Ringo Deathstarr - Colour Trip

My appreciation for the band Ringo Deathstarr began in the summer of 2009. I had seen their name on the club listings around town previous to that, but like with many things, didn’t get around to giving them a listen right away. All that changed when I heard the songs “Some Kind of Sad” and “Sweet Girl,” both of which were on their debut 5 song EP. Being totally blown away by those songs (and the rest of the tracks on there) I made a mental note to see them live when next they came back here to New York. My opportunity came in October of that year for the CMJ festival. The band had booked a week of shows and I attended nearly all of them. Simply put, they are one of my favorite bands. Now they have a brand new, full length album. It is truly a joyous occasion. Here is my track-by-track impressions and analysis.

FX distorted percussion introduces "Imagine Hearts," the opening track off of Ringo Deathstarr's full-length debut album "Colour Trip." The twisted sonics are only beginning here, as guitars begin and sound like they've been pressed on warped vinyl. In spite of these potential cause-for-concern sonic mutations, it all sounds quite appealing. With a clean, un-enhanced driving bassline that pulls just a tad from My Bloody Valentine's "Soon," the vocals are delivered by female bandmember Alex (Galexy) Gehring in a smoothed-by-sandpaper way. There's brief moments of the Scottish highlands touched upon as well.

"Do It Every Time" finds frontman Elliot Frazier drawing on his deep "Jim Reid" voice (with a wink and a nod to that bands song “The Living End”). Not content to stay just there, Galexy is soon called to duty, providing fem-vox counterpoint, especially on the repeated "do it everytime" refrain. “We’re falling apart again. She took my cardigan. Ripped out my heart again,” finds Frazier playfully updating the Reid’s lyrical style a few decades to include the current fashion staples. The guitar break is sharp and uplifting. There are layers, William Reid wah-whazzle. What's not to love?

"So High” brings the peppy, skipping down the streets of London vibe and takes what pre-Loveless My Bloody Valentine did on "Never Say Goodbye (as we chase the clouds away)" and gorgeously updates this seemingly innocent boy-girl call and response genre. There is a perfect atmospheric guitar passage (so reminiscent of "Sweet Girl" from their debut EP), between the vocal tradeoffs and the repeated “I’m so high” is the vocal liftoff. "Bubblegum and ecstasy, made me feel the power, if you walk around with me, I will show you how."

"Two Girls" pivots off the opening thunder drums to cathedrals of angelic female vocals. The rhythm stays locked down hard so guitars can pulse and expand your ear canals. Shards of inappropriate sonics bathe you in an alien light. The monster has come to life and wants to multiply. Wicked tambourine rattle clacks the two and four of lyrically unintelligible verses. Acoustic guitar breaks serve to clear the audio palate, allowing additional mutated electric guitar washes to make a more dynamic impression.

Drummer Daniel Coborn live at Fontanas, October 20, 2009
"Kaleidoscope" is bass heavy and drum rude. Elliot's vocals, however are majestic and downright romantic. Do I have to mention that the overall sound quality of this recording is exquisite? Please let me do so now. "Have you seen the shapes of the kaleidoscope?" is the opening lyrical question. "Why did you run, when I turned your eyes around?" Ah, if only the answer to that could be easily figured out. "Got a crush on you - what can I do?" is as much statement as question. [Cromwell's Side Note: I would only add to this sentiment - please don't do anything to destroy this feeling. That's a direct message from me to anyone I currently have a crush on (and most likely, you know who you are). Please don't screw it up for me. I have no expectations - only aspirations.] Getting back to the song, there is a wistful feeling to it all. Not all that dissimilar from what a band like The Pains of Being Pure at Heart does best. Of being sadly pensive, especially about something yearned for. "Send me a post-card from nowhere."

"Day Dreamy" rides the tambourine snake, surrounded by beams of backwards guitar and Belinda Valentine-like "oooohs." Brilliant lyrical moment - "she was just a teardrop - I was just a waste of time." I would be remiss in my connect-the-dots obsession if I didn't mention at least something from MBV's "Loveless" as a reference point - let's say, "Blown A Wish" (there - now I feel better).

"Tambourine Girl" had already been in steady rotation on my personal playlist due to the fact it was initially released in limited edition as one side of a split single with The Depreciation Guild. Merging a heavy leaden foot with peppy pop counterpoint, “touch me, touch you there” is the sentiment expressed. The initial primary riff is a grinding slog of factory machinery – think Iggy Pop’s “The Idiot” and the song “Mass Production” as a kindred spirit.

“Chloe” rolls out Elliott’s breathy vocals, shadowed by Alex’s Belinda-esque “ooohs.” In fact, “oooh, next to you” is the repeated sugary phrase employed. More unnatural factory machinery textures infect the corners and shatter any semblance of complacent serenity. Even when it gets pretty, the rude undercurrent is never far from you.

“Never Drive” takes Elliott’s breathy and deep voices and merges them together. A static snare drum rattle and bass guitar pattern lay out a solid groove for melodic guitar patterns that are almost sweet – almost. Are they still a bit dirty? Of course!

“You Don't Listen” could be slipped quietly onto a reissue of “Psychocandy” and called a lost track – and everyone would believe it. Hell, I wish it had been on the original! Oh, well - we've got it now. Drums n' handclaps underscore buzzing bees guitar lines. "There is nothing left to decide, when I look into your eyes. Take me to paradise - close my eyes your sweet surprise. I won't call you on the phone. You don't listen to Ramones. I don't like you anymore. You will never understand what I need."

The final track “Other Things” is somewhat unusual track for this band, as it’s rhythm track emphasizes a mechanized, clacking percussion. The vocals are sugary and angelic, while majestic guitars wash all over. “So what if we don’t have money? we have some other things,” is the charmingly innocent emotion expressed. "You know we got each other babe - and that's the important thing." Wonderfully pitch bended guitars are further enhances by higher pitched extended guitar notes. Alex's vocals have FX on them, making her sound more like Ronnie Spector than Best Coast.

Lake Johnson, Brooklyn - October 23, 2009

Cake Shop, Manhattan - October 21, 2009

With the conclusion of my track-by-track analysis, I can only state that this is an amazing record. Its one I've waited two years for now and I couldn't be happier with the results. If you love the bands I've mentioned as references (and whom they make no secret of referencing themselves) you'd be crazy not to go out and get this record.

It makes "reunions" by those other bands far less important or even necessary. Ringo Deathstarr has the mantle now and they are running full steam ahead with it.

Crumpled set lists tell the story

Meeting Alex at Fontanas, October 2009
________________________________

Essential Links:

http://www.facebook.com/ringodeathstarr

http://www.myspace.com/ringodeathstarr

http://www.clubac30.com/

Nicole Atkins - Mondo Amore

Nicole Atkins has a brand new album out

It is called Mondo Amore

It's been a long and winding road from album one to album two, but now it's finally here.

Here is my Deli Magazine review of it.



Which can be found online, here:

http://nyc.thedelimagazine.com/node/4438

This is the album cover


I've seen Nicole perform live many times over the last few years, and thought it would be cool to post up some of the photos I've taken from those shows. Inbetween the pictures I've posted the text of my review of Mondo Amore, (in case the photo here is too small to read).



Nicole Atkins returns to the New York (and world) music scene with her long-awaited second album "Mondo Amore." Opening track "Vultures" presents a lyrical landscape riddled with fear and loathing.


"Cry Cry Cry" emerges with a shuffling drum pattern, gospel backing vocal chorus and clean muscle shoals guitar work.

"Hotel Plaster" returns to familiar crooner-core territory, as violins add previously unexpected textures. The slow passionate vocal performance is enhanced by a male voice duet, mixed just under Nicole's.

"You Come To Me" is a straight ahead rocker, snare drum and reverberated guitar driven. Rising piano notes create an upward motion for Nicole's impressive pipes.

"My Baby Don't Lie" recreates a classic down-home jug-band-on-the-back-porch feel that British blues rockers like Led Zepplin loved to emulate. The record then segues into more familiar sonic territory before returning to the original southern fried vibe.

"This Is For Love" uses fiddling violins for maximum background effect, cleverly blending them into a country rock format

but it's "You Were The Devil" that delivers Nicole's most sensuous vocal performance on the album: inside a twangy western motif, the subject matter emphasizes the albums overall theme - love, loved - then lost.

"War Is Hell" explores this emotional experience further. Nicole's vocals underscore exactly what she does best - the torch song.

"Heavy Boots" effectively uses cathedral organ and piano to dramatically highlight this tale of leaden footwear. "The warriors are waiting outside for you on the street. The hungry virgin eyes with scorpions in their smile. They are no match for me."

"The Tower" re-imagines Led Zepplin's "Dazed & Confused" minus the extended stoner jam (though live her band at points have gone even there) - there is a tasty guitar solo, though. This may also work as a break-up song.

Guitars, smiles and striped apparel

Come and let me torch you

The singing troubador

Havin' a chat at Socrates Park in Queens, NY. June, 2008

Nicole Atkins plays The Bowery Ballroom on February 9

------

Other things I have written about Nicole Atkins:

Langosta Lounge
http://davecromwellwrites.blogspot.com/2009/03/nicole-atkins-live-at-langosta-lounge.html

Vintage Vinyl
http://davecromwellwrites.blogspot.com/2009/01/buddy-holly-lives.html

“Rocks” (recap of very first feature written)
http://mog.com/DaveCromwell/blog/164061

Socrates Park
http://mog.com/DaveCromwell/blog/169935

John Moore - The Interview

In an effort to rescue features I've done that now reside on "questionable" websites - the process of migrating over those deemed worthy enough to preserve has been instituted. Here is one I did on iconic rock legend (and writer) John Moore. Originally conducted nearly three years ago, the information contained here are no less timely (or timeless) as it is today. Here then is my

John Moore - The Interview (originally presented, March 2008)

John Moore and I have a historical connection between us. Nothing to do with one of our ancestors executing the others or anything like that. Something a bit more recent, but still solidly rooting in those "yesterdays".

The year was 1990 (or 91) - I was a keyboard player at the time - and ran an advert in the Village Voice looking to join a band, and I listed The Jesus & Mary Chain as one of my influences (which could have been perceived as odd - coming from a keyboard player, as they were and still are guitar band) - but anyway - I get a call from a fellow who says his name is John Moore and that he is putting together a band. The point he stressed at the time was he would be taking this band on a tour of England very soon. Although I was thrilled at the possiblity of joining (I suppose some kind of audition would have been necessary) - I had to decline the opportunity as I had just started a day job - that I couldn’t leave (having already been a layabout for many months and depleted all my savings). Why was I wasting peoples time running adverts to be in bands then? Well, I eventually did join another band that fit my schedule better - but I always regretted not at least pursuing this opportunity.

Later on that year John brought his band to New York - and played a club at that time called Beowulf. The club can be seen in the Sonic Youth video for "Dirty Boots". It was a great venue and showcase for all the hippest bands at the time. I also bought his current CD out at that point in time and though John and his band put on a sizzling show.

But that was then and this is now. Its time to catch up with John and find out the answers to all the burning questions I’ve had for the better part of the last two decades. Here then, is the John Moore interview, version 2008.

You’ve had a varied and most interesting career, John. Showing yourself to be a talented musician who plays a number of different instruments. Guitar, drums, piano, harmonica and bowed saw (have I missed any?) Which would you call your first love? Which do you enjoy playing the most?

Well of course, it has to be the guitar. That’s what I learnt to play first – and spent most of my childhood dreaming about.

The drums was a happy accident, and to say I ’played’ them is quite unfair to drummers. I stood near them and beat them occasionally. I love the saw for its sound, simplicity, portability, and the endless amusing conversations it has given me with airline officials who are not keen on me taking it on a flight.

On the internet, in the place where one lists their influences - you have your own back catalogue. Do you think you sound like anyone else? Ever have? Who would you actually list as a musical influence?

These days I don’t think I sound like anybody else. I have many influences – which showed up far more obviously at the beginning. Muddy Waters, Bo Diddley…all the groups you’d expect, Lou Reed, Leonard Cohen…I never thought I sounded like Billy Idol though…I was trying to sound like Alan Vega…but then again, he probably was as well.

You are credited with playing the drums on The Jesus & Mary Chain recording "Some Candy Talking". This is one of my all time fave tracks by them. A signature song that they still play to this day. Can you look back at that day’s recording session and provide any bit of info or anecdote, that has never been revealed before?

Eh – actually I don’t think I played on Some Candy Talking – I think I’d remember a little thing like that. Wouldn’t I?

When you left The MaryChain, you started your own band - John Moore & The Expressway.



It has been written that you ran up excessive bills for your record company - in travel, hotel and studio expenses. Were you caught up in the "excessive rock star" hubris and lifestyle at the time? Do you regret any of it? Or would it not have ultimately mattered in the end, however you behaved?

Absolutely, and I had a wonderful time doing it. When I Lived in London, I recorded in New York, when I moved to New York, I recorded in London. Yes it was expensive, excessive and quite ridiculous…which is what I think rock stardom is all about. There was even a special cash drawer in my manager’s office labeled ’John Moore’s Shoes.’ The only part I regret is the slight lack of sales – to have walked it like I talked it would have been nice – although I’d almost certainly have exploded.

After the release of your album "Distortion" (a record which I bought and still own, by the way) in 1990

- there is a gap of three years until you resurfaced with another project of yours called Revolution 9 in 1994.

What was going on during this three year period? Was it one for reflection and songwriting? Or were there other matters to attend to?

I think I was getting educated – not formally, just assimilating new things – rock’n’roll detox.

Did I read correctly that you started a company that imported the liquor Absinthe? That you were significantly responsible behind a revival of its manufacture and sale in the European Union in the 1990’s?

All true. I discovered Absinthe in the Czech Republic, did a lot of research, discovered it had never been made illegal in the UK, formed a company called Green Bohemia and imported then manufactured the stuff. I am now listed in encyclopedias along side Van Gogh.

Approximately four years after the release of Revolution9, you embarked on a collaborative effort with former Auteurs leader Luke Haines and singer Sarah Nixey calling the band *Black Box Recorder* . Briefly describe how this all came to be.

Luke and I were ’helping out’ a friend’s band…me playing saw on a few numbers, Luke playing guitar. Luke and I quickly became friends. We decided to make a one off noise single under the name Black Box Recorder. We decided we hated noise projects and wanted songs with tunes. Sarah Nixey was the backing vocalist in our friends band – so we helped ourselves to her as well. Musicians aren’t always nice people.

Though you, Mr. Haines and Ms Nixey have all embarked on solo careers here, there has been some talk that there is still interest in the Black Box Recorder still doing something together. Is there any possibility of this?

It is possible yes. We are all on good terms – Sarah and I of course got married and divorced – but we wouldn’t let a little thing like that stand in the way of a good record. In fact, we recorded a Christmas single together last year- just a bit of fun, but it was really nice to be back in the studio together. I think the three of us all got on really well, a good chemistry – obviously Sarah and I got on a bit better…then a bit worse…Oh you get the picture. Yes there is a good chance of further BBR activity.

[2011 Note: BBR did in fact reform for a while and did a number of one off shows]

See the video for "Facts of Life" here:

http://www.youtube.com/watch?v=1loWFuZveyQ

In 2005 you released a full on solo album titled "Half Awake".

Do you feel those songs accurately reflect your state of mind and lifestyle at that point in time? Are you still satisfied with the way it sounds?

Very definitely – it was the condensed outpourings of a troubled brain – I’m very proud of that record. It sounds fine to me – considering I played and recorded every note on it – recording it was a very intense lonely business. I became a hermit, lived in a boathouse and grew a beard. I did wash though.

There is talk across te blogosphere that some original 4 track recordings you still have (from your early school days) may eventually see the light of day. Can you tell me something about those recordings?

Not school days – I wouldn’t inflict those on the world. No, I am releasing…via the wonderful medium of iTunes, a collection called Floral Tributes, which is pretty much everything from the 1990s until BBR. Some of it is 4-track – but cleaned up through Logic – the recording software. There are 39 tracks – a tad self-indulgent, but that’s me, Mr Generous. Actually, I think many of them are my best work…so far, irrespective of the fact they never got released. I still like the way they sound…stripped down to the bare bones. I’d like to think that word of mouth will propel this record into the ’next Thriller’ category, and I’ll be given a knighthood and a castle somewhere. Sadly though, I doubt many people will notice this most wondrous gift to humanity.

You are also an extremely entertaining and witty writer. The articles and pieces you’ve written for the British Newspaper and website - The Guardian - are some of the best I’ve ever read. Does this kind of literary ability come easy to you? Back when you were starting out as a musician pursuing a professional career, were you also writing like this as well? Or, is this something that evolved later on? How did it come about, that you would be writing regular features for this well-read publication?

I didn’t start writing until a few years ago. The more I do it, the easier it becomes, and I really do enjoy it. It’s a new way of postponing reality…it doesn’t feel like a job, it feels like the avoidance of one. A new way of being able to stay in bed all morning.

Read a quality selection of John’s brilliantly witty blog entries (as well as loads of other info on him) here:

http://www.john-moore.net/

Lets talk about your current music.

Your song "Kisses and Scars" is a beautiful, melancholy piece. Do you find recording and sharing these innermost feelings with the world a cathartic release?

It’s quite strange that in song, I have this bleakness…an all consuming sadness, yet in real life, I’m the life and soul of the party..some would say a bloody nuisance.

On "True Intentions," the accompaniment is very sparse instrumentation. Just a strummed guitar and a harrowing harmonica in the background. Would you be satisfied releasing this as it is (a strong argument could be made that it stands alone quite well in its current state) or do you see this as more of a demo version?

I would – in fact I am releasing it in its current state. It can always be re-done with the London Symphony Orchestra and the Beatles as backing band, but I’d need them all to squeeze into my flat at 2am. I don’t think it would be possible to get the right atmosphere at Abbey Road.

The song "Philosophical Man" deals with you driving out to the countryside from London - and back again. Would the subject matter of this song also reference the same driving excursion you wrote about in one of your features "Adventures In The Potato Fields" where you wrote at one point in the harrowing overnight trek that "it might have been safer just to roll the car over in a ditch and wait upside down until dawn"?

Na, that was much later. I get out of London whenever I can.

"What Do You Want To Talk About" Is another great, confessional singer/songwriter piece. Shouldn’t you have been out at the South By Southwest media and industry orgy fest - hawking and promoting these songs?

Yes. And No.

"Cloud Roll By" continues the dreamy, lying-on-your-back staring-at-the-sky feeling - occasionally invoking thoughts of Lou Reed’s quieter passages in the seminal song "Heroin". Is day dreaming in a natural state the equivalent to the same place people try to get to when they actually take opiates?

The hypnagogic state is what it’s called. The song was written on a bus from Prague to London – hence the rolling daydreaming feel. To tell you the truth, it was written on a bus, with 24 hours of staring out of the window…and opiates.

It has been reported that a band you have worked with - Art Brut - is scheduled to headline the Two Thousand Trees Festival this coming July. Is there any chance you could make an appearance with them to play your bowed saw parts?

I’ll ring Eddie and demand it.

(The Eddie referred to here is, of course, Eddie Argos, who’s fronts that particular band).

John playing his bowed saw

Has the music you’ve made over the years attracted certain types of fans? Could you describe what a long time follower of John Moore’s music might possibly be like?

Yes, she’s seventy years old…but looks much younger, she makes a mean cup of tea, and she signs my birthday card ’Mother’.

What do you enjoy more - songwriting, performing live or adding instrumentation to other people’s music?

It’s a toss up between the first two. Songwriting is unbelievable when you know you’re onto something. Playing live is great when everything’s working properly, sound, atmosphere, audience – but when one of them goes wrong, it’s a nightmare.

You’ve had some pretty celebrated collaborations over the last decade. How important is collaboration to your work, and are there any artists that you’d like to work with, that you haven’t already?

The collaborations have all been happy accidents. I’d qite like to collaborate with Bill Gates on a project entitled ’Give all your money to John Moore’.

How involved you have you been in the artwork for the covers of all the records you’ve released over the years?

Very. Always. On solo stuff 100%. Every artist should control every aspect of their work…except the US cover for England Made Me. The US company thought Americans wouldn’t understand a glam rock wrestler down a coal mine. Idiots.

Would you ever like to write the score for a film/series like, say Angelo Badalamenti did for Twin Peaks?

I’d rather write the show.

What are your goals for the future of your music?

No goals, just vague fantasies.

What are you listening to these days?

4 track recordings of a young idiot singing sad songs while obviously inebriated.

What do you think of the "pop" music today as opposed to yesterday?

I can’t talk about something that I have no knowledge of. Old pop music was great though.

Is Bo Diddley Jesus?

Nope, he’s much more important.

Find out more about John here:
john-moore.net

MAKE OUT - Live Review & Interview

Danish music veteran Jesper Mortensen and New York upstart Leah Hennessey brought their glam-punk rock band - MAKE OUT - to The Mercury Lounge on December 16 and the results were nothing less than spectacular. Capably assisted by band mates Anders Christiansen on bass and Olivia Aliminiana on drums, the thrash, bash and pop delighted a dancing, animated and sometimes moshing audience that included non other than NY Doll David Johansen as well as members of bands Hooray For Earth and Zambri. What this star studded collective witnessed was the pretty and youthful Hennessey confidently taking command of center stage, while brains-behind-the-project Mortensen slashed pop chords and harmonized to the lyrics he wrote. Their just released single "I Don't Want Anybody That Wants Me,"finds Leah singing with a sneer in her voice about being on the prowl to "find a lover tonight," only to petulantly reject all interested parties. Jesper's four chord chorus (and primary hook) precisely marks out the vocal melody as Anders strong bass line is punctuated by Olivia's sharp percussive accents. Their debut EP is due out February 2011.

Meeting Leah pre-show for interview

and also Jesper

Leah sports warm winter hat

While Jesper rocks a "festive" sweater

The Drums - as punk as you can get

Olivia and Leah

Jesper masterminds it all


Check out the band live:

It's short punk n' pop blasts from this collective:

But what do they have to say for themselves?

Read on:

You have a debut record coming out soon. What are the details on it all?
It's a three song EP called "How To" (MAKE OUT). We have a lot of songs written, but we just haven't recorded them all yet. Our next single will be called "What You Doing Later." Jesper wrote the bulk of the early material, but we're going to start collaborating more now.

What was the vision behind MAKE OUT and how is making music in New York different from making it in Denmark?
There are talented people in Denmark but sometimes finding someone who wants to do the same thing as you isn't always possible. When we met here in New York we discovered that we all had good, eclectic, wide tastes in music. Because of that we can simply try to think about what each song needs and what would make them fun and exciting. As opposed to trying to sound like any one specific style.

How did you go about developing the songs?

We didn't start off with a concept or anything. Like all the songs should be short and fast and only two minutes. We had these songs and we just practiced them and realized what makes them exciting was this jump cut mentality. Cutting out all the boring stuff. We had some songs that were much longer. Almost like prog-rock with all these beautiful parts but we didn't want it to be boring so we cut things down to their essential core.

How would you describe what you do in your live show?

We don't have any gimmicky prepared routine. Its not predictable and different all the time. Sometimes we go completely insane and other times its been more serious. Were totally in love with all this poppy stuff but were just having fun with it all. It looks the same as when are practicing with each other, when were playing by ourselves. Playing the songs puts us in a mood to project how we are feeling.

What was the inspiration behind the cake image that goes along with your "I don't want anybody that wants me" single?

We thought it would be fun. We always make cup cake jokes because practice across from a cup cake place. Also were always saying that we want it to be poppy and light. When we talk about pop we never think about what is pop now. When we think pop, I think we mean actual cake and the image of 16 candles and teenage lust

What are some of your favorite authors and what are you currently reading?

Leah: I'm a philosophy student, so my favorite author of all time is Nietzsche, and currently I'm really into the philosopher Gilles Deleuze. I also read and write fiction as well. The Wizard of Oz series are some of my favorite books ever written.

Jesper: I'm a bit of a music nerd, so I read a lot, but mostly about music. Starting 10 years ago I read all the biographies at the library.

One more live - "Come On Over Tonight"

Main site: http://www.makeoutwiththeinternet.com/

Myspace: www.myspace.com/makeoutwithfacebook

Facebook: http://www.facebook.com/pages/Make-Out/139813192734706

Origins: Denmark and New York City

What it is: MAKE OUT is melodic, hooky pop with a punk edge to it all

For those who like: Bikini Kill, Free Kitten, The New York Dolls
Relevant info: Played showcase at The Mercury Lounge to both critical and fan acclaim. Featured in SPIN, Virgin Mobile Live and East Village Radio.