Dungen and Tame Impala- June 14-16 Show Diary

Text and photos by Chris Sherman (Sky Picnic)

Over the course of three nights, I was lucky enough to see arguably two of psychedelic rock’s biggest (and best) acts. For the Brooklyn shows at Prospect Park, just a few short blocks from my home, I still remember questioning the bill when it was first announced; how was it plausible that they were playing together, and would the universe somehow explode? Needless to say, those six months of waiting seemed to take forever. When Dungen added further headlining dates in the area, I knew I had to jump on them. As I had written previously about Dungen in my October 2015 show review, it had been five years at that point since I had seen them, and now, here I was looking at three shows over a 72 hour period and feeling absolutely spoiled, yet grateful, for the abundance of northeast U.S. shows. What follows is a synopsis of those shows.

Prospect Park, Brooklyn, June 14 and 15- On two perfect summer evenings, as the sun was making its decent down, peeking through the tops of the trees, and a cool breeze filled the air, Dungen took the stage at precisely 7:30. As openers for Tame Impala, they played the part of relative unknowns but definitely brought their best to win everyone over. The younger crowd was definitely appreciative but I fear only a select few were getting into it. Both sets began with the energetic and driving “Fredag”, before giving way to a string of material from 2015’s "Allas Sak". Of note on the second evening was a transcendent performance of “En dag på sjön” the jam-esque conclusion to “Åkt dit”, which has evolved considerably not only from the LP version, but from the last time I heard it live in October 2015. The rhythm section of Mattias and Johan bring the song to a crescendo (then to a pulse and back again) while Gustav and Reine weave melodic patterns over this, creating an epic monster.

The band joked that “the park smelled good tonight”, leading to “Franks Kaktus”, a crowd pleaser, with the flute creating an exotic other-worldly vibe. On night one, rare Ta det lugnt era b-side “Jämna plågor” made an appearance much to my delight (never thought I would hear that one live!). Even though they played a condensed set, a four song medley appeared, the bulk of which was material from the lesser appreciated "Tio Bitar" album. While last tour it seemed rushed and out of place, this time it was perfected and felt like a mini-prog rock epic in four movements. “Panda” was of course a highlight; on the first night, it concluded the set, while on the second, it gave way to an improvisational piece where Gustav pranced around the stage with tambourine while Reine absolutely slayed on a heavily distorted solo riff. Dungen played a tight 40 minute set both nights, thanking Tame Impala and their fans for listening before leaving the stage. (The feeling of course was mutual, as Kevin Parker mentioned on at least three occasions later how he was overjoyed to be playing with Dungen and that without them, Tame Impala might not be where they are today.)

Prior to this, I had last seen Tame Impala in 2012 right at the start of the "Lonerism" tour. The live sound had already begun to advance drastically since the halcyon days of their "Innerspeaker" dates; less organic, bigger, and with more sonic manipulation to align the songs more with their studio counterparts. While to some, live and studio are sometimes seen as separate domains, Tame Impala helps put that notion to rest. Their set was tight and shows a band continuing its musical development and ascension upward in the music scene. Having seen them in less than sold out 200 capacity venues in 2010 to adoring sold-out ones now, where Parker has the crowd singing along to every word was astonishing. It seems at this point psychedelic music isn’t just something you listen to in a dark room at night with headphones and intoxicant of choice while pondering the meaning of life. It isn’t some underground scene that you have to know someone who knows someone to turn you on to. It is something more mainstream, something culture can embrace and something that hypnotizes the senses while your body grooves along. (You can even argue this to be the case if you go all the way back to Pink Floyd’s “Money”, “Time” or “Dogs”, all of which are the “parents” to what is currently happening. The trends have a way of being cyclical).

As “Nangs” came over the speakers, a roar erupted from the sold-out crowd, the standing room area fully filled like sardines. The brief piece dovetailed into “Let It Happen” which immediately got the crowd moving, while the series of visuals behind the band had others entranced. Aided by samplers and loopers (and presumably the sound guy and various effects), they were able to replicate much of, if not all of, the sonics and layers involved with the "Currents" material, of which “The Moment” particularly stood out. Old favorites “Mind Mischief” and “Why Won’t You Make Up Your Mind” were welcome songs early in the set, both featuring slight changes in arrangement. (Note: the same set was played both nights, hence this song synopsis applies to both). As the material is definitely synth based now, one could close their eyes and think it might be the mid-1980’s. This affords Kevin the opportunity to not have to (or need to) play guitar in every song and he can grab the mic and saunter around the stage while singing. I found this to be an interesting dichotomy, as one can tell he is not totally comfortable doing it (this is again, the guy who embraced being alone and isolating himself), but is the likely byproduct of him partly embracing the role of being the front man.

There was a slight mid-set lull during some of the newer ballads, (or was it simply that the crowd lost its collective energy at that point?) but songs like “Elephant” and “Alter Ego” brought everyone back to life. The main set closed with an extended “Apocalypse Dreams”, leading to the crowd begging for more. The band returned for sing-along “Feels Like We Only Go Backwards” and dark horse candidate for highlight on Currents, “New Person, Same Old Mistakes.” The crowd was still not ready to leave, but alas, the show had ended. Eager to leave the sweaty, stale-aired floor area, ears ringing, I made my way to the exit realizing that, absent some of the weirdness, Tame Impala might be following in the footsteps of psych rock legends The Flaming Lips. Would this be looked back on as their Yoshimi stage, or have they not even begun to hit their stride?

June 16-I made my way to Boston the following morning for Dungen’s headlining show at the Sinclair in Cambridge. Holding around 500 people at capacity, this was in stark contrast to the outdoor shows. The intimate setting helped foster an atmosphere for creativity and a crowd full of engaged fans allowed the band to feed off that energy. Kicking off with “Fredag” as had been the case, the tone was set when the song veered into the jammier coda. “Åkt dit” is quickly becoming a fan favorite, with some attempting to song along, despite the vast differences in native tongue. This of course led to “En dag på sjön”, and while I thought I had already seen what could be considered an ultimate version, this was elevated to a level beyond that; the tacit communication between the band, knowing each other’s moves instinctively, and playing to the dynamics of the piece were absolutely stunning. If Tame Impala is a well-oiled psychedelic machine, then Dungen is an organism growing and evolving with each performance, exploring as it goes, veering into unknown territories.

So how does a band top that? How about with the following trio of songs: the ode to Gustav’s neighbor (“Franks kaktus”), personal favorite “Blandband” (this version replacing the flute with an organ solo, all the while Johan moves around the kit in a Keith Moon-esque fury) and “Det tar tid” (a song rife with Reine riffs that make me just want to pick up a guitar and play for days). The Mellotron heavy medley followed and in the looser setting tonight, sounded even better. “Panda” led into the same heavy improvisational piece as the previous night (based on Jesse Harper’s song “Jug A Jug”), with Gustav again dancing around the stage with tambourine, this time jamming so hard, he accidentally knocked down a mic stand.

Standing in the front row, I was privy to seeing the set list, and following along as we went, could not wait for new song "Häxan", which will be on their upcoming LP based on the film The Adventures of Prince Achmed. Trust me, this is awesome stuff that has the feel of an extended jam but is nuanced and speaks like an eerie musical discussion as it ebbs and flows. It was pretty intense stuff, and to lighten the mood a tad, the band, who was in a particularly talkative and cheery mood, sought out thirst quenching beers from the crowd while telling an amusing tale about meeting Wayne Coyne the previous night in Brooklyn. The main set closed at this point with the classic “Ta det lugnt” and a chorus of fans chanting along.

They returned a few minutes later for an encore and thanked the crowd again for an amazing evening before diving into the dark closing song from "Allas sak", “Sova”. As the song wore down, I braced myself for the energetic closer “Gor de nu” per the set list in front of me. Instead, we were treated to a 10 minute organ-driven psychedelic freakout, not too dissimilar to “Interstellar Overdrive” or other early Floyd. I can only hope this is part of the aforementioned upcoming LP as well so it can be heard again. As it died down, a dark moody piece to cap it all off actually did seem like the perfect way for a set full of experimentation to end. I left the venue and walked into the cool evening air wondering if I had just witnessed one of the best shows I had seen. While I am still unsure of that answer, I do know that the next tour cannot come soon enough and I can only hope to again experience some evenings as magical as these.

Dungen- June 14 Fredag - Marken låg stilla - Åkt dit - En dag på sjön - En gång om året - Franks kaktus - Jämna plågor - Det tar tid - Bandhagen [part of a medley] - C visar vägen [part of a medley] - Så blev det bestämt [part of a medley] - Svart är himlen [part of a medley] - Panda

Dungen- June 15 Fredag - Åkt dit - En dag på sjön - En gång om året - Franks kaktus - Det tar tid - Bandhagen [part of a medley] - C visar vägen [part of a medley] - Så blev det bestämt [part of a medley] - Svart är himlen [part of a medley] - Panda - Improvisation - Sova

Tame Impala- June 14 & 15 Nangs - Let It Happen - Mind Mischief - Why Won't You Make Up Your Mind? - Why Won't They Talk to Me? - The Moment - Elephant - The Less I Know the Better - Daffodils [Mark Ronson/ Kevin Parker song] - Eventually - Yes I'm Changing - Alter Ego - Oscilly - It Is Not Meant to Be - Apocalypse Dreams - Feels Like We Only Go Backwards - New Person, Same Old Mistakes

Dungen- June 16 Fredag - Marken låg stilla - Åkt dit - En dag på sjön - En gång om året - Franks kaktus - Blandband - Det tar tid - Bandhagen [part of a medley] - C visar vägen [part of a medley] - Så blev det bestämt [part of a medley] - Svart är himlen [part of a medley] - Panda - Instrumental jam on "Jug A Jug Song" by Jesse Harper - Häxan - Ta det lugnt - Sova - Improvisation

Kula Shaker - K2.0

Reviewed by Chris Sherman (Sky Picnic)

This year marks the 20th anniversary of Kula Shaker’s debut record "K" (and the 21st anniversary of the band’s formation), so it is only fitting that a new album has been released at this juncture, as well as after their second prolonged hiatus this century (the first from 2000-2005, the last from 2010-2015). I can’t lie when stating that I had no idea what to expect from the new album "K2.0"; I tend to try and manage expectations when a favorite artist releases anything new, let alone when reforming for a second time. Within the first 25 seconds with the sounds of the Indian instrumentation fading in, "K2.0" delivers exactly what you would want from the band. Whereas 2006’s "Strangefolk" found them trying to re-establish an identity following an extended hiatus (albeit with a few missteps), and 2010’s "Pilgrim’s Progress" was a welcome, understated departure into folkier sounds (and in reality, the perfect, logical pre-cursor to "K2.0"), here Kula Shaker sounds almost reborn, yet older and wiser.

Album opener and lead single “Infinite Sun” has been stuck in my head firmly for the last three days (“Everything she touches changes…”) and could easily fit in on either of their massive nineties LPs, complete with sitar solo and chanted vocals. From what I understand, that assessment is not far off, as Crispian Mills stated in a recent interview that it’s a song they’ve had for a while, but had yet to record. Solid stuff to kick things off and setup what is to come. From there, “Holy Flame” introduces an acoustic vibe, before a ripping chorus takes over. “Let Love B (With U)” is a song the Doors never wrote, with all the bounce and organs you would expect. “Here Comes My Demons” is about as prog rock as Kula Shaker can probably get, with three pretty distinct sections over a sprawling six-plus minute song.

I swear “Oh Mary” starts out with a sample of Paul McCartney talking (from "Magical Mystery Tour"?), and as I sit there pondering that, I miss out on a very Beatle-esque song, a simple and warm rocker. “High Noon” evokes scenes from a western, and could very well have been on "Pilgrim’s Progress". “Hari Bol” continues the Kula Shaker tradition of Hindi religious chants on their records, this one a meditative number that one only wishes lasted a few more minutes. The LP wraps up with what should be considered the highlight of the LP (and perhaps even in the latter portion of their catalog) in “Mountain Lifter”. The song climbs as it progress, with a fiery guitar solo and organ which crescendos (with some restraint) to the conclusion of the album.

And I would be remiss if I didn’t mention the art, which is not only one of the more beautiful and striking covers you will see, but also fits nicely as a companion piece to "K". And just like that, everything comes full circle. It’s not as grandiose as 1999’s "Peasants, Pigs and Astronauts", and is obviously not full of the youth and energy of "K", but that’s already been done; this is Kula Shaker’s next chapter, and thus far, it’s a good read.

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

Active Listener Writers Share Their Favourite Albums of 2013

I published my favorite 50 albums of the year list here a few weeks back, and a few of my other writers have chimed in with their lists below. Lots of great stuff to be discovered here:

Grey Malkin:

1. The Raven That Refused To Sing (And Other Stories) – Steven Wilson

2. Messe I.X –V.I.X- Ulver

3. Malá Morská Víla Soundtrack - Zdenek Liska

4. Warrior At The Edge Of Time Remastered – Hawkwind

5. Morgiana/The Cremator Soundtrack - Zdenek Liska/ Luboš Fišer

6. Omega Original Soundtrack- Michael Begg/Human Greed

7. Spoicke – United Bible Studies

8. Witchfinder General Soundtrack - Paul Ferris

9. The Book of the Lost - The Rowan Amber Mill and Emily Jones

10. Aonaran –Richard Moult

Tom Sandford:

1. Ian Skelly – Cut From A Star 

2. Grant Hart – The Argument 

3. The Kingsbury Manx – Bronze Age 

4. Moby – Innocents 

5. Neils Children – Dimly Lit 

6. Pissed Jeans – Honeys 

7. Wire – Change Becomes Us 

8. My Bloody Valentine – mbv 

9. Queens of the Stone Age – Like Clockwork 

10. Paper Kites – States

Chris Sherman:

1. Svenska Kaputt - Svenska Kaputt

2. Wolf People - Fain

3. Me and My Kites - Like A Dream Back Then

4. Jacco Gardner - Cabinet of Curiosities

5. Kiki Pau - Pines

6. Mazzy Star - Seasons of Your Day

7. Elephant Stone - Elephant Stone

Jason Simpson:

1. Teeth of the Sea - Master

2. Factory Floor - Factory Floor

3. V.A. - The Outer Church compilation

4. Low - The Invisible Way

5. The Stranger - Watching Dead Empires In Decay

6. Emptyset - Recur

7. The Haxan Cloak - Excavations

8. I Am The Lake Of Fire - I Am The Lake Of Fire

9. The Soulless Party - Tales From The Black Meadow

10. Hacker Farm - UHF

Amanda Votta:

1. Mark Lanegan and Duke Garwood – Black Pudding 

2. Mazzy Star – Seasons of Your Day 

3. Stone Breath – Spear of Flame, Horse of Air 

4. Mick Harvey – Four (Acts of Love) 

5. Broadcast - Berberian Sound Studio 

6. Albatwitch – Only Dead Birds Sing Over the Graves of Forgotten Kings 

7. Mark Kozelek & Desertshore – Mark Kozelek & Desertshore 

8. Crime & The City Solution – American Twilight 

9. The Dirtbombs – Ooey Gooey Chewy Ka-Blooey! 

10. Beastmilk – Climax

Neil Young "Live at the Cellar Door" Review

Reviewed by Chris Sherman

The latest volume of the perpetually in the making (and perpetually delayed) Neil Young Archives Series has been released, and it is quite the chapter in Young’s long and storied career. Labeled as volume 2.5 in the performance series, this was seemingly discovered after the release of the Archives Volume 1 box a few years back, and hence the odd numbering (which allows this to stay chronological, and sit between 1970’s Fillmore and 1971’s Massey Hall shows in the series). As a quick aside, I am coincidentally reading the Young biography Shakey at the moment, and he is quoted as saying that the archives series is meant to show “how scared I was and how great I was[…]show the real picture, not a product. Everything [will be there]- the good, the bad, the ugly…” I find this quite interesting on many levels, particularly as someone who owns everything that has been released so far in the series. Besides the haphazard nature of the archives project, it seems there is censoring happening, what with many key album tracks being left off the main box, and his resistance to release material from the 73-74 ditch trilogy era. That said, this is not to impugn his vision and the nature of this massive project; we should be lucky that anything is coming out, but that quote stuck with me since this set is a compilation rather than one full show, and it seemed poignant to mention here.
Live at the Cellar Door was recorded during a six-show stand at Washington DC’s Cellar Door club between November 30 and December 6, 1970, which would be the first performances after the release of After the Gold Rush. Featuring the live debut of many of the songs on the set list, this series of shows was merely a warm-up for a pair of high profile gigs at Carnegie Hall in New York a few days later. From what I understand, the Cellar Door was a tiny club, and immediately, the listener will gather not only the warm ambiance of the venue, but the intimacy of the performances; it feels like Neil is playing in your home for you. I love the readings of the material here, and right off the bat, prefer “Tell Me Why” to the familiar LP version; the absence of harmony vocals (and key change) actually alters the song for the better. Likewise for “Only Love Can Break Your Heart”, “Old Man” and “Birds.”
Throughout the set, Neil juggles between an acoustic guitar and a piano, the latter on which an interesting rendition of “Cinnamon Girl” is played, although this arrangement would soon be abandoned from his set, probably for the best. “Expecting To Fly”, while choppy at the start, finds its way and Neil manages to bring out the delicate emotion that the symphony somehow subtracts from on the album version. “See the Sky About To Rain” is also notable as it would be another four years before properly recorded for release. “Don’t Let It Bring You Down” has always been my favorite Young song, and this performance does not disappoint in any way. The closing song though might stand as what has kept me coming back to this show. While never the biggest Buffalo Springfield fan, Neil’s contributions to their albums were the high points, but unfortunately, the vocals would typically be sung by others in that group (“Clancy”, “On the Way Home” etc.). With that, getting to hear his voice on this restrained version of “Flying On The Ground is Wrong” (which has an extended introduction here where it is explained that it is a grass song) is beyond rewarding. One wonders if it was merely turned into a more upbeat “pop song” because of the nature of that group and the times, as this solo piano rendition suits it way more, and it would not be out of place on, say Harvest.
Now, I know what you’re thinking- another solo acoustic set? Where does this rank with the others, because not everyone can be a completest..? Good question! Live at Canterbury House ’68 is an inexperienced Young playing mostly Buffalo Springfield cuts and a few new songs from his debut LP, with silly audience banter between; this is his solo beginnings and it shows. Live at Riverboat ’69 picks right up where that leaves off, albeit slightly more polished, drawing from similar material. Massey Hall is Young at his solo peak- a lengthy set list, drawing on four albums plus Springfield material, most of which would subsequently be briefly retired as he went on the Stray Gators and then the Santa Monica Flyers tours in ’73, and then the disastrous CSNY reunion tour in ’74. It is played in front of a greatly enthusiast and appreciative Toronto audience watching their native son, and it is here his confidence shows; Young captivates the audience and is more than just a performer. As awesome as that is, I think Cellar Door gains the edge, due to the intimacy between performer and crowd and the relative freshness of the songs (although I am not a fan of using the best takes from each night- I prefer a full night’s performance, warts and all, as Neil alluded to wanting once upon a time…). Anyhow, let’s hope that the series continues to move forward and more treasures are released, such as this album!

Available here on CD and vinyl.
 

Wolf People "When The Fire is Dead in the Grate" Review

Reviewed by Chris Sherman

The new EP "When the Fire Is Dead In Grate" from Wolf People comes on the heels of their successful and highly praised 2013 LP "Fain". The EP is named after the song of the same title, which is the opening track here. For those unfamiliar with it, “Grate” is one of the standout songs from Fain; as I noted earlier this year in a review of their live show, it is “a cornucopia full of heavy riffery that had heads bobbing and made this guitarist just want to go home and practice his chops”. A band that loves the quiet/ loud dynamics, this effect is used exquisitely here, with a heavy opening riff followed by gentle guitar strums under softly sung vocals. The real treat though is in the coda, where the band gets into a funky yet propelling groove not unlike something one of their idols Mecki Mark Men might have utilized in their time, with a slithery guitar workout building, leading to a reprise of the intro riff.
The new material here is what the fans will come for, and these aren’t just typical b-sides. In fact, I want to venture the guess that these are completely brand new recordings and not leftovers from the LP sessions, as there is a slight difference in the sound of these recordings (then again, one can do quite the job while mixing). With that in mind, “All Returns Part 2” picks up right where the first one leaves off (try playing them back to back!), as the original’s fade-out fades back up over a loose groove. This quickly picks up in tempo though, as the drums begin to race, and we are treated to a vaguely Dungen-esque portion before coming to an abrupt halt.
The final song, “Become the Ground”, begins as a tender acoustic ballad before changing gears and an electric guitar call and response battle begins. I am particularly fond of this one, in that it reminds me of Wolf People’s first proper LP Steeple, yet in an evolutionary way, which is something all good bands should be striving for. A nifty little EP for both new listeners and their established fan base alike.

12" Vinyl Available Here.
 
You can stream the whole E.P through the Soundcloud embed below - please hit refresh if not visible.

Robert Wyatt '68 Review

Reviewed by Chris Sherman (Sky Picnic)

Earlier this fall saw the release of Canterbury prog rock legend Robert Wyatt’s album ’68, a series of demos and previously thought lost recordings he made (mostly) solo in the fall of 1968 in America. This of course occurred after the Soft Machine toured as openers for the Jimi Hendrix Experience and briefly disbanded (re-uniting early in 1969 Kevin Ayers-less). Wyatt spent this alone time getting these songs committed to tape.
As with all archival releases, there tends to be some unpolished portions and a slightly rougher sound, but really, that is part of the charm; albums as such are what keeps the thirst us hardcore fans have for alternate takes and demos satiated. What we have on this album shows just how talented the multi-instrumental Wyatt was. To me, he was the Soft Machine, and upon leaving the group, their subsequent output was spotty at most. In all honesty, one could even argue this change happened around the time of their masterpiece double LP Third, as by 1971’s Fourth, Robert was no longer singing nor composing for the Softs. But that’s a discussion for another time…
Opening up this collection is the organ- centric “Chelsa”, a song that would be developed further a few years later on the first Matching Mole album. This leads to “Rivmic Melodies”, as most would recognize as the basis for side one of Soft Machine’s Volume Two. The first minute or so could actually pass as the final version (I guess Robert played piano on the master as well?), before the “Precise British Alphabet” section deviates into a “meandering British alphabet”, full of free form alphabet reciting over a series of drum patterns and fills. Quintessential Wyatt. From there, he begins singing in mostly broken Spanish as a piano melody re-enters, before returning to more familiar grounds of “Hulloder” and “Dada Was Here”. This builds into some casual, yet frantic, jam territory, before returning to a calmer lyrical coda that winds this piece down. Pay special attention to the thank you message in said lyrics to Jimi and the rest of the Experience for the exposure the Softs received on tour.
Speaking of Mr. Hendrix, he contributes the bass part to the bouncy “Slow Walkin Talk”. It definitely has the feel of something he helped inspire, with a swinging shuffle tempo, and a rather straightforward lyric. Rounding this out is “Moon In June”, which is widely considered Robert’s masterpiece Soft Machine composition. It is already in a finalized form here, albeit much slower, although I almost prefer the barren looseness of this take (note: for the ultimate version, please check out the BBC Radio 67-71 album). Already in place are the stream-of-conscious lyrics and now it all makes sense when he gets to the New York state lyrics (the site of this demo recording). The first section continues its build before reaching an appearance by the full band (Ratledge on organ and Hopper on bass) performing the second section with tight precision for an early take (also, listen closely and you can hear where perhaps the Crimson guys got their inspiration from, or is it just me?), and then crescendos before dropping to the spacy final section.
All in all, a great album, although for those unfamiliar with Wyatt’s work, I am not sure I would make this my starting place. But having this added to his legendary body of work is quite the treat and something for both SM and Wyatt fans to cherish.

Available on CD, Vinyl, or digital.

Wolf People Gig Review Oct. 11, 2013 - New York

Wolf People
The Knitting Factory, Brooklyn, NY
October 11, 2013

Reviewed by Chris Sherman (Sky Picnic) 


I don’t recall the exact chain of events that led me to the discovery of Wolf People in the autumn of 2010.  I’d like to think of it as a happy accident though, as the Steeple LP became a permanent fixture on my turntable.  Their brand of progressive folk, with narratives that sit well alongside dark stories straight out of ancient British novels, is exquisitely classic sounding; it is full of warmth, rather welcoming and oddly comforting, which is contrasted by heavy passages that keep the listener on edge.  Earlier this year, the band released their latest Fain, which picks up where the previous left off, but adding a more fully realized sound to their cannon, and by far one of the top releases of 2013.

On Friday night I was lucky enough to see them live at their first ever United States gig.   Over the course of nearly 70 minutes, we heard about half of each of their full-lengths; the crowd loved every second, and the band did not disappoint, despite this being the first night of the tour.  “I though New Yorkers were supposed to be loud.  You have a reputation as such, but are quite the opposite” Jack Sharp (vocals/ guitar) jokingly remarked at the head of their set.  From there the band launched into “Silbury Sands,” the lead track off Steeple, and upon its conclusion, immediately led to a chorus of cheers.  Personal favorite “When the Fire is Dead In the Grate” followed; it a cornucopia full of heavy riffery that had heads bobbing and made this guitarist just want to go home and practice his chops.  Single “All Returns” was played with such perfection one would assume it had been part of their set list for years. 
The band then tore through two songs from Steeple, and, this is probably as good a time as any to mention that the renditions played Friday from it absolutely bested their studio counterparts.  These guys took those pieces to another level, especially evident in what I would consider the standout from the set, “Morning Born”/ “Cromlech”.  The guitar solos by Joe Hollick in the jammier sections not only were extremely tight and mind blowing, they also sounded top notch, running through a vintage Fender cabinet and a series of effects pedals that particularly had my ear all evening.
With the close of the main set, the crowd was able to bring Wolf People back out for a quick encore, and the playing of “NRR”, which was the perfect conclusion to the evening, and a sort of summary of the events that just transpired.  I was able to chat up both Jack and Dan after the set.  They are extremely excited to be in the United States (their first time ever leaving Europe) and were quite pleased with the show and the crowd.  Unfortunately, this is a only quick two-week blast of shows through the eastern portion of the States only, and then it’s back to day jobs and life in the UK.  But for the time being, catch Wolf People should they hit your town, as enough cannot be said about their live show.

Setlist:

Silbury Sands
When the Fire Is Dead in the Grate
All Returns
Tiny Circle
Castle Keep
Athol
Morning Born
Cromlech
Hesperus
One By One From Dorney Reach

Encore:
 
NRR

Svenska Kaputt "Self Titled" Review

Reviewed by Chris Sherman

Svenska Kaputt’s self-titled debut album is the type of record it seems like nobody is making anymore. A jazz fusion record that takes Soft Machine's "4" and Miles Davis' "Bitches Brew", mixes that with the vibes of the Subliminal Records catalog, and funnels it out into more accessible sounds (ie- no LP side long songs/ jams) in 2013? As soon as I heard about this release, I did anything possible to find a copy, and this does not disappoint.
For those not versed in this psychedelic jazz fusion hybrid yet, this is a great entry point because, as mentioned earlier, the “accessibility” of this is partly due to half of Dungen being present (Reine Fiske and Johan Holmegard). The collective also features jazz vets Jonas Kullhammar and Torbjörn Zetterberg. These are four highly skilled players on their own accord, but as they begin to gel here and things open up, the results of the unit are hypnotic. Interestingly enough, the first few minutes of the LP sound like something from Floyd’s Pompeii, with haunting piano melodies and ethereal guitar effects creating an oddly familiar landscape. Once the band kicks in, and the saxophone takes over, shades of Impulse era John Coltrane come to the fore.
Side two kicks off with “Over Surnadal”, featuring fuzzed out bass, light percussion, subtle guitar textures and a sax lead, and is more of something you’d expect from the early 70’s King Crimson songbook than from something in the jazz realm. Great stuff here! “Syster Per” is the standout, with the melody stuck in my head for a few days after each subsequent listening.
Seek this one out if you can (the LP is a beautiful brown colored pressing in a really nice gatefold , but the pressing is super limited so act immediately), and hope that they play near you, because, if their studio recordings are any indication, I am positive Svenska Kaputt live shows must kill.

Available on CD, and vinyl.
 

Me & My Kites "Like a Dream Back Then" Review

Reviewed by Chris Sherman

The debut album by Me And My Kites, a new collective of Swedish musicians (notably, AnnaMy, Lisa Isaksson (Lisa O Piu), Mattias Gustavsson (Dungen/ Life on Earth)) led by David Svedmyr, has just been released via AAO.  While the download is readily available, the LP has been eluding me for the last few weeks, so good luck on your hunt for the time being! 
The band is named after Fuchsia’s 1971 underrated classic song of the same name, and that’s a great point of reference on this LP, and it would also sit along nicely with Kevin Ayers “Joy of a Toy”.  The songs are mostly acoustic based, with flutes and piano contributing lovely melodies, and mellotrons adding a darker atmosphere to the mostly breezy elements.  Overall, there is a very loose and dreamy feel here, and this is seemingly something that could be the soundtrack to your summer, perfect for those lazy days outside in the open. 
Opener “Back When I Came” begins in a grand sweeping fashion, before it dissolves into an early Floyd swirling organ freak-out with sounds floating in and out of the aural spectrum.  This segues right into the single “Was It Like A Dream”, sung by (I believe) the amazing Isaksson.  For me, the LP highlight might be “Caravello Parallelo”, with a winding groove of a bass, saxophone melodies and a beautiful Gilmour-esque lead guitar.
Again, this is well crafted psych folk and everything melts together, forming a lovely soundscape that you keep wanting to return to.  I really hope that this is not a one-off release, as I would love to hear more by these guys.

Editors note : there was a bit of competition to review this album as both Chris and myself totally flipped when we first heard it - couldn't agree more with everything Chris has to say here, and I also fully recommend that you check these guys out. A very special album.
Check out their facebook page here for music and links.

Chris Sherman "Sandalwood Haze" Review

Reviewed by Nathan Ford

Sky Picnic have been navigating their way through the murky depths of Floydian psychedelic space-rock for a few years now, with increasing dividends over the last few years with two excellent LPs, "Farther In This Fairytale" (reviewed here) and "Paint Me a Dream" (you guessed it, here).
What then to expect from the more sparse offerings that a solo offshoot project would presumably entail? Especially from someone who seems to be such a dominant force in their dayjob band - surely there's the potential here for this to just sound like a bunch of Sky Picnic demos?
Well doubters, no need to worry on that count. "Sandalwood Haze", despite the almost constant presence of Sherman's very distinctive set of pipes, is a very different beast indeed, and doesn't suffer from the samey one dimensional nature one sometimes finds in solo recordings. The key to this is Sherman's mastery of a number of instruments, making this a much more varied selection of songs than you'd expect, especially considering the absence of any form of rhythm section for the most part.
Opener "Time Must Have Stopped" is the most straightforward track here, and shows Sherman's much hinted at Donovan influence more strongly than anything we've heard from him yet - a gentle psychedelic folk song with a strong melody, and a graceful sitar accompaniment weaving in and out. Don couldn't have done it better himself (and hasn't for quite some time, sadly).
The concise "Swirling Thoughts" admittedly starts off sounding a little demoish, but before you've had time to register this fact properly, it's lifted by a gentle tabla beat and some of the most glorious mellotron you're likely to hear this year - mellotron which you'll be glad to hear doesn't back off for the duration of the E.P.
The title track starts off with a majestic mellotron flute theme before Sherman's voice enters, layered with so much reverb that you'd swear you were alone in an empty church with him. This is the proggiest track here, but not any of this 'tricky time signatures, fit in as many notes as you can prog', nope. This is prog how it used to be done, pretty much exclusively in England, and only for the briefest time before everyone wanted to be Keith Emerson. Think the quiet pastoral bits of "In The Court of the Crimson King" and you're on the right page.
And what's this for the final track "Preponderance of the Great"? A piano and mellotron infused instrumental with a church bell intro? You have been studying your Deram / Vertigo songbook very closely Mr Sherman, and good thing too.
Top stuff then, the only problem being I'd like more please. If you write any other songs that don't fit the Sky Picnic mould a similar treatment would be much appreciated thanks.
A neat little E.P that manages the difficult task of showcasing the diversity that Chris has to offer, while also demonstrating clearly what the rhythm section of Leah Cinnamon and Pete Merriwether bring to Sky Picnic. A pretty neat trick.
And it can be yours for a price of your choosing via the Bandcamp link below. Splash out.

Sky Picnic's Chris Sherman Releases "Sandalwood Haze" Solo E.P

Sky Picnic frontman and sometimes Active Listener scribe Chris Sherman has released his first solo E.P. I'll have a review for it up here shortly. It's a name your price Bandcamp download, so there's no excuse for not checking it out! I'm sure a few dollars wouldn't go astray if you have them to spare either though.

Here's what Chris had to say about it : " I’ve written and recorded a solo EP that will be released this week, simply under my name due to a lack of thinking of a creative faux band to operate as.  It’s titled Sandalwood Haze and it’s a bit of a departure from what you might be expecting.  Three-fourths of the songs are deeply rooted in psychedelic folk sounds, while the closing track comes from my flirtation with writing film music.
In many ways, these songs can be seen as compliments to Sky Picnic’s output, as all of these (minus one) were written during sessions for the Paint Me A Dream LP, but just don’t really fit in with that scene.  Hence the solo EP release, as I am a believer in no good song being left behind.
All of these were recorded solo in my studio (using only 4 tracks at most!), and featuring acoustic guitar, sitar, tabla, Mellotron and vocals run through my Klemt Echolette.  These are by no means meant to be “high fidelity.”  The process was very therapeutic in many ways, and really just an exercise in writing and recording on my own.  Leah worked her artwork magic as usual and did provide some guidance.
Enough babbling.  Check it out.  I’ve made it pay what you like, as it’s just about the music and the love.  Do promise if you download it for free to spread the word about Sky Picnic!"

Spanish Moss "Kelp" Review

Reviewed By Chris Sherman

The Spanish Moss (based out of Santa Cruz, CA) have released a killer debut EP "Kelp".
Opener “Fuzz Puzzle”, which rather appropriately begins with a fuzzed guitar riff, is a winding and epic masterpiece, featuring echoey distorted vocals over a heavy rhythm section.
“Chemical Catherine” continues where that leaves off, again, with heavy fuzzed riffage that brings to mind Sun Dial’s masterpiece "Other Way Out" crossed with Sabbath’s Vol 4.
“Vril Loop” is a backward soundscape not unlike early Stone Roses that acts as a nice little interlude. If I may take the time to mention at this point that I heard this digitally, and can only begin to imagine how glorious this sounds on vinyl (which is available still according to their webpage).
The cover conjures up the exact mental image I was getting from these songs, focusing on the darker purplish end of the spectrum.
“Witch Rings” (which featured on one of the earliest Active Listener samplers) contains one of hardest rocking moments on the EP when the chorus switches to overdrive in both tempo and tone, which segues nicely into dreamy atmospherics.
Instrumental album closer “Catherine’s Last Trip” begins with a tamboura drone that sets the mood for the heavy raga rock feel of the piece, where the guitar feels like it was transposed from a sitar line.
Drop in, drone out indeed.

The Amazing "Gentle Stream" Review

Reviewed by Chris Sherman

One of the best bands currently making music is The Amazing. Their second tour of the States just wrapped up, and I caught the final gig in New York (reviewed here). The gig inspired this review of their latest LP, "Gentle Stream", which was easily my favorite album of 2011. (I pre-ordered the Swedish Subliminal Sounds pressing, so I have had the album for a year and change at this point. In October, the LP was officially released stateside via Partisan Records.)
With the first seconds of opener "Gentle Stream", you already know you’re in for something special; an acoustic guitar and etheal keyboard open proceedings, with Reine Fiske (also a member of fellow Swedish psych-rockers Dungen) adding tasty, colorful licks that echo out of the speaker. A restrained drum groove enters and brings some momentum to the piece and once singer/ guitarist Christoffer Gunrup finally begins to sing, you feel a certain familiarity and a comforting sensation overtake you. From there, things move into a folkier direction, with hints of "White Album" Beatles abound, particularly in “Flashlight”, with a beautiful flute part taking center stage, and “The Fog”.
Side two opens with single “Gone”, (the most upbeat tune here), with its toe tapping beat and catchy chorus (although, what Gunrup is singing is beyond me, but in a good way of course) and then the laid back pacing of an early Neil Young/ Stray Gators-esque piece follows on “Dogs”, with a ripping Fiske solo in the coda section. From there, the record shifts back to the dreamy and ethereal, and album closer “When the Colours Change” stands as my favorite Amazing song. Soaked in strings and female vocals in the chorus, one is ready to float away with the colours as this epic number brings the album to a stunning conclusion. The U.S. 2012 version features a bonus cut here, titled “Ghosts”, which, if placed elsewhere besides last (perhaps last on side 1?) generously adds to the LP.
Please do yourself a favor and listen with headphones on to pick up on all the subtleties in the music and be sure to seek out their 2009 debut and 2010 "Wait For the Light to Come" EP if you dig what you hear. I cannot say enough about these guys!

The Amazing @ The Mercury Lounge Gig Review

Review & Photos by Chris Sherman

The Amazing
Mercury Lounge, New York, NY
January 25, 2013

The Amazing are one of my current musical fascinations; an all-star band of sorts (comprised of members of Dungen and Life on Earth), but not in the “super group” sort of way, and the name essentially says it all.  The band has two LP’s and an EP out via the Subliminal (Sweden) label, and they seem to slowly but surely be gaining steam in America, especially after an appearance on the Late Show with David Letterman last week.  I was lucky enough to have caught them last night at Mercury Lounge in New York City, and it was a treat to say the least.

I attended the show with some first timers (this was the third time I have seen the Amazing) and we were all blown away at the sheer beauty and intensity of the performances.  Frontman Christoffer Gunrup warned us of a “throat condition” currently inflicting him, but it would not end up detracting from his vocals in any discernible way.  With that, the quintet launch into a surprising opener of “Head Beaches” from 2010’s “Wait For  A Light to Come EP” (I say surprising in the sense that this is the first time I was privileged to hear this live, and this would thankfully be a reoccurring theme over the course of the set).  The music enveloped the near capacity crowd with its echoes of psychedelic folk and gentle majesty.  Lead guitarist Reine Fiske was locked in and shredded as he normally does, but also played with the restraint required in quieter passages. 
The band also has one of the new digital Mellotrons (the M4000D) that was played by both Fredrik Swahn and Alexis Benson, who rotate between bass, acoustic and ‘tron.  The strings/ flutes/ choir sounds added tremendously to the overall soundscapes, creating a richness that rivaled the layering you’d expect on an LP.  Previously, I had seen the band with a flautist as well, who added a touch that might have been missing last night, but didn’t cause the music to suffer.  I’d also like to make mention of drummer Moussa Fadera.  The man was putting on a clinic, and as a former drummer, I always take pleasure in geeking out to elaborate and well placed fills.

The set was obviously heavy on material from the latest release “Gentle Stream”, all of which destroyed their respective studio counterparts.  Of particular note was current single “Gone”, which had the crowd grooving and “Flashlight”, where the flute Mellotron effects overtake everything and send you to a surreal atmosphere further heightened by Reine’s guitar licks.  My personal highlight was favorite Amazing song and set closer “When the Colours Change”.  Epic doesn’t even begin to describe this one.  One got the vibe they were feeling it and the play off of each other was mesmerizing.
I was able to chat with Reine after the performance and, music gear nerd talk aside, he said that the band was “particularly feeling it tonight, and played a super tight set.”  When asked when the band would be back, I was told “hopefully summer, but we’ll see.”  The tour appears to have been a successful one, and the guys are off to their homeland today.  And with that, one of the best bands today made a great Friday even better. This definitely takes the top spot for shows of theirs I have seen. If they hit your town at any point, I cannot speak highly enough about them.  (LP review coming soon).

Full setlist as follows:
Head Beaches
Deportation Day
Dogs
The Fog
Gentle Stream
Flashlight
Gone
When the Colours Change
 
http://www.theamazing.se/



 Check out "Gentle Stream" from this show here: