Fuchsia - The Girl From Kandahar (Free Track Stream!)

Progressive Folk Rockers Fuchsia release their first record for 40 years next month (June 10th) and have just announced a free track stream for the song Girl From Kandahar. Talking of the track, band leader Tony Durrant said;

“I wandered past a news agents and something caught my eye in the window, a photo of a girl. But something about the photo, something I could not quite process, drew my attention to it. Something not quite right. As I got closer I noticed the 'Time Magazine' header, and then I suddenly drew back, as I saw what had caught my attention. It was this beautiful dark haired Afghani girl, who stared out proudly, but there was something strange about her, something I could not put my finger on. I moved closer to the shop window. Then I realised in shock what was wrong... where her nose should have been was a dark crater, a hole, a shadow . She was this poor girl who had defied what parental and tribal convention had decreed, much to the chagrin of her parents. And that was where the Taliban stepped in, slashing off her nose and her ears as a warning to others.

So there it was. The girl from Kandahar. What must life be like for a young girl like that? Where do you go? Who to talk to? What possesses people to do this sort of thing? And so the song tells the story of the innocent girl trapped in a system where there seems little hope of escape. How thin is this veneer of humanity and we all shy at the horrors of what people are capable of..”

Click here to listen to Fuchsia's The Girl From Kandahar.

Bananas Magazine - Issue #7 Out Now!

Get inky! Latest issue of New York 'zine will fulfill all your garage, punk & psych needs.


One of the most endearing facts about the garage rock scene is that although it's small, it's a dedicated, supportive, global community. The latest issue of Bananas Magazine is evidence of that. Issue #7 of the New York based garage 'zine has features on Spain's Purple Weekend Festival, Germany's Screaming Apple record label, Russian and Italian garage scenes, along with an excellent interview with Belgian artist Robin Renard.

There's also interviews with The Eeries (Philadelphia), The Othermen (NYC), The Thunderbeats (Moscow), Le Kid & Les Marinelli (Montreal), The High Learys (Perth), and The Mentalettes (all over the place). If that's not enough check out the vinyl-heavy reviews section for all that's hot in the garage punk scene right now.

Perhaps my favourite feature though is Todd's Tabs, a guitar tutorial which in this issue fittingly centres on '60s Swiss garage legends The Sevens. Hell, it makes me want to go and dust down my old Teisco right now!

Bananas Magazine is free where available, though if you can't find one in your local store just pay for the postage and order online from their website. Year old issues are available to read online too, whaddya waitin' for?!

www.bananasmag.com

Paul Messis - Case Closed

Garage folk for the disenfranchised. Second album from West Sussex based songwriter.

Fifty years after Jagger's dissatisfaction it appears there's still plenty of reasons for today's young man to feel distanced from wider mainstream society. Paul Messis' second album Case Closed is a case in point. Across the album's twelve tracks Messis lets the listener into his worldview, expressing, loneliness, alienation, disdain for society's hypocrisy, along with a defiant yearning for a freer, kinder, more open-minded world.

Messis has as much contempt for the mores of the modern world as he has for modern production values. Like his previous releases, Case Closed sounds like it it was recorded in the mid '60s, with Messis striving for and achieving a convincing take on his beloved Minnesota garage and Sunset Strip folk rock.

Messis sets his stall out from the off, “I Hate The World Around Me” has a stinging lyrical attack coupled with a frantic pace. It's the album's gentler, more melodic moments that work best though. “A Matter Of Opinion” and “The Tables Have Turned” being the strongest tunes, the latter further enhanced by a biting fuzz guitar solo.

Part Byrds' jangle, part Americans imitating the Stones circa 1965, and part C86 feyness, the resulting album is not your average garage rock re-hash, mainly due to Messis' abilities as an introspective singer songwriter. Though not a great vocalist, (a couple of vocal re-takes wouldn't have hurt), you do believe in him, there's a sincerity in his voice and lyrics which wins you over.

Once again the authentic attention to detail that State Records are getting a reputation for is present. Not only does the album have an impressively varied array of guitar tones, the limited LP version is on 180gram vinyl with a front-laminated flipback sleeve. Nice!

www.paulmessis.moonfruit.com

www.staterecs.com

The Baron Four - Yes I Do

Debut offering The Baron Four. Featuring ex-members of Thee Vicars and MFC Chicken. Limited edition 7” single from State Records.

Fast rising boutique garage label State Records are certainly not resting on their laurels. Following the well-received records by by the likes of Suzi Chunk, The Higher State, Paul Messis and more, the label are set to release a series of quickly recorded 7” singles, all recorded at their bespoke recording studio. Part One of the “Sandgate Sound Acetate” series is the debut 7” from The Baron Four. The band features ex-members of MFC Chicken and Thee Vicars, (who split last year following the tragic passing of guitarist Chris Langeland). Their sound somewhere between Star-Club era Beatles, The Milkshakes and The Kingsmen. It's a pleasing mix of fuzz and groove. Early Brit-rock meets US garage punk with a smidgeon of surf thrown in for good measure. A side “Yes I Do” is an uptempo rocker complete with screams and searing guitar solo. B-side “Girl” slows things down slightly, more groove based though no less engaging. Captured in gloriously punchy mono, and pressed on heavyweight vinyl, the single is limited to 500 copies so don't hang about!

www.facebook.com/thebaronfour

www.staterecs.com

Soft Hearted Scientists - False Lights

Fifth album from Cardiff's psych-pop social commentators.

Fans of Soft Hearted Scientists have had a great year so far. Not only has Fruits De Mer Records released a vinyl-only greatest hits set (sort of) called Whatever Happened To The Soft Hearted Scientists, there's also a brand new album, False Lights, out this month on the band's own Hip Replacement label.

Picking up nicely where previous album Wandermoon left off, False Lights sees the band hone their unique mix of gentle breezy psychedelia, music hall whimsy and oblique social commentary. Songwriter Nathan Hall's lyrics poke fun at modern mores and are at times funny, occasionally beguiling, but always memorable. His deadpan delivery doesn't mask the fact that he actually writes some rather ace and catchy tunes.

“Seeing” comes across as George Formby takes a trip, all wide-eyed wonderment and weird lyrical juxtapositions. This 21^st century music hall sound is further explored on “Turn The Tables” where IKEA comes in for some stick before the song's sing-a-long jaunty ending. “False Lights” is like Syd Barrett fronting Half Man Half Biscuit (what a band that would have been!) with its descending guitar lines and pithy lyrics.

The band are equally at home with a more textured, abstract sound, proving that behind the jocular satire there's some seriously good musicianship. Check out “Golgatha” with it's Pompei-era Floyd tempo and gently lysergic dreaminess and you'll see what I mean.

Elsewhere they cast a disarming sideways glance at house prices, the popular press, multinational corporations and much much more. There's even room for a nursery rhyme mixed with pokes at our lovely political leaders (“Seaside Sid And The Giant Squid”). Proof that in the right hands pop and politics do go together, and can still put a smile on your face.

www.softheartedscientists.com

Ulysses - Kill You Again

Pirates ahoy! Bath rockers plunder the lesser sung songbook (and the dressing-up box) to great effect!

Delving into rock's salad days for inspiration is of course nothing new. The Darkness were seemingly on the verge of world domination a few years back with their cheeky blend of Thin Lizzy riffs and Mercury-esque camp. Rather than taking their cues from such big-hitters, Bath-based quartet Ulysses have opted to dig a little deeper into rock's back pages for a sound that never tries to be cool, but is a lot more fun than what most current bands have to offer.

It's not difficult to guess what makes up their record collection, no doubt a healthy mix of low-rent glam, stompy powerpop and the catchier end of classic rock. There are echoes of Slade's Coz I Luv You, (on the opening chords of Oranges & Mary), Steppenwolf's The Pusher (on French/Japanese), and The Move's Flowers In The Rain (on L.O.V.E. Yeah) along with a cod-reggae section on the title track, worthy of Paul McCartney's Wings.

It's the Wings comparison that's most on the mark, the band's songs straddling the line between rock and pop, with a sense of fun that sometimes borders on endearingly daft, just like the ones Sir Macca used to write. Factor in some rather ace harmonies, the odd musical joke and and an off-the-wall dress sense and you've a recipe for something rather ace.

 What really makes the record is not their repackaging of rock's past into a fun present day version but the fact that they write really good, hook-laden tunes, along with grade-A killer lyrics. A few spins of this album and you'll be whistling/singing/humming them all week.

The band will be appearing at The International Pop Overthrow festival in Liverpool in May. It's a great indoors festival which takes place at the Cavern Club and Cavern pub, and a chance to catch loads of brilliant bands at a bargain price. Ulysses play on Saturday 18^th May. Do yourself a favour and go check them out. If you can't make it buy this album instead, it won't disappoint.

 www.ulyssestheband.com

Click over the jump for a couple of videos from Ulysses.

Way To Blue: The Songs Of Nick Drake

Live tribute album from a series of legacy concerts, curated by Drake's producer Joe Boyd. Features Vashti Bunyan, Robyn Hitchcock, Danny Thompson and more!

Tribute albums are quite often hit and miss affairs. The temptation for artists to make something new of a nigh-perfect back catalogue can occasionally result in startling re-interpretations. More often than not the results can do neither the original artist or the re-interpreting one any favours. Taking too much artistic license with tempo, mood, lyrics, or covering a song ironically being the worst crimes.

Thankfully there's no such heinous sins committed here. Way To Blue (The Songs Of Nick Drake) benefits from being put together with care and taste by Drake's producer Joe Boyd. Rather than giving each artist a song and letting them get on with it, this album benefits from being a live album. It's the culmination of a series of concerts that Boyd has staged globally over the last few years, the recordings here being edited highlights from nights in Melbourne and London.

By using a core group of musicians sympathetic to the nuances and valence of Drake's songs, along with vocalists that don't copy Drake's singing, the results show just what a fine songwriter Drake was. It's previously been difficult to imagine anyone tackling this songbook with any authority, such was Drake's ability as a performer of his own material. Somehow through Boyd and his carefully chosen team of musicians they've cracked it.

With the tempos largely unchanged and arrangements by both Drake's friend and arranger Robert Kirby, and the legendary cor anglais player Kate St. John, the cream of Drake's catalogue is both respectful towards the original versions as well as highlighting new possibilities. For songs thought of as quintessentially English, the re-interpretations surprisingly lend themselves to hints of Americana. Take for instance the gospel flavour of Krystle Warren's take on Time Has Told Me. Or the sad pedal steel and harmonica embellishments on Scott Matthews' impassioned version of Place To Be.

Scritti Politti's Green Gartside delivers a poignant version of Fruit Tree. Robyn Hitchcock proves himself again to be a skillful interpreter with his softly almost psych take on Parasite. Lulac's Zoe Rendell is one of the major revelations with her icy Things Behind The Sun. Drake's contemporary Vashti Bunyan adds her distinctive hushed vocals to a baroque version of Which Will, with strings and harmonium taking the place of Drake's intricate guitar. Underpinning many of the tracks is the familiar double bass of Danny Thompson who played on Drake's original recordings. On the instrumental version of One Of These Things First, Thompson really gets to shine, cementing his reputation as one of the finest musicians this country has produced.

On a personal note it would have been delightful if this album had included a version of Northern Sky, it being my favourite Nick Drake song. But there again there's always the hope of it appearing on a volume two. Until then this will do nicely. An album that's worth your money and then some.

Scott Walker - The Collection 1967-1970

A few years ago I was lucky enough to find original vinyl copies of Scott, Scott 2 and Scott 3 for 50p each at a local car boot sale. No Scott 4 unfortunately but hey not bad! The only downside to this pleasing purchase was the original owner had in true taken-to-the-school-disco style penned their name in biro on the sleeves. A minor quibble admittedly, especially as the music on all three discs remains so good.


With that in mind it's pleasing to hear that Universal are re-issuing Scott Walker's first five solo releases in a lovingly packaged box set. It's released on June 3rd. If you'd like to read the press release click over the jump.

Click over the jump for more on Scott Walker:The Collection 1967-1970

The Big Eyes Family Players And Friends - Folk Songs II

Stellar modern readings of traditional English, Scottish and Irish folk songs. Featuring James Yorkston, Heather Ditch, Alasdair Roberts, Nancy Elizabeth and more!

Currently residing in Sheffield, The Big Eyes Family Players are loose collective centred around James Green and his favoured core group of musicians. They evolved from Green's previous Big Eyes project. In 2009 they released Folk Songs,

a collection of old English, Scottish and Irish folk tunes. Three years on and they're releasing Folk Songs II, having drafted in a number of their favourite singers to choose songs and sing on the record. Too often folk albums are staid and boring affairs but this album has a freshness about it, enough to re-ignite even the most jaded folkie's love of traditional song.

The songs themselves are proof of the rich folklore of these islands, countries which have spawned music as mysterious and enticing as any incense filled eastern temple. If that wasn't enough the treatments of these songs is truly something special and despite the revolving door of vocalists flows well as a collection. It's also a timely reminder that there's more to our national identity than petty football rivalries, TV soaps, and our love/hate relationship with the tabloid press. It's difficult not to be stirred by these songs, such is their deep resonance. The arrangements are irreverent and sprawling and as such infuse the songs with the spirit and life they deserve.

Take for example Greenland Bound, a whaling ballad sung here by Adrian Crowley. Its tale of loneliness, hard work, danger and isolation from family and friends is lent weight by the addition of distant whistling. Mary Hampton and Sharron Kraus double up for vocals on A Man Indeed, a song derived from an old English rhyme called Sandy Dawe to which they've written a new melody. Fans of the original 1973 film The Wicker Man (and who isn't!?) will love this track, along with pretty much everything else on the album.

The record hits its stride with Looly, Looly a beautiful and beguilingly catchy song featuring James Yorkston on vocals. Its arrangement features an intoxicating blend of instruments including glockenspiel, slide guitar, viola and harmoniflute. Heather Ditch then sings The Clyde Water, perhaps the most radio-friendly track here, complete with a psychedelic synth break worthy of any mid-'60s acid band.

For my mind the album highlight however is The Coast O' Spain, a Scottish travelling song sung here by Alasdair Roberts. It's melody is beautiful enough in itself but with the gloriously clangy guitar backing, along with backing vocals from from Green and Heather Ditch it becomes a truly spectacular reading. Lack of space stops me from mentioning the rest of the album but there's not a bad track among them. Other vocalists include Nancy Elizabeth, James William Hindle, Elle Osbourne and James Green himself.

The album closes with a rendition of a baudy Irish song called Maureen From Gippursland, which marks Alasdair Roberts' second lead vocal, complete with industrial power tool noises at a particular point in the song. For my money there's unlikely to be a finer traditional folk album this year. It's available as a standard 12 track album and also as a special limited edition containing an extra 3 tracks and postcards. Well worth looking out for.

Click here for the Big Eyes' website.

The Soul Rebels Brass Band - Unlock Your Mind

Up on the floor for some good times, it's party time New Orleans style.

“I've been searching for the young soul rebels, I can't find them anywhere, where have you hidden them?” That was the impassioned question posed by Kevin Rowland on the first Dexy's Midnight Runners album Searching For The Young Soul Rebels. Well Kevin, it would appear that they're alive and well and have been honing their craft in a New Orleans brass band for the best part of twenty years. Brass bands of course being a completely different thing in America. 

Over here the associations are Hovis bread, coal-mining, ice creams and deck chairs in municipal parks on a Sunday afternoon. In America, or more specifically New Orleans, brass bands developed through the jazz tradition, the emphasis being more about dance rhythms and partying. And like a well cooked Louisiana gumbo, on this release there are a few other ingredients thrown into the mix, such as soul, rap, funk, and the quintessentially New Orleans tradition of second line and jazz funerals.

Several albums into their career The Soul Rebels Brass Band unleash their latest entitled Unlock Your Mind. Knowingly or not it's very title references the Funkadelic maxim of “free your mind and your ass will follow” meaning this is not a record to be taken sitting down. Resolutely upbeat in mood, the album comprises for the most part of original tracks though there are a couple of fine covers; an inspired version of Eurhythmics' “Sweet Dreams Are Made Of This”, and an instrumental interpretation of Stevie Wonder's “Living In The City”.

Album opener “504” is a reference to the New Orleans telephone area code, which was on its way to becoming obsolete but was reinstated in several communities post hurricane Katrina. Urging the listener to “get up on the floor and enjoy yourself”. The party vibe continues throughout, most notably on the rap driven tracks “We Gon' Take Your Body” and “Showtime”.

The title track is a gently comforting soul/reggae groove complete with a pleading soul vocal which sits nicely at odds with the faster pace of the rest of the album. The band recently toured the UK and judging by the YouTube footage it looks as if the stage is where they truly shine.

New Orleans has taken a physical and psychological battering in recent times as a result of hurricanes and the global economic downturn but judging by this album optimism and fun are still high up on the agenda way down south.

Click here for The Soul Rebels Brass Band website.