Interview: Doug Tuttle

Doug interviewed by John Knoernschild

We’re here today talking with Doug Tuttle. Formerly of MMOSS, Doug went solo and in 2014 released his first, self-titled record.

Doug, tell us a little bit about your years with MMOSS and the influence that Rachel Neveu and Justin DeArmitt had in the sound and feel of the band.

MMOSS went through many changes in its seven years both stylistically and member wise (16 different people can say they've been in MMOSS).

Rachel, Justin and I were the longest participants (Rachel and I from 2006 on, Justin from 2008 on).

It's hard to say what influence ANY of us had on MMOSS, it was a band where it was either happening, or it wasn't. The three of us were generally on the same page with what to do and what not to.

We did perhaps each have things we pushed a bit more though, for me it was always the more pop oriented songs. Justin always got excited by new sounds and finding ways to incorporate those into songs, and Rachel was a big proponent of the free/improvised aspects of the band and was always pushing for more of that.

When did you first decide to go it alone and start work on your solo project and what was the reason for the new direction?

I honestly wasn't too jazzed on the direction MMOSS was taking at the very end, things just weren't gelling, I would have rode it out, but when the personal relationship between Rachel and myself ended, it was time to do something different. 

What are your plans for the future?

Working on record number three and trying to figure out how to afford to tour a bit more.

Well I for one am stoked to hear you are working on your next album. Can you give us some
idea of the shape album number three is taking?

That's tricky to say, I always record more songs then I need, so I really won't know what songs will be on this one till it’s done. There are a couple in the running that were recorded while working on the last record, tunes that just didn't fit the vibe, but are making more sense with the current batch. So I guess it'll be a bit of a different feel from the last one at the very least. 

Interesting indeed, I like your approach. Tell us a bit about your writing process. Where do these amazing psychedelic songs come from?

I generally just write a chord progression and hum melodies over it ‘till something sticks.

Then it's a matter of deconstructing the chords/melody and finding other moving lines within/around them and assigning those to other instruments. 

What were your biggest influences in music when you first started? Is there an artist out there that had a huge impact on you?

I found my dad’s Byrds greatest hits record pretty early on, took it to my room and never returned it. That music just without fail takes me somewhere. 

That’s a good record to find so early in life. I can hear their influence in your style. I recently found out that you are the owner of Mid-Fi Electronics. If our readers don’t know about Mid-Fi Electronics, they, or Doug really, make some of the finest guitar effects pedals on the market today. They can be found under the feet of some very well-known artists. I have it on good authority that both Jeff Tweedy and Nels Cline of Wilco use pedals made by your company. Can you confirm these allegations Doug?

Yeah, I make pedals. I've been selling to Nels since before he was in Wilco, he was the roommate of Bobb Bruno (now of Best Coast) who was my second ever customer. I've seen pictures of Jeff Tweedy using my pedals but have never sold any directly to him, he must go through a retailer. I only met him briefly once. 

Some other big names have used my stuff and Nels has mentioned it in guitar magazines. I'm hugely thankful for this as it's allowed me to scrape by without a real job for a number of years. Just kind of lucked out, and word spread a bit.

When did you start Mid-Fi Electronics?

I started building pedals in '98. I'd look at early pedal building websites and take out electronics hobby books from the library. 

Back then people were pretty pumped if someone new was making pedals so it was a lot easier to get people interested. 

Before ”It Calls On Me” was released, you were touring the UK and playing at the Eindhoven Psych Lab. How was that experience? How was it playing in the UK versus playing around the United States?

We did a month all around Europe on that trip and had a great time.  The big difference is being fed and having a place to stay every night. 

Well that’s certainly a welcome change I’m sure. Sounds like a great experience.

I really appreciate your time here Doug. I’m sure our readers do as well. I’ll be keeping my eye out for your next album. I can’t wait to spin that fresh vinyl!

Check out Doug's two Trouble in Mind albums here.

And here's a little something from our archives:

Coo Coo Birds - Dark White

Reviewed by John Knoernschild

Guitarist Jonny “Cat” Shaheri, drummer Ryan Zweng, bassist Gray Tolhurst, and guitarist Joshua Cook combine their powers as Coo Coo Birds, a psychedelic rock band based in San Francisco, California. The vision for the band started in The Golden Gate Park with Ryan Zweng and Jonny Cat jamming out. After some sort of spiritual revelation in Paris, Zweng contacted Jonny “Cat” Shaheri and the band was born. For this latest album, Johnny and Ryan invited along Gray Tolhurst and Joshua Cook to join in the psychedelic fun. "Dark White" delivers said fun in spades.

"Soulless World" kicks the album off with a driving force reminiscent of Wooden Shjips. The simple drums seem to fit the track perfectly, leaving out cymbal crashes for the soft chink of a tambourine. Far off vocals echo in the background, fading in and out of existence like slow moving waves. The backwards guitars at the end had me closing my eyes and picturing whatever the sound waves sent into my brain.  "Stay" starts off with a soft new-age folk feeling, then hits you in the face with a funky bass line and Spanish guitar riff. I feel like they're telling the story of a lost love here, or more so, a spouse, someone they wish they had made more of an effort to keep as part of their lives. It’s a song I’m sure anyone that’s lost a love can relate to. Bringing your spirits back up is the reverb laden, psychedelic flowing "Rose Windows", a beautiful song with twangy guitars and thumping bass, leading the way to soft vocals that warm the heart. "I Want You" is just damned amazing psychedelic rock. With the same feeling as "Just Dropped In" by the First Edition, it brings me back to days of eating elicit substances and sequestering myself in a dark room filled with trippy music. Surf rock swells throughout the song, while dual guitars bounce back and forth in your head. The surf sound continues in "Bang A Booker", picking up its punky cousin. Looks like all you have to do to get a new guitar is find a venue, get your grove on with the booker, take her back to your place and bam, you’ve got a new guitar! You can pay your rent now too! "Baba" continues the driving force from "Soulless World", while creating a much lighter sound. Crunchy bass paired with acoustic sounds pleases the ears. Crunchy beauty, yeah, that’s what we’ll call it. Soft in the center, hard on the outside, how many licks will it take to……oh wait, that’s something else. Hitting you in the face and bringing you back wanting more, "Love Is Sold" crosses the line into heavy psychedelic rock. The screaming lead guitar worms its wayinto your head, the bass thumping in your chest, bleeding out into the desert sun. I picture a vast landscape in Utah, dust weeds blowing over hot, red sand, riding out into the desert to find your lost love. Salome brings in slide guitar, with a sitar effect. I must say, it’s very unique and quite splendid. I can’t really explain the sound of this song, but it’s a must listen! "Elvira" is a short, Beatlesque song, a beautiful piece that I wish was longer. It’s one of those songs you play a few times before moving on. Coo Coo Birds shift their sound for the end of this wonderful album. "Caffeine and Ketamine" feels like a song strait out of the 60s. It immediately reminded me of Buffalo Springfield. The calming vibe of this song is just what you need to relax from a stressful day. Have yourself a good time……Caffeine and Ketamine. The trippy sitar sound comes back in "She Comes to Me in Visions" taking you on a psychedelic journey. The multiple vocal parts build and build, dripping through the speakers, coming alive in your head. Coo Coo Birds really ends the album well here. Simply close your eyes for this one and enjoy the ride.

"Dark White" is one of the best psychedelic rock albums to come across my desk in quite some time. While the sound from track to track tends to differ, it still retains the core sound of what I think Coo Coo Birds is trying to achieve. I wouldn’t hesitate to recommend this album to anyone. Head to their bandcamp page and get yourself a copy - it's a name your price / free download!

Shadow Folk / Sunny Beaches - Split LP

Reviewed by John Knoernschild

This new Shadow Folk / Sunny Beaches Split LP is an album that takes you on a journey from the 60s to the 90s.

It’s great to hear a new band that brings back the 60s-70s era vibe. Shadow Folk, hailing from Halifax, Nova Scotia, completely surround themselves in this for their half of this new split. It’s hard to hit that “sound” from the 60s-70s. The feeling of our time just isn’t on par with what was happening fifty years ago. But sometimes something special happens, and that vibe can still be tapped into. It's happened here, enveloping the band and flowing into every song. Influences from David Bowie to The Pink Floyd can be heard during thir half, and while they're clearly trying to capture a certain sound, The Shadow Folk have made it their own.

Also hailing from Halifax, Nova Scotia, Sunny Beaches is a 4 piece band led by Keith Doiron. They take over on the second half of this split LP. Their side gets a bit grungy. The soft vocals are traded in for heavy distorted ones. The bass gets more punchy and distorted, while the rhythm guitar stays about the same, showing that that sound shines in any era of music. It’s like we jumped straight from the 60s to the 90s, invoking the grunge and indie rock sound of that era, mixing them together to create a sound of their own. Even the guitar solos ring of the 90s. It’s like Cake had a baby with Alice in Chains and they named it Sunny Beaches. Then, sometimes, Beaches’ friend Syd Barrett comes over and picks up a guitar, with a unique sound coming from this creation.

Overall, Shadow Folk/Sunny Beaches Split LP is a great album, showing that two bands with quite different sounds can get together and create something special, if they share a vibe and a mindset.

Name your price download available here:

The Apryl Fool - S/T

Reviewed by John Knoernschild

Yet another amazing band from the classic psychedelic era that I'd completely missed. The Apryl Fool have got a great sound, mixing blues with acid guitar, classic piano and organ. Prominent bass lines lead their sound, while the crunchy lead guitar fills in the gaps. With Haroumi Hosono on bass, Takashi Matsumoto on drums, keyboardist Hiro Yanagida, lead guitarist Eiji Kikuchi, and the soothing lead vocals of Chu Kosaka, this Japanese band's self-titled album from 1969, is a mind blower.

A unique organ runs through “Tomorrow’s Child”, giving it an “out there” feeling. Warm bass lines touch your heart and soul. Blazing guitar riffs tear through you, leaving you wanting more. I was actually brought to tears of joy listening to this song. Music is so incredible that way.

“Another Time” reminds me of the Paul Butterfield Blues Band. Chu Kosaka’s vocals are just amazing. He really has a great voice for the blues. Never leaving the space they created, it slows you down and calms you. You’ll never realize you’ve been listening for seven minutes, becoming lost in the music.

“April Blues” is straight up blues with fuzzy lead guitar. The vocals, remind me of Pink Floyd. Very creative with the use of sound clips, it sounds like a band practicing in a recording room with friends chatting it up while the band plays.

“The Lost Mother Land (Part 1)” leads in with a heavy psychedelic vibe. With unintelligible, synthesized vocals, it’s a beautiful, chaotic, psychedelic mess. It reminds me slightly of something The Doors would have done.

“Tanger” is a complete treat. With Jethro Tull vocals and feel, I couldn’t help but pull out my own guitar and play along. The more I hear of this album, the more I want.

“Pledging My Time” echoes Bob Dylan’s vocal style, while channelling Jethro Tull again, reminiscent of Tull’s first album “This Was”.

“Sunday” slows things down and Kosaka sings in his native language. This song is quite a wonderful, floaty, treat. Crunchy guitar riffs are left behind for the classic humbucker sound of a Les Paul, switching blues for a more jazzy sound.

“Honky Tonk Jam” lives up to its name. Straight up, good-lovin’, honky tonk!

“The Lost Motherland (Part-2)”….trying to write as I listen….but my mind floats into space and beyond.
What a trip! I can’t express how much I love this song! I wish it was never ending; but hey, that’s what repeat is for!

It has been a real privilege reviewing this album. It's been too long since I've listened to an album like this for the first time. It takes you on an incredible journey of the mind and spirit. The energy of this band is unexplainable. You..must..listen. I can’t wait to delve deeper into Haruomi Hosono’s work.

New vinyl reissue from Barnyard Records available here (UK/EU), or here (US).

Coke Weed - Mary Weaver

Reviewed by John Knoernschild

Coke Weed really takes you for a ride with their new album. “Mary Weaver” hits that spot in your brain that makes you crave more. It would seem that the band’s name fits very well with their habit-forming sound. They really cover a lot of ground with this album, all the while exhibiting the sound that makes them Coke Weed. Sometimes the chucking guitars flow into your ears and make you think of Thee Oh Sees or Ty Segall. Other times, they throw a twangy, surf-rockin’ guitar in your face and the bass punches you in the gut. The drums never miss a beat and they really add to the full sound the band achieves.

The first half of the album starts off with a strong Indie Pop Rock vibe and reminds me of a cross between Belle and Sebastian and Goat. “The Chill” feels like water moving around, then rushes over you, building up again and splashing down all around you. Not to mention the super sexy “Awe” which echoes over and over during the song. Really turns your mind on…….ya, your mind…..that’s it.

“I Could Be So Real” begins with the classic “One, Two, Three, Four” sounds from the keyboard you had when you were 10 years old. I really dug what they did with that. A great intro for a really great song, with hints of Talking Heads influencing the overall sound.

Later in the album “Shortest Night” and “New Jive” kick things into a heavier drive. Dipping deeper into that grungy psychedelic sound. “Honky Tonk Man” takes this vibe further into the darkness, with a driving sound and slow, methodical, guitar riffs.

“Fleece” is the bridge between the heavy stuff and the fluffier end of the album. A beautiful instrumental that leads into the calming riffs of “Dandelion”. A great end to a groovin’ album. It leaves you wanting more, but satisfied with what you have.

If you haven’t tried Coke Weed before, give into the pier pressure and catch that rockin' buzz!

Vinyl, CD and digital available through the link below - shipping Oct. 9

The Savage Blush - The Savage Blush

Reviewed by John Knoernschild

The Savage Blush is a psychedelic surf rock band formed in Denver, Colorado during the summer of 2014. Lead singer Rebecca Williams started the band, picking up bassist Brandon Stanley and drummer Joshua Williams, her brother.

With a heavy surf rock sound and twangy vocals, the Savage Blush delivers a fantastic album. The overall sound has a reverb laden effect, which they retain for the whole of the album. They went for something and kept with it. I for one am glad they did.

Rebecca William’s voice is hard to describe. If Janis Joplin toned it down a notch and starting singing surf/punk rock, then mix that with the lead singer of Beach House; that might describe her voice…..sort of. You really have to hear it to “get” it.

The beginning of ”Hearts in Trouble” reminds me of Cream’s "I Feel Free", then hits the ground running with a yelp, cymbals come crashing in and the song picks up a sort of honky-tonk beat, before returning to the cool Cream vibe. "Sick Mouth" starts off dripping with a Velvet Underground vibe, slowly growing into a heavy psychedelic flow, reminiscent of Wooden Shjips.

"Meet Me in the Sun" takes you on a classic surf rock ride, with a touch of the old west in Williams' vocal delivery. I can’t help but imagine riding on horseback through a barren desert wasteland, while listening. "Run Betty Run" instantly reminded me of something Nirvana would have made in their late years circa "Unplugged in New York". Super laid back, with an intoxicating, mellow, vibe, it hits me right in the memory banks that bring back feelings of being young….er.

With "Thunderheads", the album continues with its relaxing flow, making you feel like you’re floating on a raft somewhere in the Caribbean, never leaving its fluffy space. If something could hit you like a ton of feathers, this is it. "Pitch Black" is a powerful change of pace for the otherwise laid back album. With more of a classic rock influence to this song, it’s as if the album drank a Red Bull, and it’s freakin’ great! "I’m A Fool" really wraps things up nicely, winding down the album and leaving you with a feeling of total calm.

Having never heard The Savage Blush before, I’m hooked! I can’t recommend this album enough to anyone that digs driving, psychedelic surf rock.

Available here: