The Active Listener Sampler 30

This month's sampler is out now!

Sleeve art by Jackie Donner - thanks Jackie!  http://jackiedonner.com

I think this is our best sampler yet - great variety, and uniformly strong.

1. Amerikan Bear - Summer Day 04:10
2. Forever Pavot - Miguel El Salam 05:03
3. Heaters - No Fuss 03:52
4. Love, Hippies & Gangsters - This Is What We Want 04:30
5. Spökraket - In A Witch Forest 06:06
6. Matricarians - Things The Waves Would Bring 05:52
7. Vintage Cucumber - Mutterherz 08:03
8. E.L. Heath - Seren 03:35
9. Tanizaki - Seed Pods Explode 03:24
10. The Grease Arrestor - Hangover 06:02
11. Marble - Lavender and Cherry 03:18
12. Children of Leir - Drowning in Fear 09:43
13. Opium Eyes Of Nico - Drone in C 6 (Tomorrow Never Knows) 04:31
14. Orgasmo Sonore - Electric Maneges 03:59
15. Moth Effect - Fingerbobs 03:12
16. The Virgance - Propulsion Lab Part I 06:35

Stream or download right here - free downloads welcome, donations of any size gratefully accepted!

Sundowners "Sundowners"

Reviewed by Tom Sandford

In what is starting to resemble a Liverpudlian musical dynasty of sorts, the more apropos name for the label that has just released this Wirral quintet’s eponymous debut might be Skelly-ton Key Records. That surname figures prominently in the membership of every band in Skeleton Key’s burgeoning stable of artists, most notably those perennially #undertheradarbutremarkablyconsistentandmuch-missed Wirral wonders, The Coral. Currently on extended hiatus from that band (whose most recent release of new music was "The Butterfly House" in 2010) brothers James and Ian Skelly took time out from their successful solo careers to produce the Sundowners, whose membership includes siblings Alfie and Fiona, guitarist and co-lead singer respectively.

It was a great relief to see “Hummingbird”, the Sundowners’ ebullient first single – released over two years ago now – included on the long-overdue debut. Sounding something akin to the Mamas and Papas fronting the Byrds, the song is a fully adrenalized, de-twee-ified and completely refreshing take on 60’s Sunshine Pop. Lead vocalists Fiona Skelly and Niamh Rowe send the song hurtling on a sugar-sweet breeze, while the rhythm section (consisting of Tim Cunningham on bass/ backing vocals and Jim Sharrock on drums) ensures things remain firmly grounded in solid psych-rock. It is that blend of sweetness and power, distributed in equal measures, that epitomizes the Sundowners’ appeal at its best.

The album itself begins with “Wild As The Season”, which is, in truth, more of a lesson in dynamics than it is a proper song. At only 2:13 in length, fully half of which is taken up by an intense instrumental buildup before the first lines are even sung, one presumes the piece was specifically designed to be the band’s opening salvo in concert. It sounds huge here; it probably sounds even bigger in a live setting. “Back To You” is a hot, psych-tinged power-popper peppered with cooing “Oooh”s, while “Into the Light” sounds like a lost Coral track that’s had James Skelly’s vocals wiped and replaced by Fiona and Niamh.

Just when you think you’ve got their sound pegged however, the Sundowners switch things up. “Who We Are” begins like a hypnotic, post-punk thumper, then improbably incorporates psych-guitar passages and haunting harmonies to tremendous effect – plus there’s more sultry “Oooh”s. This band knows an earworm when they sing it. “If Wishes Were Horses” begins with an ominous bass riff, all dark and sinister, but transforms into a relentless rocker, thanks in part to spirited lead vocals from Rowe and Skelly, some audacious fuzz-guitar breaks, and Cunningham’s pulsing bass runs. Elsewhere, “End of the Game” contains a laid back, late-70’s West Coast/Stevie Nicks-era Fleetwood Mac vibe that sounds both familiar and fresh. “I Dreamed” begins like a Coral ballad but, once again, subverts expectations by suddenly transforming into a guitar fest. In a time when drums are produced to sound as fake as possible, Sharrock’s Keith Moon-like cymbal washes are a godsend. “Soul Responding” and “Desert Rose” are perfectly serviceable, highly energetic numbers, but easily the most conventional-sounding of the lot.

Just as “Wild As the Season” feels like the natural choice to open both concert and album, “Medicine”, even if not specifically designed as such, feels like the epic, grand finale: it’s dynamic and edgy, with punishing buildups punctuated by soaring harmonies, Skelly’s various guitar explosions and Sharrock’s snare-crash accents.

Wake up, everyone, it’s sunrise on the Sundowners.

Available on vinyl, and CD.

Adam Leonard "Octopus Part 8"

Reviewed by Nathan Ford

Adam Leonard's lengthy and exhausting rarities trawl comes to an end with "Octopus Part 8". For those who haven't been keeping up, the "Octopus" series has seen him release an eight track E.P of rare and unreleased material every month, for the last eight months. "I've saved the best 'til last" Leonard boldly claims, and that sure is saying something. I reviewed the first couple of volumes on their release and they were more often than not outstanding.

What to expect then? Readers who regularly check out our samplers (number 29 in this case) will already be familiar with the terrifying post-punk drone of "Elbow of Termites", in which Leonard seems unable to decide whether he is Robyn Hitchcock or Dave Brock - rarely has an identity crisis sounded so good! Elsewhere his version of the Beatles' "Good Morning, Good Morning" is a noisy beast with an odd far-away sound which makes it sound like that annoying neighbor who decides to blast their stereo at 6 a.m. Only, that neighbor has suddenly developed immaculate taste, so you really don't mind. More often than not though, this is acoustic based, taking in everything from subversions of traditional folk form (a hypnotic radio session version of "Nature Recordings" highlight "The Eighth Tower"),to quirky pop ("Napolean").

He's unfairly adept at all of these styles, and defies both logic, and conventional form in his ability to construct a convincing, detailed tapestry from materials which should result in a patchwork outcome at best. I'm not sure if I'd agree with the 'best 'til last' statement - that would suggest weaknesses earlier on that just aren't there - but there's certainly no signs of a quality drop.

"Octopus Part 8" can be had for free / name your price right here, but only for a month, after which it will revert to £4.00 - still a bargain for a feast such as this. And keep an eye out for the debut release from Invaderband, Leonard's new quartet, who are making music that he is confident enough to call "the best thing I've ever done". Here at the Active Listener, we're looking forward to hearing if he's right - the early stirrings that we've heard are pretty flash.

Nine Questions with Chickn

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

Today.... Kay & Nico from Chickn.

What was the first record you bought? 
Kay: The two first LP's I bought were Nirvana's Best of and Black Sabbath's self titled album. It was during my school's excursion in Athens (I grew up on an island). It was the first time I saw vinyl records on window displays and I was mesmerized. I used my last pocket money for those.
Nico: Probably Nirvana's Unplugged in New York during school time as well.

What was the last record you bought? 
Kay: Death Chants, Breakdowns & Military Waltzes by John Fahey, two hours ago. John Fahey is one of my major influences. If it wasn't for him and some others, I would have never picked up a guitar.
Nico: Fear Fun by Father John Misty, for a gift.

What's one thing about you that very few people know? 
Kay: When we formed the band, we first found a name for it, for our first EP and for the 5 songs included and then we rehearsed. A week or 10 days after that. Isn't that a weird drive?

If you could record with any one artist who would it be and why? 
Kay: I would die to record with Holger Czukay and Captain Beefheart. Together if possible. Those two people changed the way I hear and perceive music. If those two played together, there is a serious possibility of music coming to an end so I would like to be present.
Nico: With John Frusciante. He is that kind of artist he just moves forward no matter what.

Who should we be listening to right now? 
Kay: Just find a great mastermind of modern music and stick to that. Make it a task. Preach on him. Get his vision and study him. I do that all the time and it works. These months I am into my Robert Wyatt period and I am really glad about it. Stereo is good, but mono(maniac) is fabulous. In the meantime, try K. Leimer's retrospective A period of Review (original recordings: 1975-1983).
Nico: Father John Misty's I Love You Honeybear, with the deluxe LP's packaging if possible.

Vinyl, CD or digital? 
Kay: Whatever suits you better. Lets at least try to get fetishism out of that story.
Nico: Vinyl for home derived audiophilia and CD on the road.

Tell us about your latest release.
Kay: The last release we made was a cassette with an impromptu EP that was recorded during the 6th of last December, in 6 copies. There are still a couple left.

What's next for you, musically? 
Kay:We are now working on our first LP that is expected to be out within the year. You should expect the autistic grooves that we are not famous at all for in an eclectic and improvisational spirit. It is also the first time that we work at the same time and extensively with synthesizers and African percussion. It is really challenging but extremely fun.

What's for dinner?
Nico: Beer, mostly.

https://chickn.bandcamp.com/ 
https://www.youtube.com/watch?v=9JT2orno9wI
https://www.facebook.com/chickenkraut
https://soundcloud.com/you/tracks 

Haunted Leather "Gone So Long"

Reviewed by Elizabeth Klisiewicz

This Michigan psych collective (previously reviewed here & here in these pages) specialise in chilled out psych with the requisite organ and wall of guitars (three guitars, no less) and throbbing bass lines. Think Brian Jonestown Massacre to get you started, but let it take off from there.

“Wastin’ Time” is an obvious standout, percolating along with a groovy psych vibe. Singer Jack is slightly flat and not quite in tune, but his voice suits this music perfectly. It’s kind of like everything is slightly out of focus, like you’re in the middle of a dream state. “Beyond the Wall” is more edgy, with some intricate musical passages, and “Corners of My Mind” rolls out at a stoned, glacial place, inviting the listener to flop down and immerse themselves in the music (any dancing will be in slow motion). Album closer “You Get Lost” has a bit of classic Black Sun Ensemble styling, throwing the listener far out in the desert, the music shimmering like a mirage before sucking you in like quicksand.

Available for just $1 here:

Children of Leir "II"

Reviewed by Joseph Murphy

Leicester, UK’s Children of Leir released their second eponymous record – identified alternately as (horse cover) or "Children of Leir II" – this past February. The self-described “psych/drone horror pop outfit” is all those things in turn – and a few others.

Opening track, "Drowning in Fear", kickstarts this wild ride of eerie and twisted pop songs, each of which could up the evil factor on an early Dario Argento or Roman Polanski film soundtrack. But "Drowning in Fear", just shy of ten minutes, demonstrates, too, that these musicians have some serious sensibilities for songwriting. Yes, the whole record is channeling a certain vibe, but each song could stand up for themselves as well. As a whole, though, the creeping feeling, sustained across the album, is made that much more unnerving because it is packaged in the familiar sheen and organization of catchy grooves and pop standards.

"Germinal" is a brooding perpetual-motion machine of dark-psych that builds upon a simple, articulated chord progression to create an unsettling and weird journey that includes organs, Theremins, and pounding rhythms. It’s a stand-out track that unearths Children of Leir’s influences like strange artifacts, and sounds like a by-product of clandestine meetings between kosmiche musik obsessives, vintage horror aficionados, and alien conspirators. "Shadows", the track immediately following, similarly verifies the band’s infectious fuzz pop madness without compromising their niche sound.

Though the influence is less obvious upon first listen, songs such as "Golden Hair" suggest inspiration from early goth rock and industrial music such as Cabaret Voltaire, in that, similarly, Children of Leir draws from a variety of sounds, manipulating even rougher/physical sounds into a pop environment to create a varied and interesting mixture of manipulation and content, organic and synthesized.

If you’re familiar with Children of Leir’s work, II’s seven tracks are a logical expansion: pulsing sci-fi rock with a healthy dose of psych vibes, taut motorik rhythms, and passages of noodling worthy of whatever sort of worship you can imagine. The many genres touted here act only as a listener’s guide, something to latch onto; there are great elements at work here that bend and twist even these tailored labels.

"Children of Leir II" is available on their bandcamp page digitally or as limited run CD-R with made to order handmade covers.

Nine Questions with Children of Leir

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

Today.... Gregg Hunt from Children of Leir.

What was the first record you bought?
I can't remember, it was 40 odd years ago!

What was the last record you bought?
Axe Music, legendary ultra rare private press folk/psych, a bit crap unfortunately, and Muzik von Harmonia, which is ace!

What's one thing about you that very few people know?
I am allergic to vegetables.

If you could record with any one artist who would it be and why?
We're gonna be collaborating live with Hypnobeat, and I reckon the combination of three 808's, a 707, two 303's, a heavy dose of haunting Korg synthesizer and a wall of wailing guitar feedback is gonna sound fucking great!

Who should we be listening to right now?
FUZZ, I know it's a couple of years old but that's what's going on here right now

Vinyl, CD or digital?
Vinyl

Tell us about your latest release.
It's an album, and there's a 12" to come in a couple of months.

What's next for you, musically?
More gigs like the other night at the Sebright Arms in London, great venue, great promoters, great soundman, great crowd, and One Unique Signal, don't get better than that!

What's for dinner?
Oysters with Chablis followed by Steak Tartare washed down with a bottle of Red Bollinger, I wish! Cheese on toast it is.

Jean-Pierre Decerf "Space Oddities 1975-1979"

Reviewed by Nathan Ford

Born Bad Records have done a fabulous job here of drawing our attention to a French library / production music composer who had previously been well off my radar, and presumably that of quite a few others. Jean-Pierre Decerf is at the more obscure end of the spectrum, and that within a genre which is pretty specialized in and of itself.

From the early seventies through to the mid eighties, Decerf recorded around twenty albums of production music with titles and sounds of a cosmic nature. Born Bad here present a selection of his best material recorded between 1975 and 1979, with a colourful cover more befitting its contents than the ambiguous sleeve of the original releases. It's a pretty eye opening affair.

While the confines of cosmic Library music may seem fairly narrow, Decerf comes at it from all sorts of different angles. The diversity of this material is staggering, yet thematically its coherence can't be faulted.

Opener "Surrounding Seas" is very much what I expected; a warm kosmische synth wash with gentle woodwind accompaniment. Lovely, floaty stuff but certainly not indicative of what will follow. "Light Flight" immediately lets rip in a much more funky fashion, with peals of devastating lead guitar part way between "Maggot Brain" and David Gilmour. "Strange Form" is mad progressive pop music with stabs of staccato Hammond organ. It sounds like someone commissioned Emerson, Lake & Palmer to write a Top 40 pop hit. "The Orion Belt" is fabulous and Jean Michel Jarre style Radiophonia, and "Touch As Much" is startling; a proto-hip/hop/soul hybrid with live drums that seem to pre-empt electronic music styles that wouldn't emerge for another twenty years. This isn't the only visionary moment either. There are plenty of other sequences here that evoke music made by more commercially successful alternative artists - Air and Radiohead come to mind first and foremost.

Strangely enough, many of these tracks feature vocals, which I gather is rather unusual for production music - it would certainly limit the possibilities for its usage, but it certainly adds another dimension which other library collections notably lack.

So "Space Oddities" is that rare thing; a collection which is obviously prescient in a number of ways, but also tremendously listenable in its own right. Recommended? You betcha.

Space Oddities is available here on vinyl, and here on CD.
 

Moon Duo "Shadow of the Sun"

Reviewed by Dedric Moore (KC Psychfest, Monta at Odds, Gemini Revolution)

"Shadow of the Sun" kicks of with "Wilding" and it feels like Mood Duo hit pause at the end of "Circles" and waited to press play just to give us a breather. Moon Duo are experts at being Moon Duo and that makes them one of the most consistent acts around. The motorik beat fires us as organ and guitar riff and here we go again. "Wilding" jumps and keeps speeding along with plenty of room for the customary laid back vocals and space for some lead guitar to guide us along. "Night Beat" steps up next without a moment's hesitation, with a go-go dance swing beat, more organ, and an inner-satisfying groove. It just feels right and conjures visions of riding on a vintage motorcycle, cool factor to ten, and giving a head nod to people gawking on the street. "Free the Skull" is classic Moon Duo with its propulsive drums and guitar/organ riffing. The subtle synth work performs that magic trick of making the head-nod turn into the left-right head shake. "Zero" mixes up the formula with spooky drone synths that lay down some great eighties lost soundtrack melodies. It could get retro but avoids schtick and shows how Moon Duo continue to explore beyond what we've come to expect. This is my favorite song on "Shadow of the Sun". Every nuance including the subdued guitar solo are perfectly placed. The falling apart ending happens exactly when it should so we feel the need to hit rewind and jam it out again. "In a Cloud" fits its name with reverbed out snare and hippy guitar strum. We can't bounce around all night. Smoke break. "Thieves" brings it back with a proggy horror movie groove. This song is a close call with "Zero" as my favorite song. The band are locked in and you can feel the confidence in their playing. Chord changes drop in and then jump right back on the groove. I could hear this on repeat all day long. "Slow Down Low" lightens up the mood with some bouncy organ stabs and melody leads that has a bit of feel good 60's to it. "Ice" is the longest track and spends the first few minutes setting the groove with the steady kick and rhythmic layers of synths and organ so that when the guitar solo floats in you are prepped and ready to close your eyes and just "feel" it. "Animal" wraps it up with a snarling riff and punk beat to shake you out of your reverie and get back to bouncing off the walls.

"Shadow of the Sun" is the type of album that makes you want to do something. Jump around, grab a guitar or air guitar and strum along, groove like a go-go dancer, drive your car fast, something! It is about movement and momentum. Beats chug on and on while guitar and organ riff into a meditative state that is euphoric rather than contemplative. Get moving yourself. FEEL it. Moon Duo's great success is that I get this feeling every time I put it on, and that's been a lot. You need to buy "Shadow of the Sun" and experience this aural shot of adrenaline.

Available on CD, and vinyl.

Nine Questions with Black Waves

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

Today....David Brasseur from psychedelic shoegazers Black Waves.

What was the first record you bought?
Well, except those kind of very bad records your parents buy you when you're a kid, I grew up with the old cassette tapes of my father. He used to listen to a lot of The Beatles and The Pink Floyd and I guess it had an impact on my future life now that I'm thinking about it. But the first record I really bought had nothing to do with all that, it was "The Fat of The Land" by The Prodigy in 1997. At that time, I had the feeling I never listened to anything like that before and I still have a special link with that record of course.

What was the last record you bought?
It's the vinyl of " Onwards to the Wall" by A Place To Bury Strangers. I never had the chance to find it on vinyl until now. I love A Place to Bury Strangers, that band sounds like a cocktail of Joy Division, Jesus & Mary Chain and My Bloody Valentine. I had the chance to see them 3 or 4 times and it was always awesome. I remember one time especially when I saw them in Belgium, they made me deaf for 2 days straight but it was an incredible show.

What's one thing about you that very few people know?
Maybe they don't know I like movies nearly as much as music. There are some movies that I could watch 10 000 times without being bored, a bit like you can listen to a record 10 times a day when you love it. My favourite kind of movies are Giallo, Spaghetti Westerns and some horror movies, but I like a lot of different movies. There is also the fact that I'm an obsessive person who needs to know everything about a topic when I discover something. Sometimes it fools people because they met me 7 or 8 years ago when I was deeply into doom and drone stuff and they think I only listen to that kind of music. I don't think they imagine me at all listening to soul music or jazz although I do. My opinion is that there are excellent things in any type of music or movies, you just have to keep digging, and believe me, you'll find things that will change you forever.

If you could record with any one artist who would it be and why?
Funny but it's hard for me to answer that question, I never imagined myself recording with another artist although I have nothing against it. The people I imagine the most working with are producers like Steve Albini (I'd like to hear what he could do with those massive guitars we often use). It would also be cool to work with Jean-Claude Vannier (the guy behind "Melody Nelson" by Serge Gainsbourg) on a Pink Floyd-esque album. I always thought it could definitely be something amazing. Phil Spector also of course, but who doesn't dream of that ? It's also a bit difficult now...

Who should we be listening to right now?
Except my band you mean? Well, if you like psychedelic music there are clearly dozens of good records every month. First of all you can listen to anything by Dead Skeletons. They are definitely the most interesting thing that happened during the last few years. These days I also like to play "The Tower Of Foronicity" by Singapore Sling, "Manipulator" by Ty Segall and "You Know What To Do" by The Shivas which I will play a lot, I think, when sunny days are back. I'm also into Vibravoid these days.

Vinyl, CD or digital?
I'm not someone who's into vinyl and nothing else. Honestly, CDs and digital are often useful when you travel or drive a car so I use all of them. However, as a music freak nothing sounds better than a vinyl record and nothing is as beautiful as a vinyl record. I like to look at my collection and I guess it's a common thing with vinyl owners. Seriously, who looks at his mp3s or CDs with so much passion?

Tell us about your latest release.
This our first album and it's called "Thousands of Visions". It's a mixture of psychedelic and shoegaze sounds. The name is an obvious reference to psychedelic experiences and visual works, but it also goes pretty well with that record because I wrote some songs maybe five years ago, and some others during the recording process of the record, so you have a great collection of all the things we've done since 2008. You have trippy psychedelic stuff, psychedelic rock, shoegaze, some cold wave, even some psychedelic pop song.

What's next for you, musically?
"Thousands of Visions" has been released on CD in late 2013 and it will now be released on vinyl in the next few months (hopefully April/May) by Nasoni Records, based in Berlin who already released some of the finest psychedelic records by Vibravoid, Electric Moon, Space Invaders... . We will tour a bit in Europe with great bands like Froth, Sonic Jesus, Jack of Heart... and we also would like to record some new songs by the end of the year. We've already started to play some new stuff during our concerts and it sounds great.

What's for dinner? 
That's an excellent question. I often choose a record depending on what I want to eat or what I will eat. As we're french people, food is an important part of our culture. Also, good food is great, it makes you happy as much as a good record. I like a lot of kinds of food but my favourites are French, Latin-American and Italian. So my suggestion for tonight would be some nachos with a record by Los Mac's or even some Laghonia stuff. Bon appétit!

http://theblackwaves.bandcamp.com/
http://www.facebook.com/theblackwaves
http://theblackwaves.net/