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Review + Q&A: 10-20 Project – Snakes Go Dark To Soak In The Sun (2023, Echodelick Records/We Here Now Records/Worst Bassist Records/The Weird Beard)

Music is a universal language, but to speak it anywhere universally is a different thing. For 10-20 Project to be a psychedelic jam unit in their country of Tunisia in Northern Africa is a complete world apart from any similar band in a regular city in Europe or North America. Even apart from the political turmoil in the country you can imagine this to be true.

For me music is just music most of the time, and especially these kind of instrumental jams. However, there is a completely different spirit haunting over 10-20 Project‘s sounds. More than anything I have heard this year so far this jam session called Snakes Go Dark To Soak In The Sun is a ritual celebration of pure unadulterated freedom. The use of saxophone and didgeridoo strengthens this ancient ritualistic feel, as if you were present at a wild shamanistic dance in the desert around a gigantic fire.

Playing the music they play does not feel like killing some time or shooting the shit, it feels like an act of rebellion, and a cry for freedom. Hell, even from my own Western safe haven I felt a bit more alive and free cranking Snakes Go Dark To Soak In The Sun at actual venue level volume through my speakers. Such is the power of imaginative improvisation, and 10-20 Project wield this power with expert skill and a deep, rich soul.

The sonic rebellion is here, joining is easy. Just find yourself a vinyl copy of this record, play it really loud, and sail freely through the endless desert.

I reached out to the band through the the boundless channels of the interweb and found 10-20 Project at their home in Monastir, a city on the central coast of Tunisia. I taked to bass player Dhia Eddine Mejrissi and he introduced me to the rest of the band consisting of Marwen Lazaar (Guitar), and Ismail Bnouni (Drums). Together they are “sonic rebels”, and if you want to know what that means I happily invite you to read on, my dear reader…

How are you? How has the pandemic period been for 10-20 Project? 

Hello, and Thanks for asking. We’re doing fine. I think the pandemic was manageable, we succeeded to survive. How does it affect the band ? For Rock music in Tunisia, with or without the pandemic, it’s nearly the same situation. 

Can you introduce yourself, how did you meet, etc? 

Well.. where to begin ? we are instrumental, DIY, free-form band that plays heavy psychedelic sounds. We change musicians so often.. But due to the fact that marwen and I are the core members, we take control about everything, the style has not changed, but the sound and emotions always depends on the musicians who are involved in recording or live concerts. Our Current line-up is : Marwen (Guitar), Ismail (Drums) and I, Dhia (Bass).

How did we met ? Since we live in Monastir, a small Town in in the central coast of Tunisia, everybody knows each other. We started playing together in 2009, in different bands and line-ups. 10-20 Project is a continuation of all this musical dynamics in 2018. We didn’t really start it with any ambition in mind, or… there was no plan. We wanted to do something different. To create something out of our confort zone when we came to a conclusion that structured songs are restricting and that’s just not how we like to play. 10-20 was born as a meme, all revolve aroud the way we perceive freedom, out of all kind of concepts, ideologies and constructive narratives . Just living the present and playing music the best way it reflects us instantly ,  we worship human imperfection and we FREAK OUT !! .. We have never been ones to abide by conventional styles or certain artistic norms.. we love to act like « Sonic Rebels »

What can you tell me about your musical backgrounds?

We are in the middle of our 30s now, so a lot of music… As teens we were lucky to witness the best era of Tunisian independant underground music in the 2000s.  Bands tried out all sorts of musical genres, moving the boundaries of what is considered underground, the frequency of concerts was acceptable. The scene was so real, resilient and decentralized. You know .. The notion of underground music is really diffrent in Third world countries ..
Marwen played in a heavy Metal band called Passchendael. I joined him at 2009, in a cover band called Stone Age, we tried a lot of Hendrix, Rory Gallagher. I think that era really shaped our musical growth. In 2013 we started another band Green Bottles Blues and we began experimenting with our own primitive sounds and recording it. Generally, our taste is eclectic. We share a lot in common regarding our musical taste, even I’m softer than marwen (laughs). It saved us a lot of grief in 10-20, all music is made by consensus. Maybe a lot of Blues/psychedelic rock from the ’60s and ’70s in our bags. In my opinion, there’s a lot of freedom and originality to the music that bands from these genres show us and no one does it quite like they do. The sounds and the ferocity they express have such a strong impact.

What does a regular day in your lives look like?

In Tunisia, no regular days. We have to improvise. 

What is the best thing about the new album?

Ammm.. The way it was done.

We came out from the lockdown with kind of sounds resonating in our mind like Snakes , it’s hard to explain it.. We just decided to play it and Sailing Stones asked us to film it We combined their visual background with our sonic know-how. 

 As a band we tried to give a psychedelic model of how things could be done collectively and independently from ashes, we gave all people involved a free space to contribute in our music the way they feel it. It was strange. It was an odd process, but at the same time, it was really creative. And I feel like it kept us a band, as a reference of what we can do and what we have to change…

So, It was an honest recording for us, It’s just kind of like… whatever happened. It was important to make like, not super cleaned up. It was really fast to put together. Do a quick mix, master. And it was done live..

Where do you live and how does it affect your music?

Well a lot of things have to be said here (laughs).

 Honestly, if we talk about the Rock music scene, it is now in clinical coma, it is practically non-existent. 

Last decade, it was an era of social and political instability. We witnessed how all kind of ideologies and constructive narratives turned into its opposite, producing violence, Frustrations, insecrurity, angst about the futur, dividing people and turning them into isolation. It’s deadly environment for co-operating things like rock music, and the scene has simply collapsed .. 

The lack of ressources too, has turned the scene into more cost effective solo projects and the underground music is more depending on Authority and Europeans Funds depriving it from an important amount of freedom, shaping how the music must be created.

 We’ve been upset about this situation, maybe accidentally we turned all these limitations into our own favors , into primitive sounds, loud music and manipulating feedbacks.. it’s like turning Hendrix into our own reality and environment. All these emotions are melt in our music. I don’t know, maybe a kind of nostalgia, not nostalgia for a past that was missing, but a nostalgia for the present, a nostalgia for there to be link to the past once again. 

We are stubborn, we’re doing things from ashes by our own terms and we hope we’re doing it well.

Who are some contemporary musical heroes of yours?

Hard question .. still active ? Earthless, Earth, Colour HazeSula Bassana (all the stuff), sharing music moments with him on stage was one of our best memories. Temple Fang was one of our best discoveries in 2022. Maybe something related to Tunisia, Pärson Sound, From Tunis to India in Full moon.

Can you tell me about how you went about composing and recording songs?

How we compose ? It’s all about emotions and flow. We’re not story tellers, we play above our heads.. Mostly it just one take and done. We just choose a key and we go through it, I keep the time and mark changes in modal themes for the fuzzy guitar of Marwen. And we feed off of eye contact in a certain way… kind of vintage psychedelia.. we have our tricks..
For recording.. old cheap gears, a mixing console, simple daw, with some eq, compressor, low cut etc… the usual stuff. 

What are your immediate and long term future plans?

We live day by day, We don’t have future plan. We’re excited about our first Vinyl and we’re happy our music has found its way into a bigger psychedelic family

What should the Weirdo Shrine reader do after reading this interview? 

To Take it easy but take it.

Review + Q&A: Mirror Revelations – Aura (2023, Little Cloud Recordings/Cardinal Fuzz)

As I am gazing at the gates of my fortieth year on this planet I have my own idea of what a mirror revelation could entail. Somehow your brain tricks yourself into being this godlike twenty-something creature, but the mirror always reveals the truth, warts and all. But what do Mexico’s duo Mirror Revelations know about that? They are still young and beautiful. And with a record like Aura in their pockets, life seems to beam a ray of heavenly sunshine in their faces.

That ray of sunlight does have to pierce through all kinds of tightly drawn up veils though, as Aura is not a shiny happy little record. It is a glowing beauty, but its shimmer is buried deep under layers of reverb, tape delay, and synth meddling. This is a band who loves their synthesizers and clearly know how to use them. Through their dark weaving and raving they create fuzzy gothic tinged wave pop, that will appeal to dancing darkies into Ladytron, Tuxedomoon, My Bloody Valentine, and Vive La Fete. All played with a psychedelic tropic twist though, so don’t be expecting any copycats lurking here.

Aura dances in the dark, blowing smoke in our faces, while we get lost in a hazy rainforest. It is a mystical, magical dream of a record, that you can play over an over again and discover new images in. Once again Mexico steps up psychedelically, and adds a glimpse of dreamy wonder to the table. Thanks Mirror Revelations, I needed this reflection of what psychedelica can still be in this day and age.

I talked to the dynamic duo of Mirror Revelations. They are Gabriela Alcalá and Alam Castillo. Together they live in Mexico where they weave dreams into songs. Their new album Aura is just on of the many reasons to want to get to know them.

How are you? How was the pandemic period for Mirror Revelations?

The pandemic period was tough for us. We both work independently so our income was affected. But we found time to create and, above all, reconnect with music that we had saved. 

Can you introduce the band, and how did you meet, etc?

Mirror Revelations is a never-ending journey, where we explore sounds and most importantly textures, and we absolutely love it. We talked a lot about what Mirror Revelations means to us and we both agree that we want to talk about topics that we’re really passionate about and that we think people would be interested in. However, we also want the sound to be open to interpretation when people listen to it. During the pandemic, Gaby was doing an online program about feminism in Mexico, and that’s when we started talking and realized we had a lot in common. Of course, one of those things was music, so we started creating together.

What can you tell me about your musical backgrounds?

I (Alam) studied percussion at the State of Mexico Music Conservatory, but honestly, I never felt very comfortable in any school. I always felt like a foreigner. So, I started studying Guitar and Keyboard on my own, and on those instruments, I began making very basic compositions. It wasn’t until I got to college that I was able to explore the vibraphone more and my teacher gave me the opportunity to present some pieces I had composed for that instrument. During this time, I realized that what I was most passionate about was creating music. So, again on my own, I started studying synthesis and music production. I played in bands as a drummer, bassist, and guitarist, but none of them lasted. I also started an electronic music project where noise and minimalism were the most important things to me. This project is still going, but I paused it when I started focusing on Mirror Revelations.

I (Gaby) studied digital art for a while, but like Alam, I always felt somewhat strange there, haha. I dropped out of that major and studied graphic design instead. In this major, I also discovered that I really enjoyed photography, so I specialized in that as well. “Fine art” photography is my favorite type, and it’s what we currently try to include on the covers of Mirror R. I also took courses in piano and bass, but I liked the synthesizer much more.

What does a regular day in your lives look like?

Our days are pretty normal, really. We like to meditate in the mornings, play with our cat Dorit, and have breakfast together. We start working and in the evening we get together again to watch movies, play some music, or just relax together.

What is the best thing about Aura?

The opportunity to express part of our journey, life, thoughts, and feelings through sounds.

What can you tell me about how you ended up with the Little Cloud label? 

We ended up with Little Cloud thanks to a great friend who recommended us to them! He shared our Bandcamp and from there we shared the album we had recorded, Little Cloud liked it and we started working together. They’re really great people and we’re very grateful and honored to belong to a record label where bands we admire also belong.

Where do you live and what is the environment like for musicians like you?

We live in Toluca, State of Mexico, very close to Mexico City. But actually, we were both born and raised in Mexico City. There aren’t many places to play music in Toluca, however, in Mexico City, there is a lot of diversity. We have loved meeting people who make incredible music, artists of all kinds who are doing great things.

Who are some contemporary musical heroes of yours?

Jim Jarmusch and his duo Sqürl

Concepción Huerta

Samuel Osorio from Sunset Images

Lorena and Beto from Lorelle Meets The Obsolete

Ripley Johnson from Moon Duo and Wooden Shjips

Victoria Legrand from Beach House

And so on!

Can you tell me about how you go about composing and recording songs?

Our way of composing is diverse. Sometimes it all starts with a phrase we like, an image, a philosophy or a general theme. Then we think about what sounds can evoke that theme, and usually, we compose the drums first. Another way is through jamming. We start playing and at some point, something may catch our attention, like a synth or guitar, a certain melodic line with the vocals. Our recording process is 100% home-based. Usually, we first record the drums and bass, then add synths and guitar, and finally, we add vocals if the song requires them.

What are your immediate and long term future plans?

The next thing for us is to play with Los Mundos in some states of our country. We have some gigs in our beloved Mexico City and, above all, we want to schedule dates to promote our first album “Aura.” We’re also finishing an EP that we want to feature some collaborations, and we’d love to save up to go play in the UK where we were invited next year.

What should the Weirdo Shrine reader do after reading this interview?

You should go listen to our latest tracks Ficción and Luvina

Review + Q&A: Loma Baja – Piscinas Verticales (2023, Spinda Records/Echodelick Records/Lay Bare Recordings/Clostridium Records)

Piscinas Verticales…take a good look at the picture above if your Spanish is a little rusty and you’ll get there too. You’ll be needing those wits, because the quirky title and artwork are only the start of this weird adventure you are about to embark on. Loma Baja is the name, and this Spanish collective of experienced noise mongers have made an effort to shake up all of their favorite musical styles and genres to appeal to the true adepts of the weird and avant-garde…and they succeeded gloriously.

I won’t be throwing around those genre tags or styles and spoil the surprise for you, but the fact Loma Baja listed the following artists as their influence speaks volumes in my book: Beak, True Widow, Breach, Black Midi, Liars, and Portishead to name only a few…I could add Tom Waits, Thom Yorke, Captain Beefheart, and Hey Colossus, but the list would still not be complete. It does give you an idea of the self-minded pioneership of these artists.

What we get then from this mixture is a distillation of the finest strain of musical creativity, bottled in years of hardworking band experience, and served with the craftsmanship of a skilled film director to completely pull you in as a listener, and only let you go after these 45 minutes are over.

The thing I like most about Loma Baja though, is that they don’t “try” to be different, weird, or “out there”. Their accumulative backgrounds and personalities just made them like this, forward thinking, staying far away from cliches and stylistic straight jackets.

It makes Piscinas Verticales into the the exciting adventure it is, because you never know what will happen next, and your (fixed) mindset and genre concepts are constantly challenged. If there were a prize for the album that fits most on this Weirdo Shrine internet space of mine, Loma Baja would win it hands down.

In line with their characteristic combined performance, Loma Baja also answers their questions with combined synchronicity, leaving room for the individual touch while ultimately remaining a strong collective. Here the story of the band as told by Víctor Teixeira (guitars), Pacomoto (bass, keyboard, vocals), Jorge García (synths, samplers, guitars, vocals), and Raúl Lorenzo (drums).

How are you? How was the pandemic period  for Loma Baja?

ALL: ”Hello! We are fine, at the moment we are aging correctly. First of all we want to thank you for giving us space in your blog.

VICTOR: For Loma_Baja it was the beginning of everything. Originally, the band was structured differently. During the lockdown, each of us contributed songs from our homes. When we finally managed to get together, we realized that things weren’t working out and decided to start from scratch, proposing ideas as a band. Raul’s entry was what set the direction of the band. It was his first time playing drums, although he had a lot of experience with other instruments. Jorge also took the opportunity to play synthesizers instead of guitar. I think these two elements are what best define Loma_Baja’s sound

PACO: Loma_Baja GOOD  Pandemic period BAD; still recovering.

RAUL: The pandemic hit me at the perfect age, 41 years old. I wouldn’t have liked to be locked up at home for three months at 16.

Can you introduce the band, and how did you meet, etc, ?

PACO: I’m the oldest but undoubtedly the most handsome guy in the band. I live near the mountains of Madrid and besides playing music with Loma_Baja, I’ve been playing bass with my bros from G.a.s. Drummers (punk rock from southern Spain) for almost 25 years. I also work as a TV producer (working for the enemy), but I love my Loma_Baja bandmates.

RAUL: I am the drummer, a friend, and a companion in a thousand adventures with Jorge since we were about 20 years old. One day in June 2021, Jorge asked me to join one of his bands to replace their original drummer. At that time, I had only been playing the drums for two or three months, but since the rest of the band were also old acquaintances and friends, I wasn’t afraid of the challenge.

VICTOR: I’ve played guitar all my life, and that’s what I do in Loma_Baja

JORGE: Synths and samples (which are new instruments for me), guitar and vocals are my world in Loma_Baja.

What can you tell me about your musical backgrounds?

PACO: I grew up in a very musical family (thanks to my mom and dad) and have a wide spectrum of musical tastes, including rock and roll, punk rock, hardcore, heavy metal, krautrock, psychedelic, pop, classical, folk, and jazz. In Loma_Baja, I play bass, synth bass, and also handle some vocals.

RAUL: I have played guitar all my life and I regret not discovering the drums earlier.

VICTOR: Well, all of us come from playing metal, hardcore, and punk. That’s our connection. Some of us have known each other for more than 25 years. With our previous bands, we have played together many times.

What does a regular day in your lives look like?

JORGE: I work as a freelance animator and Designer so i use to spend all day sitting in my studio working in pijamas. When I finish I like to go skateboarding, play some Miyazaki’s vídeo games or enjoy my time with my girlfriend.

VICTOR: I’m a first-time father, so you can imagine.

PACO: My life revolves around working, sleeping, listening to and playing music, eating, reading books and watching films, and spending time with my family. The best moments of my week are drinking coffee, playing with Loma_Baja, and visiting my baby niece.

RAUL: On weekends, I don’t set foot in my house because I work as a sound technician. However, during the week, I lead a fairly quiet life, dedicating my time and energy to what makes me happy: playing the drums, cooking, making electronic music, and watching series with my partner.

What is the best thing about Piscinas Verticales?

RAUL: I would highlight two things: its honesty and the pleasure it transmits when listening to it from beginning to end

VICTOR: It’s really otherworldly. It wasn’t until we had it recorded that we became fully aware of how we sounded. We believe it’s a pretty original album, with all that entails. It’s not a genre-specific record, and the best part of it is that anyone who listens to it can enjoy it quite a bit.

PACO: Personally, the best thing about this album is that I had the opportunity to meet these guys whom I love and respect not only as individuals but also as talented musicians. We were able to share our different perspectives on music and help each other develop new ways of composing.

Where do you live and what is the environment like for musicians like you?

VICTOR:The Spanish music scene (where we’re from) has always had a niche of unclassifiable and quite surprising bands. Everything is pretty interconnected. It has all come from the scene from 20-25 years ago related to punk and hardcore (especially in attitude), and many of these people continue to do very interesting and completely original things. This fact is fundamental for us. Loma_Baja didn’t have to start from scratch, people have been interested in what could come out of the union of four people with such different backgrounds. And that’s thanks to this freaky and interesting scene in which we have grown up all these years.

PACO: I live by the mountains, away from the big city; Madrid city is a good spot for musicians, there’s not a bad offer for rehearsal rooms, venues and freak people that come to shows of bands like ours.

Who are some contemporary musical heroes of yours?

PACO: Jeff Lynne, Nick Cave, Neil Young, Ian MacKaye and Guy Picciotto.

RAUL: People who make music in the world and do not have the impact or ease of making a living from it.

VICTOR: (from the band perspective) The cornerstone of Loma_Baja’s influences may be things like Beak, True Widow, or Breach (perhaps these are not so new). We don’t deliberately try to sound like any particular thing. In the band, there are people who still listen to a lot of new music, while others delve into music from other eras and try to bastardize those sounds and make them meaningful in what we do. Nationally, we’re into Akron or Tze Tze, not as a direct influence but in the way they create from very personal concepts.

JORGE: As Victor said many of out influences aren’t very contemporary but I love the music of Blank Mass, The Bug, Gnod, Black Midi, Squid and now I’m digging in a band called Trees Speak.

Can you tell me about how you go about composing and recording songs?

PACO: Composing for us is about getting four guys in a rehearsal room and seeing what happens, along with automatic writing. When it comes to recording, we prefer to do it live and Pedal to de Metal!

RAUL: When it comes to composing, we usually quickly realize what works and what doesn’t. Communication between us is fluid at all levels and we don’t take long to shape the songs. To record PISCINAS VERTICALES, we were respectful of the composition since we recorded it entirely live except for the vocals and some overdubs. We wanted the mixing and mastering of the album to be natural as well, and Rafa Camisón in mixing and Victor García in mastering did a perfect job.

VICTOR: We don’t have a very premeditated way of composing. Sometimes someone brings a more or less complete idea, other times they are more or less defined concepts or ideas, and many times they are improvisations. Among us, we have a fairly closed and primitive language that works quite well for us. There are no impositions of any kind. It’s fundamental both in how the band sounds and in composing that two of us started from scratch with our instruments. That has kept us away from any preconceived idea of what we could have sounded like coming from the bands we come from.

What are your immediate and long term future plans?

PACO: We are excited to announce the upcoming presentation of our first album! It will take place at Sound Isidro in Sala Maravillas, Madrid on May 26th. We would like to express our gratitude to our record labels: Spinda Records (Spain), Lay Bare Recordings (Netherlands), Clostridium Records (Germany), and Echodelick Records (USA).

What should the Weirdo Shrine reader do after reading this interview?

PACO: Deep breathe, survive, love your family, friends, Fugazi and Beak and (of course) listen to Loma_Baja.

RAUL:Put more cowbell on everything.

Interview: Mike Vest (Drunk In Hell, Modoki, Artifacts & Uranium, Downtime, Neutraliser, Mienakunaru, Bong, Blown Out, 11Paranoias)

Ok, so we just had to talk to Mike Vest, right? Known throughout the underground for his involvement in Drunk In Hell, Bong, 11Paranoias, and of course the mother of all psych jam breakouts: Blown Out. In stark contrast to his regular noise mongering on record and on stage, we find the man in the quiet environment of his vegetable garden in Newcastle, UK. “I much rather visit the chaos, than live in it” is a beautiful quote from the man who seems to live very much in the presence, and does not dwell on the past for a second. So open your eyes, but definitely also your ears for this one, because there will be a lot of new and upcoming sounds in this one…

How are you? Can you introduce yourself and you multiple endeavors?

I’m good, enjoying these lighter nights, I’ve been gardening, I farmed a lot of potato soil end of last summer. Trying to get the garden soil back to a good pH or whatever. Starting to see the benefits now. De bois, gariguette and cambridge strawberries plants are growing well,
especially happy with the Ceanothus (Lilac Tree). The roots run deep, took about a year for it to be able to stand on its own. Hydrangeas are returning stronger, dark violets and royal reds hopefully, like last year. Going to plant a pear tree in the autumn. Tulips came out nice too. Winter pansies holding strong. Nice to have some freshly picked flowers around the house again.

So…two new LPs out now, MODOKI with Mitsuru Tabata playing leads.
I play bass and do the mixing and Dave Sneddon, handles the drums.
‘Atom Sphere’ our debut is available from Riot Season (UK) and Echodelick Records (US)
Our second, ‘Luna To Phobos’ should be seeing the light in a couple of months I think.
The second has more twists and turns. These were both recorded and mixed around the same time as each other.

New album from Artifacts & Uranium, our 3rd ’The Gateless Gate’ is out on Riot Season (UK) and Echodelick Records (US). Fred Laird did a great job with the production and mixing, as he has done with all our albums. We have just completed the 4th. This has Mitsuru Tabata as a guest feature. As I was working on Modoki stuff at the time.

The Tomoyuki Trio LP should be seeing the light soon as well.
A trio with legendary guitarist Tomoyuki Aoki from UP-Tight. Awesome album. Was a pleasure to work with him. Foundations are laid for our 2nd. Up-Tight have just released a couple of lps on Cardinal Fuzz. Reissues, well worth checking out. kawabata

I completed a new debut album with IIkka Vekka, Ohto Pallas, Otto Juutilainen from Haare & Nolla. New project called Kaliyuga Express, total Hawkwind experience, specifically the Warriors and Masters periods.

Did a lot of experimenting with ultra delays on the guitars and micro tonal changes, lots of automation and octave chords. Tried to mix the guitars so every four/eight bars, something changes tonally. Just recently signed this off with the label.

DOWNTIME, a duo with me and Dave Sneddon. Our debut tape came out on Cruel Nature Records (UK) in January. Might be a few left. Weird instrumental noise rock. Slide guitar ventures. SNED runs a publishing house.

Lot of punk literature and art books.

NEUTRALISER, collaboration with Charlie Butler, released a tape on Cruel Nature Records (UK) in January.‘Capsule Bowed Space’ There is some copies of the 2nd run of tapes.
Also self released a digital album a month back, called ‘Liquid Oxygen Kerosene’.

What can you tell me about your musical background?

Been playing guitar & bass in bands’ since I was 16, got into improvisation and noise/drone music specifically when I was 20, I think. Started BONG, loosely, when I was 22/23. Played in noise, drone, improv sludge, noise rock, thrash, punk, grindcore bands through my 20s. Started playing gigs heavy from the age of 25 till 38. Probably more known for playing in BONG, 11Paranoias, Drunk In Hell, Melting Hand, Blown Out, Mienakunaru….

What does a regular day in your life look like? What role does music play?

Most days I’m working on music, mixing, recording or just listening and making notes.
I’ve got so many notepads full of numbers, track names, ideas, edits…etc. Maybe for only for an hour or so. But everyday, there is something to check over. I minimised my recording setup and the way I record albums. So it’s not a big thing to just start checking/recording/mixing various projects I’m working on. Its a fluid motion, I’ve made it easy to just pick up, play and start recording/mixing and so on..

I paint whilst I listen to mixes.

Painting by Mike Vest

Where do you live and how does it affect your musical doings?

I lived at the coast for years, now I live close to the boarder between Gateshead and Newcastle. I used to be away all the time, playing shows/recording in larger cities, so, with being away lot, made me appreciate the smaller scale and calmer atmosphere I would return to. Less daily stress means more time to be inspired and productive, I guess.
Like a pirate, I would go and gather all gold from the capitals and go back to the sea.

I much rather visit the chaos, than live in it.

Can you highlight some of your favourite releases you were involved in, and tell us why?

The stuff I’ve released over the past 2-3 years and LPs that are on the way. I’m most proud of. I don’t save any copies of any album I have done. They either all get sold, given away or traded, everything is in the outbox. Test pressing etc, everything goes eventually. Being able to create music with Mitsuru, Junzo & Aoki over the past couple of years has been great. Same with Fred Laird with A&U & Charlie Butler in Neutraliser, got me back into enjoying, what I love the most about music.

The creating of it and the evolving process. Most importantly though is Dave Sneddon, without his drums, many of these albums/projects/bands would not be possible.

What is “the dream” for you as an independent artist?

To have 10% of my followers, buy my music and art.

What should the Weirdo Shrine reader do after reading this interview?

Buy music and art.

First sign of live: The Machine & King Buffalo @Muziekgieterij Maastricht, The Netherlands (May 10th, 2023)

My first live review on this humble shrine of mine starts off with an apology. For I am truly sorry about my photography skills. While they say that a picture is worth a thousand words, I am afraid that I have to write a thousand more to make up for my lack of composition and sharpness. Please think of these images as pieces of evidence that I was truly there, and look up some better specimens online, which I am sure there will be plenty of as well…

support band The Machine (NL)

The evening in my hometown of Maastricht was all about machines, it seemed. The Muziekgieterij venue is an old factory hall, and you could almost smell the machinery that would have been in it once. A good place for Dutch veteran stoner space rock band The Machine to show us their skills. With a brand new drummer and the shiny new album Wave Cannon on the merch table (which releases this Friday on Majestic Mountain Records) the band has definitely undergone some changes.

new The Machine drummer Klaas Dijkstra

But when they start making noise, you wouldn’t tell, because this machine runs tightly enough, and even though they are just three guys they are perfectly able to reach the decibel limit. Their new songs especially stand out in heaviness, weirdness, and massiveness. The only time the Machine really falls flat is in between songs where the silence and the short interaction with the small Maastricht audience felt a bit awkward. An awkwardness that is easily forgiven and forgotten when they reinstate their unrelenting distortion wall of fuzz, reverb, and bleepy weirdness. At the end some of the necks in audience were well warmed up for the main course of today:

King Buffalo singer/guitarist Sean McVay

King Buffalo; is also a trio, but from New York, USA. The band has steadily released five studio albums since their magnificent debut Orion in 2016. Their sound has developed from a progressive psychedelic blues rock sound towards including more experiments in a krautrock/electronic direction, but never without losing any of its stoner heaviness.

The first time I saw King Buffalo after the pandemic was during the Four Day Marches Festival in Nijmegen. What I witnessed then was a machine, putting the emphasis heavily on their last album Regenerator, and being downright danceable in their electronic looping business. Today we see a different beast though.

In the more intimate setting of the small hall in Maastricht the band shows they show they can be more in contact with their audience as well, handling the interaction between songs naturally, and also adapting their set a bit. Of course King Buffalo still leans heaviest on their most current record Regenerator, with songs like Firmament, Mammoth, and the title track, but there is room for older gems as well. And a bluesier approach, with a lot of attention to McVay’s impressive loop pedal skills and his guitar acrobatics.

The chemistry within the band is strong

A personal highlight formed the grand jam of Centurion, from the brilliant EP Repeater, in which the band embarks on their most massive and extensive riff wall of the evening. A riff wall formed by the many guitar parts looped by McVay, resulting in an ever growing sound experience that sees jaws dropping all round and heads bobbing of pretty much everyone present except maybe for the most stubborn bar hangers.

Fortunately there is little room for the much hated “Dutch disease”; the constant yapping throughout the concert. There is just no room for it, between McVay’s loop pedal acrobatics and the kinetic energy of his bands and the pounding rhythms. King Buffalo has got their hooves on us, and we love it. In fact we love it so much we cannot and will not let them go easily, the band is called back for an encore and with the much loved Orion from their debut album the band willing agrees and ultimately satisfies this fanboy and the newly created fanboys and girls in the rest of the audience.

An encore at the end

Review + Q&A: Bike – Arte Bruta (2023, Before Sunrise Records)

Hey you! Yeah, that’s right, I am talking to you there. Don’t scroll away, don’t be shy, I have got something to show you. Something that will open up a whole new world, within a world. For when I open up this box of secrets that is the new BIKE record, you will want to know all about Brazilian psych, about tropicalia, and about their wonderful brand of psychedelic indie that skillfully meanders through the psychedelic 60s and all of the beautiful contemporary psych rock bands you know. It’s all there, if you dare to look…

So hold still, I am opening the box now. It all starts with Arcoverde, that makes us tumble through the rabbit hole, so that Além-Ambiente can pick us up and properly introduce us to BIKE and what they are. There are the subtly sang Brazilian lyrics, the breezy repetition, and the softly stirring rhythm section that already radiates heavy tropicalia vibes while maintaining a sturdy and heavy modern pace at the same time. It is such a wonderful, colorful world we have been invited into, you might never want to leave again.

And you don’t have to, at least for a sweet while, because there is a lot more to be discovered. We have to teach ourselves Portuguese to be able to understand the stories we are told here, but we can imagine the dreamy stuff that is whispered in our ears. While the music starts to echo the earliest Pink Floyd outings, we enter a dream state and we float for a while.

But not too long! Because we also have to dance, slowly and with a subtle samba in our hips. It is the playfulness with which BIKE integrates their cultural heritage into their favorite music genre of psychedelic rock that makes Arte Bruta such a delicious treat. No Western band could dream of doing what they do at this point. BIKE does it with a skill and flair that seamlessly weaves all of their influences, classic and modern, latin and western, into one wonderful sound they can truly call their own.

pic by Bel Gandolfo

I was lucky enough to be able to talk to BIKE as they were preparing their release of Arte Bruta, and everything that comes with it. The band collectively answered the questions, with a little help from a translation device, but we got there in the end. Welcome to BIKE!

How is it? How was the pandemic period for Bike?
We are all fine. The pandemic was complicated, we had to cancel an international tour and stop the band. But we were able to concentrate on our repertoire and when things got better we released two studio-recorded live albums. As well as writing the new album.

Can you introduce the band, and how you met, etc, ?
We all already knew each other from other bands and from the music scene in the region. Julito and Diego (guitar players and vocalists) had already played together and matured the idea of BIKE for a while. Dandas (drums) and João (bass) came on board as time went by and we have been in this formation since the third album.

What can you tell me about your musical background?
When we started going to shows in town there was a lot of hardcore and punk and indie bands were always around. Each of us has a very particular taste, but what ended up bringing the four of us together was psychedelia.

What is a normal day in your lives like?
Unfortunately we still don’t live off the band. So each one has a different job. Dandas is a cook, Diego has a music studio, Julito works with production, and João is a teacher.

What is the best thing about Arte Bruta?
I think that we create something new. You can see a reference or another in each song, but it is something very temporary, that takes you somewhere else. Since the last album we think we are in the process of creating our own sound. And Arte Bruta has come very close to it.

Where do you live and what is the environment like for musicians like you?
We live in the interior of the state. Our city has many initiatives for art, but it is still very difficult to make a living from music in the country. In the state capital, São Paulo, music has more space, but it is still very elitist. We come from DIY, so we will make our records and shows regardless of anything.

Who are some of your contemporary musical heroes?
Anton Newconbe
, Thurston Moore, Ty Segall, and several other artists that come and go from year to year and keep producing and inspiring us…

Can you tell me about the way you compose and record songs?
The songs are usually composed by Julito and Diego. Either of the two bring the initial ideas, lyrics or riff and the rest of the band joins in the construction. At the time of recording each record was different. The first, the fourth, and Arte Bruta were recorded in different studios in São Paulo. The second and third albums were recorded by Diego in his studio.

What are your plans for the immediate and long-term future?
We just got back from our first North American tour. We played 13 shows in one week at SXSW, Austin, TX, two shows at the Treefort Fest in Boise, ID and one show in Seattle, besides recording a session on the famous KEXP radio. Right now we are organizing a tour through Brazil. We hope to return to the USA later this year and tour other countries in South America.

What should the reader of the Weirdo Shrine do after reading this interview?
Get a beer, light a joint and go now and listen to our discography. Enjoy and relax!

Pic by Bel Gandolfo

Review + Q&A: Similou – Inferno Bizzarro (2023, Love Boat Records & Buttons)

Recently I learned from Upupayama that moving to the mountains during the pandemic can lead to beautiful music. Similou is also from Italy, and made a similar move, the mountains of Torino this time. Sometimes you need to put yourself apart from the rest of the world to find the things that really matter. That is why people travel, meditate, or indeed move to remote places. Similou definitely found some interesting things there…

Inferno Bizzarro is a debut album full of brilliant quirky sounds and ideas. It is music for weird art films and bizarre dreams. With traditional instruments and stuff seemingly found around the house, Similou has created a whole universe for himself. Sometimes it sounds like the guitars are played underwater, sometimes we hear snippets from old lo-fi movies, sometimes we find ourselves in a film noir setting, at other times we are being chased by our own shadow.

But we are never bored. This is Inferno Bizzarro’s strongpoint; even though the music is almost completely instrumental and totally weird and sometimes even random, it captivates. You keep wondering what will rear its head around the next corner of this insane labyrinth. Like the bearded lady, or the siamese twins at the fun fair extravaganza, you just have to look and listen…Similou will draw you in and will not let go…

So who is this obscure musicians that attracted us so? Meet Vicenzo Marando, who answered our questions from his home in Torino, Italy. He is Similou, and Similou is he. What he is and why he will explain right now.

How are you? How was the pandemic period for you?
I’m doing pretty good, I recently started acupuncture.
The pandemic was really weird, I don’t wanna talk about it. Except the fact that it is when the idea of recording this album came to my mind, when I started recording on an 8 track app on my phone. I felt that this device was so shitty that nobody would dare to take it seriously. Neither I took it seriously but I went on writing arranging and recording for the next two years and tried to figure out ways to trick the listener into thinking this was a real album, and to make it sound as interesting as I could with my few instruments (sometimes shitty, often borrowed).

What can you tell me about your musical background?

For like 15 years I was in a band called Movie Star Junkies, I grew up and traveled the world (or at least two continents) with them. I had other projects and things in the meantime (like one solo album -actually with a drummer named Roberto Grosso Sategna- under the nickname of Vernon Sélavy). Also I played bass for many years in a band named John Rugman & the Spirits. At some point we recorded an album but unfortunately we never found someone to put it out. So, please contact John on Facebook and ask for his music, you won’t regret it! At the moment I play with a band called Heart of Snake, we have a cassette out on marvelous Maple Death Records from Bologna and we are about to finish mixing a new album. I’m also playing guitar with the band of Krano, my ex housemate, who is a good kinda trippy folk artist (and he did the mash-up of Images for the cover of Inferno Bizzarro).

What does a regular day in your life look like?
In the last seven years I’ve been working in a center for autism and been playing music with the kids. I don’t want this to sound like a common place but I learnt a lot from this experience and I keep learning everyday. I mean it’s like trying to communicate in a language that no one really knows so sometimes you have to build a vocabulary from scratch. Also you understand how sounds are often more immediate than words and they have a real effect on people’s life. So that’s pretty much what I do and when I don’t work I try to record stuff or watch movies.

(Me and my buddy coming back from the gym) 

What is the best thing about Inferno Bizarro? 
I really needed to do this album, so I’m glad I did and I’m happy to share it. I have to thank Andrea from Love Boat records who helped me a lot trough the whole process. 

Where do you live and what is the environment like for musicians like you?
I moved to the mountains outside of Torino with my girlfriend after the first lockdown. It’s nice here, weirdly full of palms, bamboo and “erba della pampa” (I don’t know how to translate this). Sometimes I feel a little drop out but it’s ok, I don’t feel like going back to the city at the moment. My neighbor says I’m a good hip hop drummer. He’s around 80, a real expert in martial arts, insects and snakes, ancient Egypt and weapons. In the nineties he was once interrogated by CIA. I kind of trust his opinion. 

Who are some contemporary musical heroes of yours?

There’s a lot of contemporary artists that inspire me even if sometimes I’m a little lazy at discovering new stuff. I love the last works from Anna Butters, Moor Mother, Ben Lamar Gay. I wish I could see Matana Roberts play live. Yesterday and the day before I saw Maria Violenza and Gentilesky playing live and I think they both are among my favorites at the moment. Friends and heroes.

Can you tell me about how you go about composing and recording songs?
I kind of experienced many ways to write recently. The best I found so far is trying to take control of the music the less possible. Like, I always want to see where it goes and just let it flow. I’m the one in charge but At the same time I don’t want to influence too much what’s going on. Like if it was someone else’s music. I know it may sound a little hippy, but when you start enjoying the process you really lose interest in where you are going, so the results can sometimes be a little confusing or surprising but in the end you don’t feel like you’re wasting time. It’s like meditating, but apparently in my meditations I don’t imagine sweet relaxing music but I came up with Inferno Bizzarro

(The room where I play music)

What are your immediate and long term future plans?
Keep my body around 37 °C and record more music. Also I put up a band to play Inferno Bizzarro around in Italia (we already have some shows booked) and hopefully in Europe.

What should the Weirdo Shrine reader do after reading this interview?
Send me the best barzellette (memes) they know on social medias.

Single Premiere: Loma Baja – Boda Final / Velorio

Strange, mysterious, cinematic, funky…all descriptions that apply to this first outing of Spain ‘s psychedelic weirdo collective Loma Baja called Boda Final/Velorio. It is a song that subtly encapsulates everything that is cool about the band. In its adventurous four minutes, the band is as captivating as they are hard to pigeonhole. References to music as varied as Tom Waits to Queens Of The Stone Age, to early kraut and proto metal all fight for your attention simultaneously. Better to check it out for yourself and see what happens…

Weirdo Shrine is very proud to be able to premiere it here:

The song is an exciting teaser to Loma Baja’s debut album Piscinas Verticales, which will be released by a worldwide collaboration of a couple of your favorite underground labels: Echodelick Records in the USA, Spinda Records in Spain, Clostridium Records in Germany, and Lay Bare Recordings in The Netherlands. The release date is May 26th, and that is a day you will want to mark in your calendar, because from what the Shrine has heard of the record so far, this is a sonic piece of art you will not want to miss!

Artwork for Piscinas Verticales, out on May 26

Review + Q&A: Giöbia – Acid Disorder (2023, Heavy Psych Sounds Records)

The best space rock records are albums that take you on a journey. Albums that have a strong narrative, but which still leave enough room to create your own imagery along with it. Acid Disorder by Italian cinematic space rock flagship Giöbia is one of those albums.

It is a record that has songs you can easily play separately, but that work even more hallucinating taken in as a whole. With Queen Of Wands we are immediately welcomed aboard their majestic ship, as it hovers over our house. While taking off, we slowly see the familiar ground beneath us disappear and change into weird and unknown vistas. The band skilfully takes their time to let this image unfold itself to the listener, after which the song’s Pink Floyd-y part lets you know you have arrived at the first stage of this trip.

The Sweetest Nightmare is a completely different beast, heavier, more anxious, and with Melissa Crema’s serene vocals buried deep underneath a veil of reverb. It is a song that has opened up a portal within the record through which we travel into a unexplored dark world.

Consciousness Equals Energy then finds us travelling at warp speed, the windows at our left and right showing nothing but colors and extreme movement. Vortex filled, reverb drenched, delay pedals flickering, this is Giöbia at their most determined.

When we arrive at our next destination the song Screaming Souls sets the tone for a harsher and more aggressive background. Big walls of haze are drawn up, and Stefano Basurto’s vocals carefully guide us through these wastelands. Blood Is Gone takes some time to contemplate on this horror dimension, after which our space ship takes off again to explore ever farther.

Circo Gallatico draws us into the wonderful weirdness of a completely different world. It would not be out of place on the soundtrack of 1973’s classic sci-fi animation La Planète Sauvage, as it wonderingly flies over the surface of this wild land and psychedelically expresses its curiosity at its marvels.

In Line brings us closer to earth, with Melissa Cream’s vocals now far more upfront in the mix. It is a wonderfully weird song, that feels like a bit of a comedown after all the psycho visual stimuli of the previous space travels.

The album closes off with the title track Acid Disorder, a ghosty shoegazer that sees Giöbia theatrically taking their leave in a foggy bank of mist. The album that was also a head movie and space travel has almost finished, the ending credits roll, and we are back on our own planet Earth. Thank you Giöbia for another wonderful trip!

A year has passed since I talked to Melissa Crema about the upcoming album with her band Giöbia. I am happy to say that all of the anticipation I had at that time was justified, as Acid Disorder is a wonderful album that will keep your mind occupied for a good while. Melissa once again was more than happy to spend some time talking about it and providing some background on the band as well…

Hi guys! How have you been since we last spoke while you were in the studio?

Hi Jasper! One year has passed since the last time we spoke. We have been great and at the moment we are very excited about the upcoming album release which is approaching. We have worked hard on the new tracks, focusing our energy and effort in the recordings, so we are really thrilled to have the chance to bring them live on stage very soon. 

What can you tell me about your experiences on the road in the mean time?

It was amazing to start playing again after such a long time off the road because of the pandemic. During the last year we have joined some amazing festivals like Sidéral Bordeaux Psych Fest, Volcano Sessions, Saalepartie, Psychedelic Network Festival, Heavy Psych Sounds Festivals and many others, along with club shows in Germany, Switzerland, Belgium and Italy. Feeling the crowd while performing and meeting the people are simple things to which we give a brand new and deeper value now. 

What can you tell me about your lives when you are not making music with Giobia?

Life is music and music is life 🙂 – there’s not much more to say besides making music, playing means all to us. 

Where do you live, and how does it affect your music?

We live in Milan, Italy, an always changing city open to different cultures, beliefs and ways of thinking, which hopefully has much to offer. Living here means being real-time connected with the underground music scene, not only the local one but the international one, which is really important to us. Milan is one of the main cities in Italy for live shows, therefore being based here is a great opportunity for us to discover new music everyday and get continuously inspired. 

What is the best thing about the new album Acid Disorder? 

The best thing about ‘Acid Disorder’ probably is that we feel that it really represents us, as we managed to convey all our musical inclinations and different backgrounds into this album, making it something unique. Thanks to the wide use of synthesizers, it can be seen as a modern sounding album even though it has its roots in krautrock and even prog rock, without neglecting our love for psychedelic and 60s rock. We feel close to many musical genres, but equal to no one – that’s what we wanted to express with ‘Acid Disorder’. 

How have the responses to the new music been so far?

We have got many positive feedbacks about the 3 singles taken off the new album which is set for release on April 28th. ‘Acid Disorder’ has been already reviewed in several magazines, among others we can mention Rock Hard Italy, in whose next edition an interview with us will follow as well, and Rumore magazine. Also, an ultra limited special edition of the LP has been exclusively pressed by Levitation, organizer of Austin Psych Fest, in partnership with our label Heavy Psych Sounds. Thanks to this, our music has easily reached overseas people too. 

What are some of your biggest influences when it comes to synthesizer music? 

When it comes to synthesizers, Klaus Schulze is certainly our major influence and he will always be missed. Tangerine Dream and Ash Ra Tempel, of which he was the founder, are among the most important bands we took inspiration from during our creative process. 

Which movies can you recommend? 

We can recommend Caliber 9 (English translation of the original title ‘Milano Calibro 9’) which is our favourite Italian poliziottesco from the 70s with the band Osanna performing the soundtracks. A real masterpiece of the noir genre, for the ones who like it. 

What should the Weirdo Shrine reader do immediately after reading this interview?

We invite everyone here to listen to our new songs as soon as possible of course ! We hope you will enjoy the music and we are looking forward to meeting you all at our next shows very soon 🙂

Review + Q&A: Tetrao Urogallus – Gulo Gulo (2023, Sulatron Records/Waterfall Records)

The western capercaillie (Tetrao Urogallus), also known as the Eurasian capercaillie, wood grouse, heather cock, cock-of-the-woods, or simply capercaillie /ˌkæpərˈkeɪl(j)i/, is a heavy member of the grouse family and the largest of all extant grouse species.

But right now, it is a cooler-than-you doom funk band, ready to -literally- blow your mind. Wait, literally? Yes, that’s right. Gulo Gulo, or Wolverine in common English, is a heavy funky beast, lathered in a thick tasty kraut sauce, and served on doom toast. And it will rip your head right off your rump, even while your body is slowmotion-shaking to their infectious doom stompers.

The music is instrumental, a potent mixture of horn (trumpet and saxophone) drenched funk and fuzzed out doom kraut, with nods to oldschool dub and just a pinch of stoner rock grime. The band wouldn’t be out of place opening for fellow horn blowers Coogans Bluff or kraut funk godfathers Kraan.

But of course Tetrao Urogallus is also perfectly able to throw a party by themselves, even for audiences that have just had their head removed by a real life wolverine. That’s right; your headless body will spasmodically wriggle along to the beat of Gulo Gulo, whether you like it or not!

I found guitarist Dennis Rux and bassist David Nesselhauf holed up in their hide out in Hamburg, where they were teaching grouses to dance the tango, and sometimes also record and produce music. The music for the new Tetrao Urogallus for instance, so let’s get acquainted!

How are you? How was the pandemic period  for Tetrao Urogallus?

Thank you! I’m doing very well… actually I don’t really know in all this mess of music, dayjob and family. Maybe I can tell you in 20 years haha. Tetrao Urogallus – we tried to use the pandemic as best as possible, I mean, our first album was released during the pandemic, and our second one was recorded during it, so I guess that was quite successful! 

Can you introduce the band, and how did you meet, etc, ?

Dennis (Guitar) and I (David, Bass) started working together in 2015 for a solo album I did (Afrokraut, go check that one out). Later, Dennis had the urge to do a “Hamburg Wrecking Crew” kind of soul band, which is now called Angels Of Libra and called me to join. During the songwriting sessions for this band, we now and then realized we were writing far too heavy material for a soul band and excluded these songs (or, really, just the kind of mood) for another project, which later became Tetrao Urogallus. Dennis suggested Corneel Canters for drums – that’s about it. The rest of the people on the recordings are good friends who also play in other projects we are related to. 

What can you tell me about your musical backgrounds?

David: I was a teenager in the 90s, so the “cool” music of that time inspired me to pick up my instrument. For example, everything Rick Rubin produced back then, but also lots of Grunge, Funk and Hip Hop. Also, modal jazz and experimental music was hip to me.  

Dennis: as far as I know – is more of an old school sixties guy and knows so much about that scene especially when it comes to beat or obscure and psychedelic stuff from the UK.. And as you will know, we both love most of what Black Sabbath did back then. 

What does a regular day in your lives look like?

Dennis and I have a very different lifestyle… But we do have things in common, we happen to encounter a lot of very interesting people over the course of a day and we both drink loads of coffee doing so. I’m a 40+ y.o. suburban dad, radiologist and music-enthusiast (I know the picture in your head right now, absolutely nailed it), I do stuff like walking kids to the kindergarden, working in the doctor’s office and practising double bass.

Dennis is a 40+ y.o. nightlife district inhabitant with a vintage recording studio and a professional rock and roll approach to life in general, he certainly will be checking yesterday’s tracks by that cool band XYZ that happens to be in his studio, buy some dinner at the local store and fetch himself a cola-rum (his favorite drink). 

What is the best thing about Gulo Gulo?

Gulo Gulo (the latin name for wolverine, you knew that) is a real rascal. He does not care what you think about him, he follows his bloody instincts exclusively. In one word, he’s WILD. He is a rock and roll animal. How could you not like him? Of course you hate him if you happen to be a proud Tetrao Urogallus, and Gulo Gulo is pissing in your territory. 

Where do you live and what is the environment like for musicians like you?

We happen to live in Hamburg, Germany – which for me personally is one of the nicer spots to do underground music in Germany. Nobody cares, that’s a good thing if you are into experimenting. For real music professionals like Dennis and some of my other friends, the city offers a lot of work and opportunities (at least in theory). After all, it is cosy and a little provincial in a good way. 

Who are some contemporary musical heroes of yours?

Thinking of Tetrao Urogallus, people like The Budos Band or Kadavar are a huge inspiration to us. 

Can you tell me about how you go about composing and recording songs?

We are following our instincts – like our totem, we’ll just be in a place and do our thing without much brains involved. This might seem primitive, but results in timeless, sharp and simple music that never wears off. That’s what we are aiming for. We just write and record on the spot. Both of our albums were written and recorded each on a single weekend, only followed by some horns and keys overdubs. 

What are your immediate and long term future plans?

We will not leave earth before we make sure that everyone that might like our band has had the chance to hear it at least once. So, thanks to Weirdo Shrine to help us quite a bit!

What should the Weirdo Shrine reader do after reading this interview?

Subscribe to Weirdo Shrine Newsletter, go to concerts, buy some records for your beloved ones and yourself. And be more like Gulo Gulo, if you dare. 

Tetrao Urogallus