A chat with City Weezle’s Simon Fleury

Alternative, Experimental, Folk, Interview, Metal, Prog, Rock

With a new record approaching close over the horizon, and numerous hungry fans to feed, we sat down with City Weezle frontman and founder, Simon Fleury; chatting everything from cabin fever to Japanese pentatonic scales!

AM: What would you say are the key differences between your debut record and the upcoming No.2?

SF: This album certainly has less Primus and Mr.Bungle influence. Even though we can still hear some Patton/Primus/Bungle colours in there. There are certainly more keyboard and piano sounds on this one thanks to the wizardry of Axel Steinbiss and CSL Parker; two excellent players/composers. CSL really encouraged me to get back on the City Weezle stuff and taught me free form improvisation which is super fun and it had been a long time since I’d done a lot of improv. For those things I’m very grateful and, of course, for his parts on the album..

It was so much fun working with Axel, he’s super zoned in and could just do anything. He composed some really cool key lines for the album and pulled really amazing takes out of the bag; all in his stride, He’s also one of the funniest guys I’ve ever met, Germans not being funny is a post-war myth. We’ve just had a Hitler joke we put in our press kit published in a review of German Punk Magazine so I think the proof is in the pudding there ;).

This one was recorded in many different places over a much longer period of time whereas «Taboo» was recorded all in the same place in the space of about a year. I think this one is definitely less chaotic, intentionally so, ‘Cluedo’ is the final track on this album and it fulfils the role of the track that brings the crazy. Of course, there’s a bit of craziness in all our stuff in different ways.

She’s a Stomper’ is our most straightforward rock song and I really dig it. It’s got a very Melvinsy feel. We haven’t really released a straight hard-hitting rock song before and this is certainly a new feel to our catalogue. In any case these are eight new diverse tracks we’re 100% happy with and can get behind and I can’t wait to perform them live.

AM: What do you think you learnt as a musician from writing No.2?

SF: From an educational perspective, I learned to write string quartet lines and it’s given me a better vision of how to approach orchestration for other instruments in the future I’ll definitely be delving into that a bit more on certain tracks.

It’s also given me a second round of collaborating with guest musicians which was also really cool and I’m really grateful to everyone who put a little piece of their magic onto this album.

AM: Did you encounter any challenges while writing/recording No.2? How did you overcome them?

SF: Yes there were many barriers to making this album not least the distance between all the personnel. It’s certainly one of the reasons why it took so long. Mixing this album at distance with Gautier Serre (Igorrr) was a lot of bouncing mixes back and forth and that was definitely the hardest part from my perspective.

But I really want to thank Gautier and think it was worth it as he did a great job, he’s responsible for the album having a great quality of sound. There were obstacles and a lot of flights booked to record this one but as with anything worthwhile it took motivation and perseverance to overcome those obstacles and finally get to the result we wanted.

AM: How would you describe the most dominant emotions coming from No.2?

SF: I’d say like most of our music it has a theatrical energy and there are moments of mystery and emotion. The most personal and emotional song for me is “Even Weezles get the Blues”. It was a very alcohol-fueled part of my life where I’d just split with my GF when I wrote that track and was feeling the solitude of those emotions. So while it seems like a funny upbeat track it actually has a very deep meaning for me.

In a fun way, I guess it’s me singing about my problems back then, therefore the song title makes perfect sense.

AM: Do you have a general songwriting method that you stick to or does it come from within the moment?

SF: Well I have different methods of composing and I don’t like to stick to just one. Sometimes I’ll write mostly the music first and then only have one or two vocal hooks along the way while imagining what the vocals will sound like. Sometimes more recently I’ve been finding vocal ideas first and then just finding the music to suit the vocals and I think it works really well. Like ‘She’s a stomper’ was mainly written like that.

Igorrr has done some composition sections within our tracks on “Taboo”. Sometimes we’ll create things as a band in a rehearsal room and take each other’s ideas and develop them or alter them.

I have a method of composing I’m sure other bands like “The Ruins” use too maybe? It’s to record an improvisation and have the other instruments learn it and record over it.

I call it “Comprovising”! So you record an improv and the other instruments record over it in a structured manner. So it sounds tight enough to be written but comes from a completely spontaneous performance. We’ll certainly be fitting it in on future tracks.

AM: Do you have any interesting or funny stories from the recording process?

SF: We tracked the drums and guitars out in this lovely little cottage in a very remote area in the Nyre Valley in Co.Waterford, nearly Bally Macarby.

Many thanks to The Fabie Family and Henstep McGrath of “Crow Black Chicken” for letting us use the place for recording, it was a really nice little drum room in the upstairs of the little cottage called “Gypsies Cottage”out there you get a real old Ireland feel, it’s kinda like going back 50 years in time.

A pub with a shop attached to it and the people to match, it was really cool. So we were very isolated out there, no phone signal, no internet just the basic equipment I had and the tunes to be recorded. We recorded the drums in the space of two days out there with “Ai Uchida”, all credit to him he’s a great guy and an amazing drummer!

I went out there to track the guitars for “She’s a stomper” by myself and it was a completely different ball game. I started getting cabin fever as they call it. It was like the Shining except I didn’t even have my wife or kid! With no internet and no telephone connection, it felt really really weird. I stayed at it for about two days and then got super depressed, scrapped everything and came back to civilisation

But it was very fun tracking out there with the lads other than that whacky experience!

AM: Can you tell us what it was like to work with Gautier Serre a.k.a Igorrr on this project?

SF: When I decided to get making this album I hit him up straight away with the question, ‘Would you be game for mixing and mastering it?’ Cause he’d done our 1st LP “Taboo” and I think he did a great job.

Plus I trust his ear. He’s a guy who’s been making top quality albums since I met him so I trust him on that front. He knows how to balance things well and get really great sounds. So I was delighted when he agreed to do it. Even though we did all of this at distance bouncing things back and forth and I haven’t seen him in ages I’d still consider him a friend. He was always super supportive of us and even jumped in a van to drive us around Europe for the Taboo tour.

He threw in a few little sprinkles of sound on No.2 where he saw fit and I think it worked out really well that way.

AM: How was City Weezle originally formed?

SF: Initially, I met a really wicked prog guitarist, Sylvain Ducloux, AKA ”Cloux” in ATLA music school in Paris where I was taking courses and he made this really insane prog guitar album called “Full Fool” and he invited me to do some vocals on a few tracks.

That was my first time participating on a professional quality recording – up until then I’d just done my own demos on my 8 track where I’d play all the instruments for the most part. From those demos, I had a bunch of tracks that I wanted to make a fusion band with and I selected those tracks to make the 1st demo of CW with “Cloux” on guitar, Eric Carrere on drums and Maxime Gilbon on Bass.

Eric Was playing with Cloux at the time and he’d done drums on my Demos too. Max and I used to mess around playing covers of queens of the stone age and Primus with this other summer. I feel lucky that I’m still very close friends with those guys to this day. They’re great people and great musicians.

AM: How did music first enter your life? Do you have any standout memories?

SF: The first song I remember hearing as a kid is that “Dire Straits” track “Walk of life”; I must have been about four, it was on the radio and my mother was cutting celery. Every time I heard that song after that I would get the smell of celery and, vice versa, every time I’d get the smell of celery it’d bring that famous keyboard line of that song into my head. I only really started getting into music around age nine or 10 when I got into Nirvana.

Before then I’d had a few of those Now compilations. Discovering Nirvana was obviously a life-changing moment as it was for us all. Shorty after I got into Metallica and Alice in Chains, another pivotal moment was discovering Mr. Bungle Age 16; I’d discovered Zappa shorty before then.

There was also a legendary singer song writer named “Warwick Embury”. He wasn’t famous but he really should’ve been.. He was good friends with Donovan and had come from the really thriving music scene in the UK to live in Tipperary, Ireland.

I imagine he wanted to get away from the hustle-bustle of London and found solace in Tipp. English guy, real deal rock and roll legend who used to come round to our house and sing tunes and improvise lyrics and he was super fun and entertaining. He was a very fun, very cool guy, real heart and soul of the party. He wrote great songs and he was a massive influence on me too. Unfortunately he’s passed away now but he left a lot of great happy memories. His music lives on. I’d advise anyone to go and check out his stuff. Really great songs.

AM: I’ve seen that you’re a Francophile and also becoming fascinated by Japanese culture! Is this something that you think has ever leaked into your music or could do so in the future?

SF: Yes that’s 100% accurate I’ve always been into the french language and now I’m a fluent french speaker. I learned it from having lived over there for years. That’s where City Weezle was initially founded and I still have great friends over there.

Yes it’s worked its way into our music a bit. On our latest album No.2 on the 3rd track Maestro Mafioso, at the intro of the song I have some lyrics in french and I sing them with Pedral and Mina of “Vladimir Bozar ‘n’ ze Sheraf Orkestar” one of my favourite bands!

We also do a rock cover of a french pop song “l’amour a la plage” there’s a version of it on the “Lysergik tea party” EP; there’ll definitely be some more french stuff in future!

Yes, it’s only now I’m starting to learn some Japanese and am very fascinated by Japanese Culture. I feel very lucky to have two great Japanese members in the band and really looking forward to gigging over there with the lads and learning more about the culture. Musically I’ve only learned the Japanese minor pentatonic scale and I wrote a really cool sounding intro with it once – we might break that out of the bag and make it something hopefully. Look forward to learning and hearing more.

AM: How do you believe that City Weezle fits into the prog scene?

SF: We initially come from the underground scene in France where Igorrr, Pryapism Vladimir Bozar and all these bands were kind of our contemporary’s. I think our music is quite diverse and will remain so we can be appreciated by the open-minded members of many different types of audiences.

I could see us opening up for any band we’d cite as an influence and fitting the bill very well, I think we fit in many places; we’re a fun band and we put on a fun show! It should fit right in everywhere. (Probably not in all-metal show line up but we’ve done it before and didn’t get murdered by an axe-wielding maniac, but who knows? Maybe next time it’ll happen 😉

AM: What is the main mission statement of City Weezle?

SF: Our mission is to keep people entertained as fuck and bring this super fun music to as large an audience as possible in this lifetime all while sharing the love of the music we love and the influences we channel through our music.

I believe it was Frank Zappa who said “Music is the Best”.

Words by Alex Mace

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‘Step into the Light!’: der Mist Demand it

Alternative, Electronic, Indie

Ok! Fine! I’ll Step into the Light! der Mist have convinced me. As long as the Light has lots of der Mist songs being played on a constant loop, then I’ll step in if I must.

It’s a nice feeling to feel welcome in a song. It isn’t der Mist’s aim to alienate, but rather to welcome you in with a pat on the shoulder and a tin to crack open. The Glaswegians, who remind one of both LCD Soundsystem and Franz Ferdinand, seem keenly attuned to what makes a good tune. I doubt they could write out the exact formula, but you get the sense that they know what they’re doing.

That’s a great thing, by the way. Indeed, it’s a hard balancing act to sound at once in control, yet also nowhere near intimidation. You wouldn’t put on ‘It’s Alright’, a track also from their new ‘Step into the Light’ album, to show off your super in-depth musical knowledge. You’d whack it on at a gathering, where the mood needs to stay friendly and fun. If someone touches to aux when I’m trying to Step into the Light, I’ll scream bloody murder.

You wouldn’t be foolish to think that der Mist have a bright future ahead of them. A pathway lit by catchy melodies, embracing chord progressions and some incredibly mixed drums. Maybe their future is bright due to their own Light? But if it’s the same light I’m stepping in to? I’m not happy about that, I want all The Light to myself. Let me step in!

You can follow der Mist in the following places:

Facebook: https://www.facebook.com/der.mist.music

Instagram: https://www.instagram.com/der.mist/

Spotify: https://open.spotify.com/artist/0pNcy4PxnEWdwvIm2edZw4

Youtube: https://www.youtube.com/channel/UCRUiiPBHOT05ZzcBKMmVz6Q

Words by PJ Kimber

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‘Space Art and Angels’: Wavewulf’s Cosmic Soundtrack

Electronic, Experimental, Synth

If I wasn’t aware that Wavewulf was from New Jersey, I would’ve assumed somewhere different. Somewhere frustratingly non-specific and vague, like saying you’re ‘from London’ to someone who is also from London – that’s just not enough detail. Wavewulf is from Space, and no amount of conflicting information can convince me otherwise. He says he’s American, but would an alien reveal themselves to the public? No.

‘Space Art and Angels’, the latest release from the synth wizard, feels like it might be the soundtrack for a 90’s sci-fi novel. Ebbing and flowing and pulsing and jittering, a story is told. There is romance, as is heard through the aptly named My One True Love, alongside terror in Venus’s Winter Light III. Warring motifs like these make for a narrative journey, rather than a cobbled-together collection of works. 

The use of real, analogue synths elicits a reaction that I imagine Wavewulf would be pleased with – they’re completely noticeable. Often instruments can get lost in a swamp of over-indulgent song writing, but not here. The synths are allowed to breathe and, in doing so, reveal a deft arranging touch. It can be all too easy to fall in to the trap of adding layer after layer after layer (especially in electronica), but Wavewulf has shown that restraint is a vital part of sculpting a believable fantasy.

Wendy Carlos and Kraftwerk fans rejoice, this is something to bathe in. The textures sound considered and deliberate. Despite its off-world theme, the comfort provided by this album is real and oddly familiar. It’s like decades of sci-fi in film and on TV have given us the context we need to understand the otherworldly Wavewulf. If pop-culture weren’t filled with spaceships and time warps, nebulas and supernovas, maybe Wavewulf would be too confusing. But no, I understand it and I’m glad that I do. Feel free to reveal your true origins, Wavewulf, I know you aren’t from round here (and by ‘here’ I mean Earth).

You can follow Wavewulf in the following places:

Twitter: https://twitter.com/netnik808
Instagram: https://www.instagram.com/wavewulf/
Website: https://wavewulf.com/
Soundcloud: https://soundcloud.com/nicholas-long-10
Spotify: https://open.spotify.com/artist/14Ga39ZZGbQatNaqTcaloq
Youtube:https://www.youtube.com/channel/UCGHnDwx0pV_3V9C5FNRHfVg

Words by PJ Kimber

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Knock Knock! Who’s There? In Signs With a Brand New Single.

Alternative, grunge, Rock

Formed on the 1st of November 2014, In Signs are a 3 pieced rock band who are based in Kyiv, Ukraine.

Their favourite genres are grunge and alt-rock and their music is readily available on Spotify, Apple Music, Youtube and all other major streaming platforms.

The band have kicked off 2021 with a bang with their new song ”Knock Knock” which is accompanied by a lyric video.

It’s so important to be true with people who listen to your music and this is our main goal. There are a lot of artists nowadays but not all of them are doing art. We want to prove that music is not about money, it’s about the passion of your life. I’m a closed person and making music and writing lyrics is a perfect way for me to communicate with people.

Arsen, frontman of In Signs

For all things In Signs, be sure to follow their social media below:

Facebook: https://www.facebook.com/insignsmusic/

Instagram: https://www.instagram.com/insigns_official/

Twitter: https://twitter.com/insignsmusic

Website: https://www.insignsband.com/

Spotify: https://open.spotify.com/artist/6lbOAXU3IC5HuZhykxWCkD?si=ajHsPXe-SmyPNgYv2zD8-A

Apple Music: https://itunes.apple.com/us/artist/in-signs/1340508600

Youtube: https://www.youtube.com/c/InSignsMusic/videos

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The Fabulous Red Diesel Set To Please Fans With New EP ”The Queensbury House Sessions.”

Jazz, Singer-Songwriter, Soul

Beyond the theatrics of make-up that’s just a little extra; peacock-feather ‘n’ tie dye shirts and a rainbow emitting disco ball lies a voice with the call of the sirens and a hot handle on the blues”

Debbie Bourke, Jazz Journalist

A Husband and Wife on drums, a transgender trumpeter and double-bassist; a synth player and a guitarist named Rabbi Jaffa Delicious. Different? Yes. Unconventional? Yes. Good Music? Absolutely!

Ms Kitty (Kat Lee-Ryan),  Duke Boom (Will Lee-Ryan) on drums; Miss Bea-Have (Beatrice Gullick) and Rabbi Jaffa Delicious (Simon Dobell) have built a loyal fanbase through the fusion classic 60s soul with jazz arrangements and a rhythm section which can skip from hip-hop beats to Latin to funk.

The band shouldn’t be underestimated either as they have worked with the likes of The James Taylor Quartet, Skunk Anansie and Jeff Buckley. Their new EP – a sixteen track project – was recorded in just one take at a disused office block, un-ironically called the Queensbury House.

The record’s lead single ‘Butterfly Mind’ is a beautiful mix of smokey jazz and swooning soul, and a real testament to true love.

It’s about the way my brain works and the way music flits from one person to another, changing their perception (hopefully for the better) by tiny inspirational touches. And then it’s also a love song – I am married to the drummer and I’m saying no matter how many twists and turns and expansions my mind has, I am always grounded in him – you know I’ve got a butterfly mind but I settle on you ‘’

Kat Lee-Ryan

Any Listener can be pleasantly surprised by the music video accompanying this track. Based in a live studio, visuals set the scene with beautiful strobe lights and colours, certain to put anyone in a tranquil mood. As well as soothing vocals, the butterflies flying across the screen are a nice touch bringing it all together.

The ‘Butterfly Mind’ Video can be watched here:

 For More Things, Fabulous Red Diesel, Be sure to check out their social media below.

Facebook: https://www.facebook.com/FabRedDiesel/

Twitter: https://twitter.com/FabRedDiesel

Instagram: https://www.instagram.com/Fabreddiesel/

Website: http://www.TheFabulousRedDiesel.com https://www.sparklybird.co.uk/

Soundcloud: https://soundcloud.com/thefabulous-reddiesel

Spotify: https://open.spotify.com/album/6QVUJf9fbGUlknJ7DSDrqQ

Youtube: https://www.youtube.com/watch?v=dcwSFdbx-xw&ab_channel=TheFabulousRedDiesel

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Heavy Metal? Helestios Metal! The Exciting Band Are Back To Tell You ”Your Pain Feels Good!”

Indie, Rock

Non compromising yet immediately accessible; a perfect cross between rage and relatability. Finally, a challenge to the human mind to be able to think for itself.

Meet Helestios. Here to tell you, ”Your Pain Feels Good!”

Henris Leja, Stellas Aggelis, Ian den Boer and Agnis Aldinš – hailing from Latvia, Greece and The Netherlands respectively – combine to bring an elite sound of heavy metal. Now, their passion and drive that encapsulates the Helestios brand is situated in the UK, with the group now making music from Basingstoke, England.

Whilst taking on the traditional tropes and elements that embody the heavy metal genre, it is essential that you do not let the messages in each song go over your head.

This is introduced heavily in the track ‘Return to Baalbek’ in which the phrase ‘‘no more” is constantly repeated. Messages like ‘‘No more destruction and no more exiling humans” force us to start debates and conversations around peace of our people and consider tranquility in the world for all.

It speaks volumes as this was written by Henriis in 2019, whilst mass protests against the Government in the Lebanon raged around him.

‘Black Storm’, is an intense and chaotic combination of heavy drums and guitar riffs, depicting the travesties of war and destruction.

We then meet the cross between rage and reliability in the title-track ‘Your Pain Tastes Good’, which starts off in a calm manner before exploding in immense musicality. This track could be a message touching on the hopelessness some have felt in the recent year, with lyrics like ‘This is all we have left’ feeling particularly relevant.

‘All Attack’ provides an aggressive and fast paced soundtrack. Written in support of the Belorussian people who have spent recent months fighting to overthrow what many see as one of the last tyrannies of Europe, this track is another testament to the metal of humanity in fighting social crises.

Despite the often destructive stereotype and nature of heavy metal, Helestios have given us a new way to look at life and attempt to move us into taking a different approach in the way we do things.

We want to provoke people to think a bit deeper and realise there’s more than everyday mainstream media has to offer. There’s enough exciting stuff going on right now in various scientific fields from uncovering very unusual facts about ancient history to modern genetics and with our new understanding we should re-apply and re-view many things that we believe are cornerstones.

Helestios

The full album can be listened to here:

For more things Helestios, be sure to check out their social media below:

Facebook: https://www.facebook.com/helestios/

Twitter: https://twitter.com/helestios

Instagram: https://www.instagram.com/helestios_official/

Reverbnation: https://www.reverbnation.com/helestios

Spotify: https://open.spotify.com/artist/28B0xtntzuPVO6Ez5NNmBP

Youtube: https://www.youtube.com/channel/UClnmL-ukpMFTyWrrGo1Mcag

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No Limit To InHibit: Alt Rock Artist Releases New Single, The Quest.

Alternative, Experimental, Rock, Singer-Songwriter

When you first lay eyes on this very abstract and insightful music video by the ever-challenging artist Inhibit, you are faced with a black screen that fades into a face full of scars. A frightening thought, right?

Describing himself primarily as a poet, Inhibit has studied the piano since he was five years old. Based in Brussels, the 21-year-old boasts an unusual background as a former racing driver and qualified lawyer – highly retrospective of his peculiar and unpredictable style of music.

Plastered with scars on his face and his back, ‘The Quest’ depicts Inhibit as a complete outsider who walks around a city wearing a mask though, upon revelation of his true face, everyone he approaches turns and runs in disgust.

Hurtling towards 400,000 YouTube views in less than one month, ‘The Quest’ sees InHibit examining the hypocritical reactions of those around him to his real persona, when how he is treated when not hidden behind a mask.

Watch the Eye-Popping Video to The Quest here: 

Composed by the artist himself and featuring his keyboard and vocal skills, the video too was his own creation, featuring his own scarification designs and storyboard. His first book is to be released shortly, as well as a collection of his poetry.

For all things Inhibit, please be sure to follow their social media below:

Facebook: https://www.facebook.com/inhibitofficial/

Instagram: https://www.instagram.com/inhibitofficial/

Soundcloud: https://soundcloud.com/user-665546627

Spotify: https://open.spotify.com/album/5ZELT1P81Usj8rIDc9BDOO?si=gCF4mMUJSkGfMDOQy7UDQw

Youtube: https://www.youtube.com/watch?v=MIHadk3BW40&feature=youtu.be

Check out the latest episode of The Quite Great Radio Show

Episode 3 of ‘Just Checking In’ is now out – https://www.youtube.com/watch?v=8pNt2GF_LcA&t=197s

87 and The Toys Release diverse, alternative EP ‘Japanesy If You Pleasey’

Indie, Pop

87 and the Toys are back with ”Japanesy If You Pleasey”, which combines Japanese and American culture into their current indie pop style, pondering every day issues from goading incumbent Republican Governor of Georgia over his attitude of Covid-19, to the sadness of realising there are no more Bojack Horseman episodes to watch.

87 and the Toys subscribe to the school of absolute musical purity with no filters or overblown production techniques, instead choosing to embody a commitment to authenticity.

With Dave on stand-up bass and Guitar, Hana on min-drum kit, piano and vocals, and Patrick on Rhythm Guitar and Vocals, fans are in for a treat. As Hana hails from Japan, the rich culture infuses the EP thoroughly with Eastern elements. This is found in the tracks ”All you can eat Sushi” – a song initially written as a joke by Patrick to convince Hana to go to a sushi restaurant.

Another Track to set your psyche on a spiral is Bojack, written about the fascination of a new series (in this context ”Bojack Horseman”) after Patrick had binge-watched the show and suddenly realised their are no more episodes to watch.

Listen to 87 And The Toys’ Japanesy If You Pleasey here: https://soundcloud.com/87andthetoys/sets/japanesy-if-you-pleasey

Filled with different sounds and elements, 87 and the Toys have excelled in representing a multitude of genres with their new EP, and are an impressive showcase of why bands that don’t take themselves too seriously are more than capable of producing great tunes.

For all things 87 and the Toys, be sure to follow their social media:

Facebook: https://www.facebook.com/87andthetoys

Instagram: https://www.instagram.com/87band/

Website: https://87andthetoys.bandcamp.com/

Soundcloud: https://soundcloud.com/87andthetoys/sets/japanesy-if-you-pleasey 

Spotify: https://open.spotify.com/artist/3pv3LeeMHwQtauS4aPrxHX?si=kRlGaG0vTtGRXZL8YYoUsw

Youtube: https://www.youtube.com/channel/UChwi1ucmaeMWuWLkJTE6HMg

Check out the latest episode of The Quite Great Radio Show

Episode 3 of ‘Just Checking In’ is now out – https://www.youtube.com/watch?v=8pNt2GF_LcA&t=197s

Back at it: Four Crooks Release New EP ”Black Magic.”

Alternative, Indie, Rock

Taking lockdown as their cue to gather their collective talents, West Midlands-based Four Crooks took to a remote farmhouse to write and record their new EP, and are now unleashing the results to the world.

Four Crooks consist of vocalist and guitarist Dave Morris, Guitarist Eamonn Russell, Bassist Toby Barnet and Drummer Dan Quinton-Jones. Having actually met over a bar altercation, Eamon and Dave shared a common Bond in music and how it should be performed.

They formed a band with Toby and Dan and took advantage of the lockdown to record a new, hard-hitting EP.

listened here:

Black Magic by Four Crooks is led by the title track, a meditation on the addictive qualities of women and substances of all kinds – both a warning and a celebration of everything that can get you high and take hold of your senses.

The Black Magic EP also features Feel Alright, a song of redemption which sees someone working their way through a difficult relationship and walking out with their head held high.

Paranoia, a thudding, far heavier track looks at how it really feels to be trapped mentally with feelings of anxiety and doubt.

All in all, Black Magic is a trio of tracks that are honest about mental health and relationship battles.

For all things Four Crooks, be sure to follow their social media below:

Facebook: https://www.facebook.com/fourcrooks

Twitter: twitter.com/fourcrooksband

Instagram: https://www.instagram.com/fourcrooks/

Soundcloud: https://soundcloud.com/fourcrooks

Spotify: https://open.spotify.com/artist/481eyDyRzknJPYeewo9SKN?si=Pe99LDC3RIq1z8ktrGH36A

Youtube: https://youtu.be/0vaNFaZ3Hag

Vanderocker Releases New Psychedelic Indie EP “The Good Punk”

Alternative, Funk, Indie, Rock

“In my mind, it’s a basic study of humans on different levels, almost from an Alien National Geographic kind of perspective. Here is Earth, a most beautiful place and here are the alluring creatures who call themselves human beings. Let’s observe them when they are just in their bodies. Now look how they change when they interact with other groups’ – like a typical lab observation, right? Which is interesting in itself; but then of course, we have to look at how amazingly powerful humans can be when they disengage from the drama and plug into something bigger than themselves. I find comfort in all of it, when I can step back and observe us the way a newcomer might.”

Vanderocker

Writer, guitarist, bassist and synth player across the new EP, Adrienne Vanderocker collaborates with producer Brandon Eggleston and several noteworthy guest artists such as Federico Pol Jr (Joe Cocker), Peter Holmström (The Dandy Warhols, PIA), and Brendan Bond (Black Pumas) in her new psychedelic EP ”The Good Punk.”

This includes four new tracks (as well as a bonus instrumental) which take the listener on a whole journey of genres from psych to electro pop, touching themes on sex, voyeurism and duality, which solidifies Vanderocker’s role as one of the most exciting recent alternative indie acts.

Among this EP, we are essentially taken on a journey of the human experience and our own battles with desire in our lives. This is highlighted in the track ”Cult for you.” Described as ‘earthly pleasure’ by the artist, the ambience and echos within the song take you on a lesson on the basics of human desire in the most spiritual form possible.

We are then taken into ‘‘Endless City” which brings the human experience out of the singular and into the city at night. It paints a picture of an environment full of the highest highs and the lowest lows, where people become ”lock boxes for sins, secrets, or resilience, or heroism, and they also become the most open, revealing, expressions of themselves on the flip of a dime.” This Endless City is also the place to get mind altering substances which keep us in a state of euphoria. It is emphasised that people on the outside wouldn’t get it, but those experiencing it would get it the most.

“Taking Notes” almost makes you feel like you are at school again. Here, Vanderocker takes a different route with a ”deep funky groove” explaining how as humans we have to push ourselves to almost reach our potential.

I was setting up a kind of 70’s vibe as the foundation and Pete ended up putting some really cool guitar work, creating this brilliant soundscape over the piece. In case anyone wanted to enjoy this piece without the narrative, we included a bonus instrumental on the EP” 

Vanderocker

Finally, the psychedelic journey ends with the track ”Supercell.” Vanderocker describes the tune as something which ”takes a look at how powerful humans are when they come together for a cause. Of course, it particularly speaks to all the unrest and upset around the massive corruption and ongoing systemic racism.

Vanderocker explains that when writing she ”was just thinking about that superpower gene that kicks in when change happens.” When she found out what a supercell was, she says the track ”couldn’t have been more perfect.”

The EP can be streamed here:

This Ep further shows us the wild artist that Vanderocker is and will continue to be, for all things Vanderocker be sure to check out their social media below:

Facebook: https://www.facebook.com/Vanderocker

Twitter: https://twitter.com/VanDeRocker

Instagram: https://www.instagram.com/vanderocker/

Website: http://www.vanderocker.com

Soundcloud: https://soundcloud.com/vanderocker

Spotify: https://open.spotify.com/artist/6nNurDWHIuQBCHOfbQoaNn?si=2guYYtExRD6HXbfmgQEQIg

Youtube: https://www.youtube.com/user/Anamoism/videos