bands of the sixties, but this new collection on RPM International is the first chance for most listeners outside the Antipodes to get in on the action.

Common practice in New Zealand at the time was to split your repertoire between covers and originals, relying more on the former than the latter for singles. It was no different for Larry's Rebels who made an early impression with a gritty version of the Who's "It's Not True", before having big hits with the groovy guitar crunch of "I Feel Good" (likely cribbed from the Artwoods), and the Creation's "Painter Man" (which most New Zealanders of the time wouldn't have realised wasn't a Rebels original.

That string of hits will likely give you a pretty good idea of the Larry's Rebels sound - mod pop/rock dripping with delicious sixties flavour, heaps of organ, and some searing guitar work from John Williams. There's little in the way of filler outside of those hits either, with "Let's Think of Something", written for them by Roger Skinner from the Pleazers, trumping all of the previously mentioned singles in this listener's opinion. And then there's "Flying Scotsman"; while Larry's Rebels were on tour as the local act in a New Zealand package tour featuring the Yardbirds, The Walker Brothers and Roy Orbison, Rebels guitarist John Williams would jam at the back of the tour bus with Jimmy Page. One riff that they kept returning eventually found fame as "Train Kept A Rollin", but John used it as the framework for the equally laudable "Flying Scotsman". Yardbirds fans owe it to themselves to check this out.

Decamping to Australia saw the band delving into a more psychedelic sound, as if the tracks titles themselves "Coloured Flowers" didn't give that away. Largely self composed, these sides saw the Rebels really come into their own, without the need for the earlier hodge podge of soul and r&b covers.

"I Feel Good" does a fine job of compiling hard to find early single sides, and selecting the best material from their occasionally patchy output, including a fine selection of tracks from "Madrigal", credited solely to the Rebels, and recorded after Larry decided to go solo. It's an excellent, entertaining chronological journey, with a higher than expected allocation of stand out tracks, and one which does an excellent job of paralleling, and portraying the evolution of many Australasian bands of the sixties. Highly recommended.

Available here (UK/EU), or here (US).

Crown Larks "Blood Dancer"


Reviewed by Joseph Murphy

Chicago’s noisemakers, Crown Larks – imbued with their head quarter’s diverse musical history – manage to wrangle punk, avant-garde jazz and improvisation into a searing swath of tumultuous free rock. It’s all very balanced, interweaving languid interlude with chaotic upswings. Following their auspicious 2013 EP, “Catalytic Conversion,” new album “Blood Dancer” – their first full length release which came out earlier this year – expands on the band’s already eclectic repertoire. Noisy, unpredictable and sometimes very strange, “Blood Dancer” won’t be leaving my rotation for a long time.

When an album’s instrumentation includes – besides the typical piano, drums, guitar, bass – synth, pedals, flugelhorn, flute, trumpet clarinet, and saxophone (and many more, as well as “sleep machine” and “party favor”), you can’t really be sure what you’re getting into with it. But, for Crown Larks, the tone is set immediately with “Gambian Blue Wave,” a tightly played polyrhythmic take that switches from snappy groove to lugubrious, feedback drenched exploration – where those slow moving horns feel at home – very easily. This is a band that knows its sound incredibly well; nothing is overdone, nothing is flashy. Each song, though, is arranged perfectly, and each instrument given its place in the complex mesh of sound. Following track, “The Timebound Bloos,” showcases another side of Crown Larks: saxophone freak out over noisy punk chords.

Crown Larks’ closing track, “Overgrown,” falls into that wonderful trend: a slow burning, somewhat mellow end. It’s a highlight that revisits many of the album’s best moments, swinging from highs and lows over its full eight minutes. To end a great album, “Overgrown” is the final word and certainly a promise.

There’s a lot to love about these seven songs, especially if, like me, you still play Come’s “11:11” or Sonic Youth’s “Sister” fairly regularly. Jack Bouboushian’s vocal quality is commanding while recalling the unpolished and unaffected delivery of noise(y) rock’s legends and DIY aficionados. Beyond that, as a whole, the album shares arrangement and stylistic qualities with the hey-day of art rock’s best records. Perhaps it’s simply the band’s dedication to the scene, their recording processes, or their politics (see their recent interview in Impose, link below) that recall, too, for me those fine days.

Both Crown Larks records are available to stream or buy on their Bandcamp page for a “name your price” cost as well as on cassette and CD. “Blood Dancer” is available on vinyl too. There are a few dates left to their extensive tour. Check them out live if you can.

My highest recommendation on this one.

18 May 2015

A Year In The Country "In Every Mind"


Reviewed by Grey Malkin (The Hare & The Moon)

The splendid and consistently fascinating hauntological blog and music imprint A Year In The Country releases their first self-recorded album, following a series of excellent and unique recordings by the likes of Michael Tanner (United Bible Studies), She Rocola and Howlround (all reviewed here at The Active Listener). Described aptly as an 'audiological research and pathways case study' and taking inspiration from the sense that modern day folklore is not so much told around the fire in the heart of the woods but via the television set in the corner of the room, this first outing (there is a series planned) takes its cue from the TV adaptation of Alan Garner's 'The Owl Service'. This show is revered as a folk horror and hauntology blueprint, featuring as it does aspects of the supernatural, of folklore and 1970’s adolescence set in the rustic Welsh countryside. According to A Year In The Country the plan is for these volumes to wander through their own particular journey, pushing aside the brambles and travelling the pathways that they will; to consider the stories of the patterns beneath the plough and the pylons across the land'. Given the level of creativity, of detail and the power and of mood that this first volume achieves, this listener is very much looking forward to wandering those pathways with future endeavours.

The album opens with 'Eternal Strigiformes', a lone stringed instrument (not unlike a dulcimer) picks out an ominous and eerie refrain as looped dialogue is uttered beneath. The notes bend and shapeshift, twisting before slowing to a processionary pace to be joined by the sound of a distant drumbeat. It is at once tense and strange yet also curiously beautiful and emotive. A soundtrack for the walk through the woods at dusk, the ritualistic chiming notes evokes a quiet rural dread. In contrast, the following track 'Escapees' frantic vintage keyboard notes add an urgency and panic, merging with a clipped and repeated female voice stating 'it's time to get up'. Next, 'It Doth Blow's insistent percussion and howling wind hints at something untoward and hidden approaching, flanged analogue keyboards squirming and wriggling below the surface. These come to the fore in synthesised drips and electronic swarms, creating an air of deep unease and tangible drama. If you enjoy the work of Hand Of Stabs, of Coil and of Nurse With Wound's more spectral and unsettling moments (such as Who Can I Turn To Stereo) then this is a must. 'Scrabble and Abrade' drifts on lone piano notes and a distorted choir, as if we have entered a disorientating time slip. It reminds this listener of the atmosphere conjured by the Welsh weird tales author Arthur Machen whose works also revealed a mystical, supernatural hidden world set alongside ours. Otherworldly and off kilter, the track sounds half remembered, the ghost of a faded memory.

Next, 'In Every Mind' is a series of beautiful and heartrending string pieces that echo over the sound of birdsong and the countryside, a collective unconscious carrying tradition and folk belief through the ages. Dialogue from 'The Owl Service' opens 'Tick Tock' as backwards tapes mix together with the sound of clockwork to create a disturbed and yet curiously meditative symphony. Next, 'Light Catching' is both dramatic and intense, pounding percussion and layers of keyboards providing an almost anthemic air; think of the music to 80's children's TV shows such as ‘Chocky’ or ‘The Tripods’ or perhaps the 70s's series 'The Changes'. 'The Journey' begins with sampled walking across gravel, a spooked drone underpinning this ongoing perambulation, the keyboard hum increasing in volume and threat before fading to return once again. 'Perceive' increases the haunted electronica to genuinely (and pleasingly) unsettling levels, synth feedback creating an electric storm over the descending piano notes. Aficionados of The Ghost Box label and the work of The Caretaker will find much to love here, yet this music is very much pursuing its own muse and following its own dark heart. 'The Need to Live's analogue stomp, interwoven with sampled dialogue, is truly thrilling; a synthetic scream into the countryside at night. The pace settles back to a more spectral and wraith like atmosphere with 'Music Box', a repeating melody playing over backwards sounds and strings that you would not wish to hear drifting through the trees when on your own at night. The finale, 'An Idyll', is a gorgeous piece of instrumental and experimental electronica, reminding this listener a little of the works of composer Richard Skelton. The birdsong returns under the melancholic warmth of the refrain, suggesting a conclusion or resolution.

This album is a mood piece made up of several other effective mood pieces and it is utterly successful in evoking a beautiful unease. As a concept it is hugely interesting and evocative; as a piece of music it is immersive and entrancing. I cannot recommend this highly enough. Volume Two is eagerly awaited but until then, night is falling and there is something moving in the trees...

Available now in the handmade and high quality packaging that has become the trademark of A Year In The Country releases. The Night Edition boxset contains the album on all black CDr, a 10 page string bound booklet, a 25mm badge pack and 2 stickers whilst the Dawn Edition features a hand-finished white/black CDr album in a textured, recycled, fold out sleeve with an insert and badge. Click on the buy link below to investigate these options further.

17 May 2015

Polypores "The Investigation"


Reviewed by Nathan Ford

"Polypores makes lo-fi sci-fi soundtracks to films that never existed. Advertising music for strange and curious products. Songs from distant radios." That's right kids, Polypore is another of those Hauntology types that we write about here with increasing frequency. There's a lot of it about, but even if you're nearly reaching critical mass with this sort of stuff, I'd advise you to listen to this with a fresh set of ears, because this is one hell of an album.

Practitioners of this sort of Radiophonic stuff never seem to have any problem getting the mood or the vintage synth tones right, but an alarmingly large number seem to believe that alone should be enough to satisfy us. Not Polypores, AKA Stephen James Buckley though. While Buckley certainly has a mastery over this particular sound (despite using what he himself refers to as "some of the cheapest synthesizers known to man..."), he's also careful to ensure that each of these very carefully composed tracks is built upon memorable melodies, often layered upon each other to create wondrous new counter-melodies that stick in your head, instead of merely building a mood that dissipates as soon as it's finished playing.

It's a well sequenced album too, with lighter material early on, to draw in the listener and form a rapport, before getting more thematic, dark, and downright sinister in the second half. Of the former, "Orientation Film" is delightfully chipper, and reminiscent of the Advisory Circle's early output, while "Rare Fruitbodies" is infectiously odd - IDM for androids to Morris dance to. And while the suite of material that makes up the second side is much more dense, and less immediate, repeated plays reveal this to be the more interesting side of Buckley's character. Syncopated with dusty beats ala Boards of Canada, and a peppering of "Arthur C.Clarke's Mysterious World" samples, Buckley ensures that the brooding quality found here never suffocates the material, leaving room for the listener to nestle into his strangely compelling world.

"The Investigation" is available for a mere £2 from the Polypores Bandcamp page below, and keep an eye on his Facebook page here, for the impending release of a follow-up E.P (later this week I'm told). 



Nine Questions with The Citradels


Nine Questions is a regular feature on the Active Listener, where we ask our favourite artists nine simple questions and get all sorts of answers....

Today.... The Citradels.


What was the first record you bought?
The first record I bought as in vinyl would have to be Rubber soul by The Beatles. I hadn't really listened to any of this album before I bought it. I was just starting to get into music and I knew who they were and just bought the cheapest vinyl. Ended up being my favorite album (still is) and I played it every single day I got home from school for about a month. First cd was Best of The Yardbirds with Eric Clapton.

What was the last record you bought?
The last records I bought were Doug Tuttle's debut album and Kaleidoscope's (uk) 2nd album Faintly Blowing. I bought those online so i'm yet to get them but I love Doug Tuttle's album and I'm yet to hear Kaleidoscopes album. Although I can find it online I like to leave some records so that when I get the vinyl and so when I put it on for the first time I can take it in as a whole. Also a dear friend of mine bought me The Jesus and Mary Chain box set for recording him.

What's one thing about you that very few people know?
I don't really rate Pink Floyd. I mean Syd's era is cool but never understood much more then Piper. (However most members who have been/are in the band dig them)

If you could record with any one artist who would it be and why?
I think if us, as a band, could record with anyone we would choose John Cale. The Velvet Underground is consonantly influencing our work and I love his whole history, like where he came from and all the albums after the velvet's he has worked on and made. I mean he has been involved in so many great records that he would defiantly make it a special experience. Hopefully one day. Also Spectrum would be great.

Who should we be listening to right now?
Zig Zag are a new band, which are really interesting. They only have one ep but its fucking killer. The Grease Arrestor's new album is still something I listen to. I've had that for a while but still love it and listen to it all the time. Also a lot of Jesus and Mary Chain.

Vinyl, CD or digital?
As a band we believe if we don’t pay to make it your should have to pay to listen to it. I mean we do it because its what we love, so digital is perfect for that. But vinyl just sounds so much better and we we released out last album on vinyl it felt real to me. I mean we work hard on all our release the vinyl just belittles cds.

Tell us about your latest release.
Nepenthe was our 4th album, which we self released on vinyl came out late last year. We recorded it at Curt's parents house out in the country. We pretty much worked 16 Hours a day for 5 days straight to get it done. It was a struggle but we made it work.

What's next for you, musically?
Our next album "A Night of Contemporay Feedback Music" will be out by the time you read this. We have been working on "A Night of Contemporay Feedback Music" in the background for the last year but it is finally feeling done. It's quiet, conceptual and is extremely different from any other of our albums. If we have any loyal fans i'm pretty sure they may not be fans after this, its not bad, just different. I still love it and I've been listening to the songs for about a year. We have also been rehearsing heaps so that in late march we can record or 6th album. We are going to record it over the space of a week in a old butter factory in country victoria. So I'm really looking forward to getting back into doing a band sort of album, because ANCFM is something that has been slowly put together for about a year in the background while we did other things. The 6th album is something special, I think I say that every time but the songs have been fully shaped as a band and we have been rehearsing them so much more then we have done for any other album. Also the space looks dark and dull it's just a few huge rooms, so large natural reverb, sleeping on the dirty floor and chickpea's from a can for dinner. It's going to be a real experience, Captain Beefheart style.

What's for dinner?
Chilli con carne.

God Bless.

http://thecitradels.bandcamp.com
https://www.facebook.com/TheCitradels?fref=ts