I was hugely disappointed, when I heard about the demise of the band Formes – their, “headfuck of psych vibes rubbing up against extreme metal influence played from a jazz fanatics mindset”, heralded a unique band, who seemed to buck every conceivable trend. At the time, I commented that, “the phoenix will rise again”, and rise it has!
Reassuringly, “Stupid Cosmonaut are a Manchester
Back in December, wow has it really been 10 months already, I wrote about Paradise Range’s hauntingly beautiful, epiphany to Andy Warhol muse Edie Sedgwick, and their EP ‘Songs for Edie S.‘
Paradise Range return to the fray with their second full length album ‘P.I.K.A.‘ – echoing the band’s clarion call, that PROFESSIONALIZATION IS KILLING ART…
photo by Gerry Dollso
As Slomatics‘ guitarist Chris Couzens will attest, the perfect curry is a labour of time lovingly lavished, which, when combined with diligent preparation, shall bring forth it’s just rewards…
I first encountered the sleeve artwork for Slomatics’ previous vinyl foray, ‘Estron‘ somewhere around the tail-end of 2014 – following a tip-off from my long suffering hairdresser Norah, who as it turns out, is a mutual friend of Slomatics’ drummer and vocalist, Marty Harvey.
The transcendent artwork by Tony Roberts, captivated and whisked me back to a youth, spent pouring over the pages of sci-fi fantastical landscapes, penned by Chris Foss and Roger Dean.
“Everyone gets everything he wants. I wanted a box set, and for my sins, Cardinal Fuzz gave me one. Brought it up to me like room service. It was a real choice collection, and when it was over, I wanted another one”…
Please forgive my paraphrasing of this classic line, but what can you do when you have a game-changing release to contend with?!? Such has been my absolute immersion in all things The Band Whose Name Is A Symbol, that though my soul tells me my initial contact, “seems a thousand centuries ago”, cold hard logic suggests it was actually with the release of the 2nd press of ‘Pathfinder’, around the tail end of 2014. All thanks to the Cardinal himself, Dave Cambridge.
photo by Erica Montgomery
Casa del Mirto was founded in 2005 by Marco Ricci, serving as vehicle of choice, for his varied musical forays.
“I used to write music for clubs and discos, but at the end I got tired of it. I always liked chamber music, intimate and introspective. So I felt the need to create something that one could listen also with a headset, giving shape to songs rather than tunes to dance at. Now CdM is an outfit that I am happier to wear, without It I would feel naked. “Casa del Mirto” means “Home of myrtle”. Myrtle is a plant often used for spirits. It’s actually hard to find where I live, but I really liked the name. Now, after 2 years I think it is a cacophonic name, but it’s the only one I got! So I don’t think about it and I drink the liquor.”
2016 sees the self-release of ‘Recover‘, a further exploration of “the music of friends”, which Goethe described as a “rational conversation”, threading inspirational motifs, to their bejewelled, melodic responses.
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