FROCK&ROLL + CODEINE

Codeine iSSUe APRiL 2014

dARk beLLS

+ FoReVeR 27 + CAVe CLUb

Let’S WReStLe + YoUnghUSbAnd SYd kemP + PASteL CoLoURS

here it is. our much longed for FROCK & ROLL issue

‘Codeine’. As the name Codeine (an opiate) suggests, this

edition wants to take a look at the inspiring bond of music

and drugs - which have been linked for a long time, with

shifts in genres often running alongside trends of narcotic

consumption. Some of the most extraordinary musi-

cians and artists were haunted by severe

drug addictions that were often

the result of their reluctance to

comply with public norms.

Some of them simply could

not be satisfied, even

after creating some of

the most influential and

inspirational pieces in

music history. The For-

ever 27 Club members

are a good example for

musicians who found them-

selves in despair and apathy.

many of them developed a tre-

mendous habit of using drugs that

was leading to precipitous lifestyles result-

ing into early self-destruction. Apart from focus-

sing on young musicians from the ‘70s we take a closer look

at the east London youth and music scene. As Cave Club

regulars we decided to spotlight one of London’s best kept

secrets - the psychedelic club night run by The Horrors mem-

ber Rhys Webb as well as a number of new bands that are

all chosen because of one thing: their psychedelic but

contemporary shoegaze sound that allows “moving to-

wards the future backwards, with the eyes set firmly on the

past”. many of these bands like Dark Bells, Temple Songs,

Half Loon and Blossoms are part of the RIP Re-

cords label which made the decision

about our label focus feature an

easy one. our editor in chief

Kat is not only busy with

getting our magazine

ready but also started

the Petrichor Group

- a music manage-

ment and PR com-

pany that works be-

hind up and coming

bands like the Pastel

Colours, Syd Kemp and

Charles Howl, who are

also featured in this copy.

We had great fun putting this

edition together and working with all

the talented and amazing people out there.

thanks to anyone who was contributing for making this

possible and special thanks to Christiane Matz, our illustra-

tion magician, for her hard work and support.

2

+ publisher

Jen Schleifer

+ founder & editor in chief

Kat Ober

+ design & corporate Identity

Christiane Matz www.christianematz.com

+ contributors

Suzy Creamcheese, Sam Davies,

Peter Hass, Christiane Matz,

Maria Soromenho , Flyn Vibert

+ proofreading

Nicholas Burman, Alex Sharman

+ special thanks to

Sean from Fortuna Pop, Nat from Sonic Cathedral,

Euan from Younghusband, Jolan from Temple Songs,

Syd Kemp, Cave Club, Pete, Matt & Lucy from RIP Records

CONTACT

www.frock-and-roll.com

69 Dunlace Road

E5 0NF

London

[email protected]

@frocknrollmag

ADVERTISING

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All rights reserved. This publication may not be reproduced or transmitted in any form, in whole

or in part without the express written of FROCK&ROLL. While every effort is made to ensure the

information is this magazine is correct, changes may occur which affect the accuracy of

the copy, for which FROCK&ROLL holds no responsibility. The opinions of the contributors do no

necessarily bear a relation to those of FROCK&ROLL.

3

+mixtAPe SAm dAVieS

+CAVe CLUb,

London’S UndeRgRoUnd PSYCh CLUb

+Dark Bells &

mARiA SoRomenho

+FoReVeR 27, the FAmoUS 27 CLUb

+ Let‘S WReStLe Codeine & mARShmALLoWS

+ SoUndCheCk: YoUnghUSbAnd

4

+ LAbeL FoCUS: RiP ReCoRdS

+PoP+PSYChLe, temPLe SongS +neW SoUndSbLonde bUnnY/ bLoSSomSChARLeS hoWL/ CoLoURSCoURtLY LoVe/ the eSkimo ChAin hALF Loon/ PASteL CoLoURS WhiStLejACket

+ViSiting SYd kemP

5

PLAYLiSt bY SAm dAVieSArtificial Energy - The Byrds

green - The alby

ten thousand Words in a Cardboard box - Twink

the dreamer Flies back - Forever amber

Shooting At the moon - kevin ayers

Song For Wild - Mark Fry

Caravan - Harumi

natural harmony - The Byrds

A bit of david Crosby

hearts to Cry - Frumious Bandersnatch

7

Pho

tos:

Je

n S

ch

leife

r

8

The Horrors fourth album ‘Luminous’, which is set for re-

lease on the 4th of may, follow up to the moody, Simple

minds-esque pop of 2011’s ‘Skying’ suggests that they are

further delving into the depths of elevating synth melodies

building on their previous krautrock influences. Yes, the

‘Strange House’ edge may be long gone but their cult club

night The Cave Club, held on every third Saturday of the

month, is still going strong. here you will hear the best selec-

tion of ‘60s Psych and garage, occasionally spiced up with

some ‘70s glam, post-punk and disco gems. Calling it ‘The

Horrors’ club night’ is not entirely accurate since it is Rhys

Webb who initiated Cave. Rhys, keen record collector and

dj on the mod/Psych scene since his early teens, knows

how to maintain the perfect balance between hits and

obscurities; therefore you can expect psychedelic-era Bea-

tles and Stones as well as The Mirage or Les Fleur Des Lys.

Unlike most ‘60s psych club nights in London Cave Club

does not aspire to be revivalist or retro although the sarto-

rial element of the ‘60s is certainly present; generally you

will not find too many ageing blokes with Paul Weller hair-

9

cuts complaining about how kids of today are getting mod

wrong. most of the crowd are twenty somethings simply

interested in discovering great music and drawing on the

spirit of the late 1960s in order to create something new

and exciting - or, if you will, moving towards the

future backwards with their eyes set firmly on the past. this

is certainly reflected in the choice of bands which are se-

lected to perform at Cave Club. TOY played their debut

gig here back in 2011, early performances of the likes of

Temples, The Proper Ornaments and Charlie Boyer & The

Voyeurs soon followed. So, whether you want to check out

a cool new band before everyone else or discover great

‘60s songs you (probably) haven’t heard anywhere else,

Cave Club is the place to be. After all, where else can you

find a bunch of kids singing along to ‘Vacuum Cleaner’ by

Tintern Abbey or ‘Guess I Was Dreaming’ by The Fairytale?

Text: Peter Hass

10

“moving towards

the future backwards

with their eyes set firmly

on the past.”

“moving towards



on the past.”

“moving towards



on the past.”

Text: Peter Hass

11

Model: teneil throssell

Clothing: maria Soromenho

Photography: Rita batalha

Make Up: danika Chloe

+Maria Soromenho teamed up with Teneil Throssell, the cool voice and guitarist of London based

psychedelic shoegaze band Dark Bells, to shoot the lookbook for her latest collection. the

outcome of this music-fashion collaboration are some amazing punk-inspired pictures that give

a raw and haunting portrayal of east London’s outstanding female lead singer whilst showcasing

Marias’s impressive new fashion designs. Although the singer prefers her signature self-tailored

vintage two-piece suits, she appreciates Maria’s designs and had a great day working with the

young designer.

13

however, on asking her if she is planning on

some more modelling the answer came

with a chuckle: “Modelling is not something

I’m particularly pursuing as a career choice.

I think bone structure is a major player in that

one.” Up-and-coming fashion designer Maria Soromenho

from Portugal, who was organising the shooting with Teneil,

lived and studied Stage design in Lisbon and Paris before

deciding to relocate to London in 2011.

For her the connection between fashion, music and art is as

important as the quality of her work. With new techniques

in textile modification and by using unexpected materials,

she hand-crafts exceptional one of a kind pieces that drip

with her distinctive rock and roll chic.

Frock & Roll spoke with Teneil, as one of the few female

psych-rock lead vocalists, about the connection between

rock and roll and fashion and its importance to her. She

regards fashion as an empowering tool that can make you

feel more comfortable to do things, like in her case

getting on stage in front of an audience. not as much that

she is avidly following fashion trends, but more in the way

that it can be used to create your own identity. teneil’s ‘70s

inspired look and her passion for velvet vintage suits is one

of the singer’s signature features: “my favourite suit is a red

wine coloured one that i wear if i want to feel a little more

snappy. it’s always my failsafe!”

on being asked which band masters style and music thros-

sell unhesitatingly paid tribute to her friends from temples,

calling their sound sublime and commending their way of

dress. the british band surely knows how to get their style

right as they may just have stepped straight out of a time

machine from the ‘70s with muted fringed leather jackets,

statement pendants and velvet shirts. ‘Steam punk’ how-

ever could not really convince teneil. Check it out - we are

sure you will have a laugh. “i was recently introduced to a

trend called steam punk. Wow.”

As important fashion can be for one’s individuality, the

down sides of it are undeniable. teneil commented on this

quoting an upsetting fact about the fashion industry:

“A study showed that doubling the salary of sweatshop

workers would only increase the consumer cost of an item

by 1.8%, while consumers would be willing to pay 15%

more to know a product did not come from a sweatshop.”

Although there seems to be a widespread belief that

sweatshops are a thing of the past nothing could be fur-

ther from the truth. Sweatshops and child labour are in fact

more active than ever before with the fast fashion industry

driving third World workers into starvation.

“The fact that global textile companies can still exploit chil-

“mY FAVoURite SUit iS A Red Wine CoLoURed one thAt i WeAR iF i WAnt to FeeL A LittLe moRe SnAPPY. it’S ALWAYS mY FAiLSAFe!”

14

“i WAS ReCentLY intRodUCed to A tRend CALLed SteAm PUnk. WoW.”

15

dren, immigrants and the poor is just nuts.” With music, not fashion being Thros-

sell’s primary passion, Frock & Roll wanted to know more about Dark Bells. the

band, including Teneil Throssell, Ash Moss and Geno Carrapetta on drums, com-

bines both shoegaze and psychedelic influences, culminating in rich, swirling

sonic layers not shying away from creating a huge scape. the formerly Sydney-

based group released their debut single ‘Wildflower’ in may last year and are

currently working on their debut album which is due to come out this autumn.

the answer to the question where they take their cues from is simple: “We take

our inspiration from all over really but our common interest is our love for ‘70s

music.” Teneil is also riveted by a couple of ‘70s Zambian psych/fuzz bands and

is fascinated by some early indonesian psych groups. however, she also enjoys

listening to smoother sounding groups such as Air, David Axelrod and Connan

Mockasin. hence, some of the records she could not live without are ‘Dancing

16

Time’ from the Funkees , ‘Give Love To Your Children’ from musi-o-tunya and ‘Fever

Ray’ by Fever Ray.

With this broad taste in music Frock & Roll wanted to know if Throssell can still remem-

ber the first gig she went to. In detail she recalls going to Alanis Morissette’s ‘Jagged

Little Pill’ tour at Perth entertainment Centre on April 23rd 1996, where Taylor Hawkins

of the Foo Fighters was drumming for Morissette. this was Teneil’s first real trip to the

‘big city’, wearing a denim overall and a white cut-off t-shirt underneath. it seems

like she always had a sense for fashion: “Think I was going for ‘motor mechanic chic’

or ‘bad girl from Neighbours chic’. Can’t quite remember… or perhaps it’s been

blocked out for situations like this, ha!”

Throssell gave a surprisingly humble answer to the question how she has adjusted to

the life as the lead singer by saying that she was never really thinking about it: “In our

group all the instruments, voice included, are of the same importance. Which I guess

is why I’ve never really felt like a front person per se.” Still there is a substantial expres-

sive side of it which Teneil learnt to appreciate over the years, given that she has

been living this role for quite a while now. What she enjoys most is to make other peo-

ple happy with the sound of Dark Bells. This motivation is also reflected by the positive

experience Teneil Throssell made with the east London scene: “The scene is great. It

seems really supportive; there are a lot of different club nights and mini-festivals that

create a great platform for new bands. There are also a lot of great new venues that

have opened that allow for a more diverse scene which I think is really important.”

For the upcoming singles the Dark Bells singer has teamed up with animator Rob

Meech and visual artist Antonia Halse as the visual element in conjunction with the

“the FACt thAt gLobAL textiLe ComPAnieS CAn StiLL exPLoit ChiLdRen, immigRAntS And the PooR iS jUSt nUtS.”

18

music is crucially important to Throssell who is ob-

sessed with complementing sound with colour

and moving images.

the band is planning a tour in support of their

debut album later this year and everyone who

wants to make time pass more quickly for the

debut album to be released has a chance to

see Dark Bells live as they are confirmed for the

Great Escape Festival, the Artrocker New Blood

Festival and for Liverpool Psych Fest.

Interview & Text: Jen Schleifer

19

The 27 Club is the puzzling phenomenon of a high number

of extraordinarily talented musicians dying at the age of 27.

the notable persistence of this curiosity makes it seem like

more than mere coincidence, especially as many of these

deaths occurred under mysterious circumstances. Some of

the most iconic members of this so-called ‘club’, including

Rolling Stone Brian Jones, Jim Morrison, Jimi Hendrix, Janis

Joplin and Kurt Cobain, were leading a precipitous lifestyle

that made them obvious candidates for self-destruction.

the fact that all of them died at the same age - Brian Jones

and Jim Morrison even on the same day only two years

apart – has encouraged bizarre conspiracy theories that

stir the imagination. With lots of questions left unanswered

and most of the cases left unsolved the 27 Club remains an

ever gripping mystery.

Flyn Vibert, a passionate east London based art photog-

rapher, was taking inspiration from this occurrence and

grabbed his camera for FROCK & ROLL to come up with

some expressive shots of the most notable members of the

27 Club. This artist who finds his inspiration in almost any-

thing - books, films, dreams, comics, music and mythology,

also lets us into his work and life and gives some insights in

his personal experiences with addiction.

b R i A n J o n e s

† 3.07.1969

Rolling Stone Brian Jones was an influential multi-instru-

mentalist, clever and inspirational but also a manipula-

tive and callous trouble maker. 1959 jones’s 17-year-old

girlfriend became pregnant. he reportedly quit school in

disgrace and left home to travel through northern europe

and Scandinavia. eventually, he ran short of money and

moved to London where he started to hang out with Alexis

21

Korner and became member of the small rhythm and

blues scene there. Soon he met Mick Jagger and Keith

Richards and became the founder and original bandlead-

er of the Rolling Stones. Jones developed a serious drug

and ego problem: losing his girlfriend Anita Pallenberg to

guitarist Keith Richards was not doing much to improve his

situation. his role in the band steadily diminished and his

self-destructive misanthropic tendencies began to solidify.

Jones drowned in his swimming pool at his London man-

sion. to this day no one knows what exactly has led to his

dead. the most theorised explanation is that Frank Thor-

oughgood, who was doing some repair work on site, acci-

dently drowned the former Rolling Stone after an argument

- a setting that was particularly dramatised in the movie

‘Stoned’. Brian Jones could be an abusive, unscrupulous

man, but he still was a Rolling Stone. he did more than just

living the image; instead, he became it.

Fear and grief

convulse us and

consume us

day by day

And cold hopes swarm like worms

within our living clay.

j i m M o r r i s o n

† 3.07.1971

Jim Morrison, the lead singer of US group The Doors died

just two years after Brian Jones, strangely enough on the

very same day, the 3rd of july. he was found in a bathtub

at his apartment in Paris by his long-time girlfriend Pamela.

to this day it is not clear if the cause of his death was a

heart failure aggravated by heavy drinking or a heroin

overdose. there are rumours that he died in the toilet of

the popular French club ‘Rock’n’ Roll Circus’ after shoot-

ing a lethal dose of heroin and was then dragged back to

his apartment by two drug dealers who dumped his dead

Photography: Flyn Vibert, Brian Jones

22

j i m i H e n D r i x

† 18.11.1970

in the early hours of Friday, September 18th 1970, Hendrix

was drinking a fair amount of red wine and took some am-

phetamines and Vesparax sleeping pills - a mix that led to

his untimely death. during his years on the road Hendrix was

not only becoming a rock guitar legend but developed a

habit of using drugs excessively. When he came to London

in 1966, Jimi was admired by members of The Beatles, The

Who and The Rolling Stones for his extraordinary, innovative

guitar-playing skills. he continually improved his experimen-

tal sound and elevated himself to the status of the most

influential electric guitarists in the history of popular music.

After listening to Hendrix, Eric Clapton was apparently

furiously puffing on a cigarette, saying: “You never told me

he was that fucking good.” Hendrix however was as

body in the bath. in this setting, also a 24 year old Mari-

anne Faithful, who had recently split up with Mick Jagger,

was visiting the club that night and was sworn to secrecy

not to talk about the events. Morrison is regarded as one

of the most iconic and influential frontmen in rock history.

he was literate, highly intelligent and one of music’s most

controversial figures - a poet and visionary with aggressive,

unpredictable manners who frequently sparked the crowd

into riots and allegedly tried to set his girlfriend on fire.

however, Morrison’s darkly poetic lyrics and eccentric stage

presence make him to the untouchable Lizard King: “I am

the Lizard King, I can do anything”. This is the end, beautiful friend

This is the end, my only friend, the end

Jim Morrison

Jimi Hendrix

22

23

talented as he was reckless. on the night of the 17th

September, he went to a party and back to a hotel room

of his german girlfriend. After taking a drug cocktail he

vomited during the deep ensuing sleep and “drowned in

a massive amount of red wine” as the autopsy revealed.

I’m the one that has to

die when it’s time for me to die,

so let me live my life,

the way I want to.

Bye-bye, baby,

bye-bye.

So long, my honey,

so long.

Too bad you had

to drift away

‘Cause I could use

some company

Right here on this

road,

on this road

I’m on today.

j A n i S J o P l i n

† 4.09.1970

Janis Joplin, the queen of psychedelic soul, died in a LA

hotel just 16 days after fellow musician and friend Jimmy

Hendrix passed away. inside room 105, she shot up her last

fix of heroin and died of an overdose. Joplin grew up in

a stuffy texan town where she could eventually develop

a group of guy friends who shared her interest in music

and the Beat Generation. in the late 1960s she became

known for her powerful, blues-inspired vocals and made

her mark when touring as lead singer of the psychedelic-

acid rock band Big Brother and the Holding Company.

After tensions she decided to part ways with the group

Ja

nis

Jop

lin

24

k U R t C o B a i n

† 8.04.1994

Kurt Cobain, lead singer and guitarist of multi-platinum

grunge band Nirvana, was found dead at his Seattle

home, leaving Nirvana fans worldwide devastated. his

shocking death has been a constant source of speculation

ever since his body was discovered. Cobain died of a shot-

gun blast to the head, whilst having a lethal dose of heroin

in his bloodstream as an autopsy later revealed. he left a

suicide note, asking his wife Courtney Love to “keep go-

ing” for the life of their baby daughter, basically apologiz-

ing for not “feeling it” anymore. during high school, Cobain

rarely found anyone who shared his interest in punk rock

but finally managed to convince Krist Novoselic to found

Nirvana. After signing with major label DGC Records with

their 1991 debut ‘Nevermind’ they started to become

commercially successful. When Nirvana’s smash hit single

‘Smells Like Teen Spirit’ went on air, underground grunge

bands became popular in a flash - against what many of

them had originally intended. Cobain struggled to cope

with the massive success of Nirvana and felt persecuted by

the media and misinterpreted by the public. during the last

years of his life Cobain was fighting against illness, a further

deteriorating depression and heroin addiction. “I must be

one of those narcissists who only appreciate things when

they’re gone. I’m too sensitive. I need to be slightly numb in

order to regain the enthusiasms I once had as a child”

I’ll start this off without

any words

I got so high that I

scratched ‘till I bled

I love myself better

than you

I know it’s wrong so what

should I do?

and started her solo career with her own backing groups,

The Kozmic Blues Band and The Full Tilt Boogie Band. Janis

Joplin loved drugs, Southern Comfort and sex and fought

against the unwritten rule of how women in the scene were

expected to act. She thereby became rock and roll’s first

lady. Joplin once busted a bottle of Southern Comfort over

Jim Morrison’s head, knocking him out cold. he loved her

violent attitude and was, after she showed no intention

getting together with him again, reportedly heartbroken.

Kurt Cobain

25

A L e x A n d e R D a v i D

† 10.2.1975

David Alexander, the original bassist for the punk rock

pioneers The Stooges was a heavy drinker and died as a

result of pneumonia and an inflamed pancreas - a disease

which is common among alcoholics. he early decided to

become a rocker, dropping out of high school at the

beginning of his senior year and founding a rock band

with the Ashton brothers. the trio met Iggy Pop in 1970 and

started to play in the formation that is known today as the

Stooges. Alexander was not an accomplished musician,

but a fast learner and had a natural talent for song writing.

The bassist contributed to the band’s first two albums with

being the primary composer of the music for the legendary

Stooges songs “We Will Fall”, “Little Doll”, “Dirt” and “1970”.

because of his drinking habit and unpredictable behaviour,

he was dismissed from band when he turned up too

sozzled to play at the Goose Lake festival. being kicked

out of his band increased his frustration and apathy and

the occasions where he drank himself into a stupor what

heavily contributed to his early death.

I'll be shakin' I'll be tremblin'

I'll be happy, I'll be weak

And I'll love you, and I'll love you

And we'll fall to sleep

We'll fall to sleep

Six o'clock, dong, dong

Real far, real far

Good-bye, good-bye, good-bye

R i C h e Y e D w a r D s

† 1 . 0 2 . 1 9 9 5

Richey James Edwards of the Welsh band Manic Street

Preachers disappeared at the age of 27 without a further

trace. he was not a particularly talented musician but a

gifted lyricist and primarily responsible for the melancholic

Alexander David

26

and androgynous side of the Manic Street Preachers.

Suffering from serious depressions, self-mutilation, anorexia

and alcoholism he became spokesman for a ‘lost genera-

tion’. When a NME journalist alleged that the Manic Street

Preacher’s image is a farce, Edwards wordlessly grabbed

a razor blade and carved ‘4real’ into his left forearm to

proof him wrong. Richey had an extreme personality; what

makes it hard to decide if he actually committed suicide

or just decided to disappear. Fact is that he left London’s

Embassy Hotel at 7am in the morning on the 1st of February

1995 and that his car was found nearby the Severn bridge,

a renowned suicide spot. Although fans and his family

refused to accept the death for many years it is now widely

believed that he took his life by jumping from the bridge.

his body, however, has never been found.

Shed some skin for the fear within

Is starting to hurt me with

everything

Freed from the memory

Escape from our history, history

And I just hope that you can

forgive us

But everything must go

And if you need an explanation

Then everything must go

Flyn, tell us about the way you work - How do you decide

what pictures you want to work on and what is the idea

behind it?

i tend not to decide outright. there are magazines and

cuttings piled high in every corner of my room. i can’t throw

anything away. Music, fashion, art, film, politics - every kind

of image. When it comes to shooting i follow my gut, grab-

bing at whatever takes me in that moment.

it’s about emotion, feeling, instinct. it’s always been

subconscious like that. back then it was a teenager locked

in his bedroom with a copy of The Face, a pair of scissors

and a torch. now, it’s anything, anyone... stale red wine,

cigarette ash, nail polish, burnt plastic, rose petals, motor-

bike parts, and paint stripper. there’s nowhere i won’t go.

Richey Edwards

27

Do you have a plan when creating your images or do

you surprise yourself with the outcome?

there’s no formula. there’s no one way of doing things.

i’m always searching, looking for something new to bring

into my practice. if i didn’t surprise myself i’d probably be

bored. the only rule i have is that i don’t retouch - i never

manipulate my work digitally. it’s the physical touch which

is so important to me.

would you describe yourself more as an artist or

a photographer and what was the one defining moment

when you knew you wanted to do what you are

doing professionally?

i’ve been stuck on this question for a long time now. i am a

photographer, i studied that way - i know how to compose,

light, frame, set a scene. but i work in a way which blurs the

line between art and photography. An old friend once told

me that the problem with my work is that it’s ‘between the

table and the chair’. i’ve always liked that idea. the truth

is i don’t know which one i am and i don’t really care. i just

make images, whatever they are. i’ve never liked the idea

of being a professional. it suggests an end point, but there

are still so many questions left to answer. there wasn’t really

one defining moment. Photography was just it for me. As

natural as breathing - it was me.

Where does your main influence and inspiration

come from?

i think it’s important to take in as much as possible. i go

to student shows, I watch 80’s sci-fi movies, I read poetry, I

daydream on bus journeys, i listen to grunge and post-punk

and get lost in Richard Dadd paintings. i’ve even been to

exhibitions i’ve hated and come away with a notebook full

of ideas. i always come back to a quote from new-wave

director jean-Luc godard - “It’s not where you take things

from. It’s where you take them to.”

what do you think about the Club 27 and their members?

any personal experiences with drugs, suicide or other

weird stuff?

it’s sad. What a waste, eh. imagine if this world still had Kurt

Cobain, Jim Morrision, and Jimi Hendrix making music or

whatever else they’d be doing by now. it would be a much

better place for it. my step-sister was an addict when i was

a kid. i didn’t really get it - too young for it to mean much.

but in a way i think it did imprint on me.

i’ve never been drawn to that world. if ever i’m down

or sad about something i just take pictures, it’s the best

fucking therapy there is.

“i’Ve eVen been to exhibitionS i’Ve hAted And Come AWAY With A notebook FULL oF ideAS.”

Interview & Text: Jen Schleifer

28

Let’S WReStLe

waking up, my head's in my hands,

my baby's gone far away

to Queensbridge road

Codeine and Marshmallows have an aftertaste

of sick and blood and loneliness i don't know

how to get home.

Phoning up, he's checking in, he wants to know

where i've been and why i don't ring



how to get home.



how to get home.

she's my winter and she's laying in pain i'm

sucking on a spoon cos her name is pain

lord give me water to clean up my place

that's what i was born into, born into disgrace

and all i need is love and a better place



how to get home.

waking up, my head's in my hands,

my baby's gone far away

to Queensbridge road



how to get home.

Phoning up, he's checking in, he wants to know

where i've been and why i don't ring



how to get home.



how to get home.

she's my winter and she's laying in pain i'm

sucking on a spoon cos her name is pain

lord give me water to clean up my place

that's what i was born into, born into disgrace

and all i need is love and a better place



how to get home.

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Younghusband have just been confirmed as support for Bo Ningen’s Uk tour this may. At end of last year Frock & Roll

sneaked into their sound check for their debut album launch for ‘Dromes’ (on Sonic Cathedral) at the Lexington and

gained some exclusive insight. Since then a couple of months have passed, so we were interested what the guys were up

to now. Front man Euan Hinshelwood let us in on some details about gigging in europe with TOY as well as the influences

for the upcoming second album.

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Can you remember the first gig you went to?

i used to sneak into a pub where i grew up, from the age

of about 14 and watch local bands. I think the first ‘proper’

gig i saw was echo and the bunnymen.

whose sound check would you like to sneak into?

the Royal Philharmonic orchestra

if you could choose an ideal gig line-up who would

make it on the bill?

The Velvet Underground, Big Star & Buffalo Springfield

who’s the best band you’ve seen live?

brian Wilson and his band at the Royal Festival hall like

10 years ago when ‘Smile’ came out, i think.

what is the funniest thing to happen to you at one

of your gigs?

joe’s ankle was bitten by a rat and Pete was stung by a

bee at the end of his nose in the space of two songs.

what do you reckon the grimiest place you’ve ever

played is?

hull Adelphi i think, but it’s a great venue nonetheless. the

first time I played there the floors were covered in mud and

we had to transport stuff around in wheelbarrows.

You’ve just been on tour in europe with ToY, how did you

find this experience?

mind-bending, confusing, excellent.

33

How has your sound changed since you began gigging

regularly?

it’s loosened up i think. We’re just enjoying playing more; i

mean, it feels a lot more energetic than it ever has done. i

guess it comes with confidence.

You’re also taking part in krautrock karaoke the nights

hosted by kenichi iwasa, what made you take part here?

ken made me do it. he’s the only investment banker i

know who likes krautrock. And the only investment banker i

know. We’ve met some great people through those nights.

i just like getting wasted and playing the same note for 14

hours and not really giving a fuck.

Have you started thinking about the follow up album to

Dromes? Would you let us in the influences?

We’re in the process of writing it now. Until we start playing

the tracks live i’m not entirely sure where it’s going. We’ve

been listening to a lot of big Star, john Cale, ‘70s things. i

think there will be a heavier emphasis on songs.

what will 2014 hold for Younghusband?

We’re touring with bo ningen in may, around the same time

as ‘Dromes’ is having a deluxe reissue with five extra tracks.

We have a few festivals but we’re concentrating on get-

ting the second album written and hopefully recorded in

the autumn.

Interview & Text: Kat Ober

34

laBelFoCUs Ill

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“i JUsT THoUgHT FUCk iT i’ll sTarT a laBel, Do iT MYselF anD ProBaBlY aCTUallY Do a BeTTer JoB THan THeM anYwaY.”

vals pop up all over the place. So it is actually not surpris-

ing when Heywoode explains that both Temples and The

Wytches popped up in RIP Records’ radar prior to their

releases with Hate Hate Hate Records and Heavenly - other

than those two, Pete’s been fortunate enough to secure

every other band he has set his eyes, ears and heart on for

Record In Peace.

“I don’t see us as anything unique-just a passionate la-

bel with good acts.”, this is what Record In Peace label

boss Pete Heywoode humbly answered to one of Frock &

Roll’s questions when asked what sets RIP Records apart

from other independent labels. however, with Frock&Roll

favourites like Dark Bells, Temple Songs and recent up and

coming Blossoms and Half Loon signed up, we don’t quite

agree with him. It seems hard to believe that the first re-

lease only dates back to a little bit over than a year ago.

the now defunct Black Manila released ‘Shake That Thing’,

recorded by Liam Watson at Toe-Rag Studios, on April 1st

2013 via the then newly founded RIP Records. thanks to

a makeshift ethos and necessity, the label was born be-

cause a new London based rival who was set to release

a Black Manila 7’’left them high and dry. or as Pete, their

then manager, recalls it “I can’t remember their name

(editor’s note: the label’s) now. Anyway, they pulled out

which really pissed me off. We’d decided we wanted to

release it on vinyl so I just thought fuck it – I’ll start a label,

do it myself and probably actually do a better job than

them anyway.” Rest in Peace Records was born. the name

was decided over a couple of drinks with a little help of a

friend called Rich - Rich & Pete sort of morphed into Rest In

Peace, when Rich left the name was changed to Record

In Peace, which is definitely one of the better wordplays we

have come across recently.

Arm in arm with acts from longer established labels like

Heavenly (Temples & The Wytches) and Sonic Cathedral

(Younghusband), RIP Records is paving the way for the

psychedelic movement that recently has seen Psyk Festi-

“i jUSt thoUght FUCk it i’LL StARt A LAbeL, do it mYSeLF And PRobAbLY ACtUALLY do A betteR job thAn them AnYWAY.”

36

this might very well be RIP Records’ very own secret to

success, when asked what would be a piece of advice to

give to people who are thinking of starting their own la-

bels, the answer sounds simple: “Find something you like

and just do it.” obstacles like lack of funding can be easily

be beaten with some fundraising -“Just make it happen!”

Without any excuses but instead roll up your sleeves and go

about it with a can-do attitude.

this passion can also be found in the amount of emphasis

and effort RIP Records puts into making physical releases

as opposed to purely digitally releasing everything. it is not

only the bands who want to hold the actual product of

their creativity in their hands but the label head himself is

very keen on working with physical releases.

Obviously we try to find out a little bit more about Record

In Peace’s future projects, Heywoode unsurprisingly keeps

rather schtum about those. he lets us in on some news how-

ever - there will be a handful of new acts unleashed and

- ‘drumroll please!’ – some albums set for release by the

end of the year. there is even some talk about a subsidiary

called Youthless Records.“It bums me out,” Pete says

about financial restraints getting into the way of things but

2014 is looking bright for RIP Records, with successful single

releases of ‘Reverie’ by Half Loon and ‘Point Of Origin’ by

Temple Songs already out and third single of the year, ‘In

Head’, by Dark Bells, just around the corner set to be re-

leased on April 24th. Followed up by latest signing Blossoms’

debut eP in mid-may, a singer-songwriter project penned

for late june and something to look forward to by Tange-

rines , who if we believe Pete are “one of the most exciting

bands in years.”

RIP Records is hoping to grow to a point where it is pos-

sible for them to release long players. but do not expect

the Dark Bells debut album anytime soon, instead do not

be surprised about a malian band being added to the RIP

Records roster soon (don’t say we didn’t warn you). if it’s

not world music albums that make it on the RIP Records’

roster it might be one of Temple Song’s Jolan Lewis’ other

projects that cover a wide range of genres. RIP Records

are not about jumping on the Psychedelic bandwagon. in-

stead, they are working with friends and bands they

believe in. “If it seems like we have a style at the moment,

then it definitelely wasn’t pre-determined. I just like good

tunes and no bull shit!”

After all, paisley might soon fade and roll-necks might

start to go baggy, but a label that puts as much heart and

passion into bands like Record In Peace makes sure

that quality remains for a long time coming and is worth

being cherished.


37

despite being label mates with heavily psych influenced bands

such as dark bells or half Loon, or lining up to play Liverpool

Psych Fest, temple Songs do not shy away from calling them-

selves “A Pop Group from Manchester”; the band’s mastermind jolan

Lewis is more likely to frown upon the latest psychedelic movement than

on pop. So how do Temple Songs manage this balancing act, tip-toeing

on the fine line between genres and pigeon-holing without being

swallowed into the vortex of the music industry? Jolan gave us answers

to that as well as why it might be about time to consider moving to

manchester and why it is not the best idea to turn up to one of their gigs

wearing a Led Zep tee.

Interview & Text: kat ober

40

“a loT oF THe kiDs wHo a Few Years earlier HaD Been wearing kasaBian T-sHirTs were now wearing PaisleY sHirTs anD Bowl-CUTs.”

“a loT oF THe kiDs wHo a Few Years earlier HaD Been wearing kasaBian T-sHirTs were now wearing PaisleY sHirTs anD Bowl-CUTs.”

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How do you create the connection between contempo-

rary music and retro sounds?

i never made a conscious decision to make music like that,

it just never occurred to me to do it any other way. i’m in-

terested in different aspects of different kinds of music, and

i’m interested in the concept of music itself. i read recently

that someone smart once said that nostalgia is ‘mental

and moral masturbation’, which i suppose is just a more

eloquent way of saying ‘what’s the point in rehashing the

past?’. At the same time, there isn’t very much contempo-

rary music that does anything for me, at least from what

i’ve been shown. i don’t have a choice!

Where does the psychedelic influence come from?

it’s a long story, but when the short version is that when i

was about 14, i was completely obsessed with psychedelic

music. i listened to and compulsively researched every

scrap until i got bored of it when i was about 19. i remem-

ber a few years ago being out, and noticing that a lot of

the kids who a few years earlier had been wearing kasa-

bian t-shirts were now wearing paisley shirts and bowl-cuts,

and I figured that there was probably some kind of pseudo-

psychedelic revival on the way. i had no interest in being

How was the project established?

i recorded an eP and album on my own and put them up

online. i’ve always done stuff like this because i always

hated the idea of performing live. these releases did rea-

sonably well and the manchester scene was really doing

something, so i decided to put a group together to per-

form the songs live.

How did Temple songs develop with the addition of three

new members?

After forming the group i realised that i had very little inter-

est in translating the pre-existing music to a live four-piece

arrangement so i ended up writing more music instead. this

was slightly incidental, as the idea had always been that

i didn’t want to limit myself to certain genres anymore, i

wanted to feel free to change musical style at any time.

Forming a group with the traditional ‘rock band’ line-up

meant that i returned to the kind of music i was listening

to as a teenager, so it felt natural to start out as a garage

group.

How do you go about physically recording the music?

I’ll usually record Andy’s drum parts first (although occa-

sionally, if the song calls for a less-than-professional drum

performance, i’ll play it myself). then i overdub the rest of

the instruments myself. i record to an 8-track Fostex ma-

chine and then mix down to a teAC A3340S. i like having to

make the most out of what little equipment i have, but i’ve

considered recording to a computer, which i understand a

lot of people tend to do in my position. it just feels a little too

easy, or maybe boring.

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“THe BeaTles are a greaT exaMPle oF CoMBining PUre PoP wiTH wHaTever THe oPPosiTe oF PoP is.”

of modern music? ty Segall has some good stuff, Parquet

Courts are great. the Flaming Lips were pretty much the

only contemporary group we all listened to when we first

met. i’m more interested in people like Connan mockasin

and mac demarco though i think.

What other bands and artists have influenced Temple

songs?

our parents’ record collections meant that we were con-

fronted with Captain beefheart, CAn, Velvet Underground,

Robert Wyatt and the Cramps from a young age. i guess

we’ve just continued on down that path, a lot of Red kray-

ola, outsider music and private press LPs. We’re geeks i sup-

pose. i was 17 before i listened to the beatles, but i immedi-

ately became immersed and pretty much refused to listen

to anything else for the next 4 years. they’re a great exam-

ple of combining pure pop with whatever the opposite of

pop is, i was always fascinated by their esoteric side. it’s

a part of it, and still don’t, but I guess the psychedelic influ-

ence is hard to wash out of your clothes. that’s probably

why the psychedelic elements are a little more absorbed in

our music, rather than being slathered over the top of indie

and lad-rock, which it seems to me is what a lot of people

are interested in at the moment.

Pop is often frowned upon, how come you class yourself

a pop band?

Pop is often frowned upon, how come you class yourself a

pop band? i don’t mean pop in the way that i guess most

people immediately think of, because i generally frown

upon that too. i mean it as a short-hand for almost all music

which uses all those old-fashioned things like melody and

rhythm. i only say that so that when we make a garage re-

cord and then follow it up with an album of country ballads

then no one can complain.

what is the appeal of pop music?

i like pop music and i like whatever the opposite of pop

music is. i am interested in both equally, because i’ve al-

ways respected the idea of song-writers showing up at the

brill building and doing a 9-5 shift, completely understand-

ing their craft and treating it like any carpenter or builder

would do, knowing how to build the sections and how to

stick them together. but i am just as fascinated by the free-

dom of stuff like Amm, La monte Young, derek bailey, the

godz, etc. it always just seemed natural to me that com-

bining these two opposites was an interesting thing to do.

Do you take a lot of influences from the American psy-

chedelic and grunge scene?

As much as anything else i suppose. do you mean in terms

“THe BeaTles are a greaT exaMPle oF CoMBining PUre PoP wiTH wHaTever THe oPPosiTe oF PoP is.”

44

of changing, or diluting their ideas in order to sell records,

because like i said, everyone else would just call bullshit on

it and you wouldn’t be taken seriously anymore. there’s a

label here called oj Records, they’re kind of like that guy

who went round recording all those blues singers; they’ve

started putting out vinyl anthologies of the scene, and i

think that these records are gonna be considered impor-

tant someday, at least to someone. Somebody needs to

start bringing a camera out with them, cause in about 30

years they’re gonna be making big fat coffee table books

about these grotty little venues.

probably easier to talk about what we actively hate, which

would be stuff like Led Zeppelin and Pink Floyd. i fucking

hate that stuff.

How do you feel you relate to Manchester’s music scene?

We’ve all read a lot of articles which try to give a name to

the manchester scene, and they’re almost always ridicu-

lous. this is because these groups aren’t connected mu-

sically, it’s something else... like, that old thing, everyone

is heading to the same place, but they’re taking different

routes. Sex hands, bernard + edith, Fruit tones, Aldous Rh,

money, irma Vep etc have little in common in terms of gen-

re or anything like that, but as people, they’re all deeply

obsessive over music, and being from manchester, can’t

be arsed with bullshit and find it ridiculous. It’s very difficult

to explain, but there’s just something which means that all

pretension is laughed away at the door and you’re left with

people being honest. if any mystery or eccentricity is left,

you know it’s genuine. You end up surrounded by mostly

normal, usually friendly people, who just so happen to be

making really great music.

in what direction do you hope that the music scene in

Manchester will develop?

it’s hard to say. You know how when nirvana got big, and

labels started signing every shitty band from Seattle? Some-

thing like that i guess. if one of the bands breaks then hope-

fully everyone’s going to be in a better position to release

their music properly. i love the fact that it’s a diY scene,

because that allows you a certain amount of freedom, but

there’s too much great music for it to just stay here.

i don’t think many of these groups would be in any danger

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“THere's JUsT soMeTHing wHiCH Means THaT all PreTension is laUgHeD awaY aT THe Door anD YoU're leFT wiTH PeoPle Being HonesT.”

“THere's JUsT soMeTHing wHiCH Means THaT all PreTension is laUgHeD awaY aT THe Door anD YoU're leFT wiTH PeoPle Being HonesT.”

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BlonDe BUnnY

Blonde Bunny are a prog-rock band formed by four

boys from oundle in northamptonshire. they sound unlike

any other band out there at the moment, bravely mixing

shoegaze, psychedelia and jazz. the fusion of the lead

singer’s unique falsetto vocals with catchy riffs, stomping

bass lines and whirling guitar riffs with just enough experi-

mental vibes thrown in for good measure does the trick. this

is not an easy sound to get right, yet Blonde Bunny handle it

perfectly and leave enough sonic space to wallow in.

having supported their friends The Wytches on a string of

live dates the four-piece are not your typical retro

psychedelic or progressive rock band, with only the odd

track running at less than five minutes. Still, as unlikely as

it may sound, Blonde Bunny manage to craft progressive

rock pop singles; maybe not grabbing the listener by the

scruff of the neck immediately but give it half a track and

you will find yourself absorbed in the musical creativity of

Blonde Bunny.

www.facebook.com/blondebunnyband

soundcloud.com/blondebunny

BlossoMs

in the last few months Blossoms have been making waves

in their hometown of manchester after leaking the fantastic

‘You Pulled A Gun On Me’. this has been followed up by

support for Twisted Wheel and tours in belgium and France.

All this activity has gained the attention of The Rifles who

personally asked Blossoms to support them on selected tour

dates throughout April and may. With the entire band un-

der 22, Blossoms is a young band, yet have already crafted

a sound well beyond their years. Creating and playing

music as if they are possessed, they smash out the melodies

reminiscent of classic psych outfits such as The Zombies, The

Doors and 13th Floor Elevators. during their song writing

process, they go into the studio and develop their trade-

47

mark sound, adding a more progressive twist; reminiscent

of The Coral, Mac Demarco and Smith Westerns.

this concoction of sound and skilful song writing is sure to

see Blossoms blossom into one of the hottest prospects in

british guitar music for 2014.

www.facebook.com/ blossomsband

CHarles Howl

2013 saw Charles Howl release the storming single ‘Surf

Trem’ via Lo Recordings and an impressive self-titled eP via

Stockholm/London label PnkSLm. Charles Howl is the brain-

child of their singer and song writer Charles himself, who

originally started out with an acoustic project, previously

recording under the moniker Jerry Tropicano. he congre-

gated a band equipped with a new title and the act has

since developed into a live outfit performing a solid dose of

rock with psychedelic undertones. Recent tracks promise

Charles Howl shunning away from simple distortion and in-

stead refining and sharpening his song-writing while upping

the pop. building on his lyrics the Londoner crafts his own

unique vision of perfectly catchy melodies with an angel

complex, similar in some ways to a grungier Kurt Vile and

very reminiscent of Thee Oh Sees. Unlike other bands from

the same genre however Charles Howl’s vocals manage

to stand out even though they might be soaked in reverb.

the band’s knack for harmonies, chiming guitars and

throbbing bass lines backed up by driving drum beats and

exceptional song-writing make them ones to watch out for.

www.facebook.com/charleshowlmusic

soundcloud.com/charleshowl

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ColoUrs

Sydney born and now London based musician Tom Cran-

dles might try to stay in the shadows with his latest project

Colours, but true to the name his music is too illuminated to

provide any secrecy. After countless incarnations,

Colours has manifested itself from industrial shoegaze into a

mould of its own - driving grooves pulsating beneath

luscious synthesizers and jarring guitars that send you into a

lucid dream. Just as in previous outfits Tom convinces with

beautifully crafted and elaborated melodies and sound

sequences of the ilk of a happier krautrock and prog heavy

TOY or The Horrors, this time also flirting with a more indus-

trial noise element. Colours maintain the perfect balance

between smooth and loud, and with influences

being picked from all over the musical spectrum, cannot

be pigeonholed into one single genre. touching on shoe-

gaze, psychedelic, industrial, krautrock noise as well as

chillwave vibes Tom Crandles offers a genre-blurring debut

that will certainly stick in people’s heads. independent la-

bel Father/Daughter Records releases the double A-side

‘You Can’t See Me/My Memory Is A Maze’ as its first inter-

national signing on the 8th of April.

www.facebook.com/colourssound

CoUrTlY love

Courtly Love are named after the medieval concept of

chivalry, the secret expressions of love between members

of the nobility and there is something almost voyeuristic

and illicit about their sound which is laced with excitement

and danger. glamorous but a little bit dark Courtly Love are

merging bluesy tones with psychedelic hazes; a brand-new

quintet from east London and one of those rare musical

collectives who appear to have arrived fully formed and

armed with clutch of quite wonderful tunes. they produce

a gorgeous smouldering psych blues fusion, mixing the dark

gutter glamour of the Velvets & Nico with the

cinematic doomed grandeur of Serge Gainsbourg. their

single, ‘Mirage’, carried by its slow pace, creates a sooth-

soundcloud.com/colourssound

49

ing atmosphere, whilst the guitar melody creates a glisten-

ing, infectious sound that falls just shy of four-minutes of

bliss. the switch between male/female vocals elevate the

track, peaking when the chorus kicks in and the harmonies

soar. Courtly Love’s effortless cool is admirable, whisking

the listener far away from dreary London.

www.facebook.com/courtlylovemusic

eskiMo CHain

London based Eskimo Chain are specialised in what they

casually call ‘frustrated punk infused psychedelia’. there

is definitely a punk influence traceable that roots back to

the time when the four-piece started the band at the ten-

der age of 16. With their music taste constantly expanding

they gained massive experience and are currently taking

their cues from Syd Barrett to The Fall, from Television to

My Bloody Valentine. their sound is an energetic grapple

between sonic drone, melodic tunes and punk sensibility.

they have not travelled too far from their beginnings, but

now they are equally able to indulge in psych ‘60s pop

tunes, whilst not being afraid of emerging into an effect-

laden wall of sound. A heavy rhythm section is

accentuated by the euphoric lead guitar and stirring key

melodies that evoke that exuberant energy associated

with the best ‘60s psychedelia has to offer.

their full intensity can hardly be realised until seen live. Play-

ing together since their formative years the band comes up

with a tight but unpredictable performance with bounds of

energy making for a massive live sound.

www.facebook.com/pages/The-Eskimo-Chain/124133937690182

soundcloud.com/theeskimochain

HalF loon

London’s pedigree in woozy psychedelia is written large

across the annals of history and Half Loon are ready to add

their own chapter to those illustrious tomes. With nods to

the likes of more traditional sounds like the early Pink Floyd

when Syd Barrett was still fronting them, but also to the con-

temporary such as Connan Mockasin or Tame Impala, Half

Loon‘s first set of singles ‘Reverie’ and ‘Swearword’ show

soundcloud.com/courtlylove

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PasTel ColoUrs

Pastel Colours are a five piece band from the shores of

Falmouth. the band records their music at home a là Jack

Nitzsche on a diY budget or Joe Meek who famously re-

corded vocals in his bathroom on holloway Road. there

is a heavy influence of bands like The Byrds, a number of

cuts from ‘Nuggets’ compilations such as The West Coast

Pop Art Experimental Group or Soft Machine as well as of

Ty Segall’s more contemporary sound. A closer listen even

reveals elements of The Stone Roses and The Brian Jones-

town Massacre. debut track ‘Hands Like Silk’ opens with

beautiful oscillation until the drenched guitar kicks in. the

track makes up a perfect introduction to this neo-psyche-

delic band. ‘She Can’t Decide’ is their second track and

is being offered as a free download via the independent

exeter label Art Is Hard Records. it forms part of their Pizza

Club where the physical release actually comes in the

shape of an actual pizza - the topping being picked by the

that the band have a knack for mellow psychedelic melo-

dies. Although only together for less than a year Half Loon’s

frontman Daniel Pickard has a clear vision with his song-

writing interweaving swirling organs with psychedelic guitar

riffs making the released tracks stand out from all the other

bands trying to jump on the psych revival band wagon.

instead, Half Loon manage to revitalize psychedelia with

a stronger groove that knocks any notions of a ‘60s recrea-

tion to one side and marks them out as a more modern

proposition carving their own niche in a crowded world.

now under the wing of RIP Records the band is set to play

Liverpool Psych Festival this summer and will certainly pro-

vide us with more trippy paisley-patterned sounds.

www.facebook.com/HalfLoon

soundcloud.com/HalfLoon

51

band. ‘She Can’t Decide’ shows a heavier and more ga-

rage influenced side of Pastel Colours’ sound with crashing

rhythms and jangled riffs.

www.facebook.com/pastelcoloursband

soundcloud.com/pastelcoloursband

wHisTleJaCkeT

Whistlejacket’s lo-fi riptide is raging against the shores of

neo-psychedelia. The London based five-piece success-

fully made their mark on the local live music circuit making

them likely to be part of its upper echelon, not alone by

heading a residency at the Macbeth but also supporting

the likes of Splashh, The Orwells, The Wytches and Night

Beats. the past few months have shown that they are not

only hypnotising their audience with their immersive sound

but they were also hotly touted by The Horrors’ Faris Bad-

wan. Whistlejacket combine shoegaze drones and

spellbinding loud riffs with dreamy vocals and have re-

cently been confirmed for Liverpool Psych Fest. their de-

but single 'March Hare' featured on The Reverb Conspiracy

Compilation LP which is curated by Fuzz Club Records and

The Reverberation Appreciation Society. 2014 is definitely

going to be a big year for this enthralling and mesmerising

Sabbath-worthy psych rock band.

www.facebook.com/whistlejack.it

soundcloud.com/whistlejacket

52

Text: Kat Ober & Jen Schleifer

v i s i T i n g s Y D k e M P

For our first instalment of ‘Visiting…’ Frock & Roll paid a

visit to Syd Kemp’s Friends Studios at Netil House in hack-

ney. in order to get to know the man behind the desk we

had Australian photographer Suzy Creamcheese taking

some photos of Syd in his natural habitat.

Syd Kemp originally grew up in the French Alps but moved

to Paris and Lyon for his studies. in the house he grew up in,

writers and painters were more important than musicians

but he was lucky enough to have parents who followed his

newly found excitement toward music and bought him his

first bass, and offering constant encouragement. He says

since then he has been playing and listening to music eve-

ry day with both amazement and equanimity:

It’s a full circle that brings into my life more sharing and

love than anything else”. however Syd felt like there was

not enough space for musical development in France and

decided London was the place for him to try and make

a living with his music whilst experiencing one of the most

exciting cities in the world. For two months he lived in vari-

ous dosshouses in the capital only equipped with a bag of

clothes and his instruments in tow without any money or

knowing the locals.

His first years as a producer he spent behind the desk trying

to sound like some of his early influences that range from

Pink Floyd, Miles Davis, The Soft Machine to King Crimson.

Although convinced it was a failure at the time, Syd now

sees the positives and admits that it had helped him learn-

ing how to hear music properly and made him try new

things constantly, regardless of his previous standards.

“Starting my own studio was more of a necessity rather

“i noW CAn SAY otheR PeoPLe’S mUSiC tRAnSLAteS eVeRY moment oF mY LiFe, And mY LiFe tRAnSLAteS into mY mUSiC. “

“London ALWAYS RemindS me thAt LiFe beginS oUt oF YoUR ComFoRtAbLe Zone, And i gUeSS thAt’S WhAt moSt oF FoReigneRS ARe Looking FoR When Coming to London.”

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than a will; as in using a camera without film, writing songs

without recording them doesen’t make sense in the way I

perceive my work.”, he says. Since he needs to listen back

to his tracks just like other people flick through their holiday

memories in a photo album, it felt only

natural for him to acquire equipment and skills to record

music. Kemp started his first studio at only 18 years old in an

old barn and with his friends, Sound & Vision, at Netil House

he tries to recreate this environment. Friends Studios is a

cosy room where “everyone likes to come back from time

to time, even to say hello and remember the good times

we had while recording or mixing. It’s delightful when you

realise a space like this is related to good memories with

so many different people”. Kemp tries to avoid things he

disliked when he was working in a recording studio, Friends

is a homely place where the bands are supposed to feel at

home and are free to come back to record an idea they

had ages after the recording sessions at no extra cost.

he adds that “bigger studios have so many expenses they

need to have as many bands as possible in a week and

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forget about them as soon as another one come in. This is

not the case at Friends, I try to take care for the bands as if

they were mine.”

What originally started off as a bedroom project, soon

needed to progress when Syd signed a publishing deal

that required him to record ‘real’ drums. At the time he was

working in a recording studio as an assistant and session mu-

sician for eight months and felt like he was ready to be his

own boss and have his own space. he quit his job, rented a

space big enough to have a drum kit and started to record

material for the publishing company. then he teamed-up

with his long-time friend Pierre Bouvier-Patron who does ex-

perimental movies and music videos to propose a pack-

age ‘music and video’ to bands - hence the name ‘sound

& vision’: “We chose to name the studio “Friends” after the

sitcom, because Pierre and I spent an entire year watch-

ing it from start to finish almost every day when we lived

together. Also, we chose it ‘cause we are friends. Innit?”

So far this year saw Syd recording Half Loon, who came

to record four tracks at Friends only two months after he

opened the space, “We worked very hard together to find

the right sound for them as they were a fairly new band and

added arrangements night after night. They got signed not

so long ago on the RIP label and they asked me to produce

their next single. We recorded the songs at RIP studios with

the great Tuck Nelson and worked on the arrangements at

“i don’t WAnt PeoPLe to PAY me FoR mY time, bUt FoR A FiniShed PRodUCt thAt theY WiLL Like”.

Friends studios. It really sounds great and I really wish they

would get the exposure they deserve!” Apart from work-

ing at the studio, however, he is also involved in numerous

other projects, his band Neils Children are currently working

on a new album, alongside the release of an instrumen-

tal mini album by the end of April. he helps Kenichi Iwasa

with the Krautrock Karaoke nights at the George Tavern,

plays on stage alongside Sterling Roswell from Spacemen

3 and was just asked to join Steve Beresford, who worked

with Derek Bailey, Brian Eno, Philip Glass and John Zorn on

free improvisation nights he organises with the Spanish artist

Blanca Regina. Recently he also worked on a soundscape

for Fred Perry and an experimental movie by Pierre Bouvier-

Patron, which was screened in madrid a month ago.

What takes up most of his time at the moment, however, is

the work on his first four-track EP, provisionally called ‘The

Horror’, set to be released via Structurally Sound in june.

it will not be released physically but the download codes

will be accompanied by a handmade screen-printed A3

poster of the artwork, for which he is working closely with

the Parisian architect Camille Marchal. “The beautiful de-

sign fits the mood of the music and the shape of your

letterbox. She’s really nailing it! I’m very looking forward to

it…It’s all very exciting.”

And if this solo project goes well, maybe his dream of work-

ing with director Robert Wilson or joining his dream line-up

with Vincent Gallo, Bradford Cox, Kevin Parker on drums

and himself on bass, might be within reach.

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Interview & text: kat ober

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Codeine iSSUe APRiL 2014

FROCK&ROLL + CODEINE

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