AZ ŐSOK

Van egy dal, ami öl.
Az egyetlen magyar világsláger, a Szomorú vasárnap.
Ma van a születésnapja,
csakúgy, mint zeneszerzőjének.

 

Többek között olyan sztárok vették lemezre, mint Billie Holiday, Ray Charles, Elvis Costello, Serge Gainsbourg, Sinead O’Connor, Björk vagy a Portishead. És a Schindler listájában, meg a Babylon Berlinben is hallható. A gyilkos dal világhíressé tette, ugyanakkor meg is ölte zeneszerzőjét.

Bár a Szomorú vasárnap már 1933-an megjelent, és népszerű is volt, de csak egy dal volt a sok közül. Egészen 1935. november 3-ig. Ezen a vasárnap történt az öngyilkosság, mely földkörüli pályára állította:

 

 

Lédig László 23 éves pénzügyminisztériumi tisztviselő este kilenc óra tájban megvacsorázott, utána azt mondotta szüleinek: – Nemsokára visszajövök – és elment. Egy ismerőse még látta az Örömvölgy utcában, két csokor ibolyát vitt a kezében. Egy hölgyismerősét látogatta meg. Utána kávéházba ment, ahol megírta búcsúleveleit. Az egyiket Gödöllői Vidák József cigányprímásnak címezte, akit arra kért, hogy a temetésén még egyszer utoljára húzza el neki kedvenc nótáját. Még csapott egy utolsó kört az éjszakában, s végül két mulató között egy taxiban mellbe lőtte magát. Zsebében egy rendőrségnek címzett levél mellett egy lány fényképét és egy vers szövegét találták:

Szomorú vasárnap száz fehér virággal
Vártalak kedvesem templomi imával
Álmokat kergető vasárnap délelőtt
Bánatom hintaja nélküled visszajött
Azóta szomorú mindig a vasárnap
Könny csak az italom kenyerem a bánat…

Szomorú vasárnap

Utolsó vasárnap kedvesem gyere el
Pap is lesz, koporsó, ravatal, gyászlepel
Akkor is virág vár, virág és – koporsó
Virágos fák alatt utam az utolsó
Nyitva lesz szemem, hogy még egyszer lássalak
Ne félj a szememtől holtan is áldalak…

Utolsó vasárnap

A verset egy Jávor László nevű újságíró írta szerelmi bánatában, s a kor egyik ismert dalszerzőjét, a kocsmai zongoristaként dolgozó Seress Rezsőt kérte meg, hogy szerezzen hozzá zenét. Amiről zeneszerzője később ezt nyilatkozta: “Amikor a dalt komponáltam nagyon el voltam keseredve. Minden bánatomat belevittem a melódiába. A szívemből téptem ki annak tragédiás szomorúságát, mely egyezik az életuntak hangulatával, mintegy aláfesti azt.” S ezekkel a szomorú vasárnapos életuntakkal hirtelen tele lettek a lapok, mert az eset felszínre hozta, hogy Lédig volt a dal ötödik áldozata. Nem sokkal korábban egy táncosnő, egy cselédlány és egy asztalossegéd vetett véget életének, egy főszolgabírónak pedig meghasadt a szíve a dal hangjaira. S mind vasárnap halt meg. A külföldi lapok szinte azonnal felkapták a hírt, az áldozatok fényképét is közölték:

Csak azt nem tudta senki, miért ölte meg magát a jobb alsó sarokban látható Lédig, akinek utolsó napjaiban teljesen megváltozott a viselkedése. Zavaros válaszokat adott kérdésekre. Célzásokat tett arra, hogy nemsokára történni fog vele valami, aminek magyarázatát senki sem fogja tudni. Nem is derült ki sokáig semmi, csak annyi volt bizonyos, hogy állandóan a Szomorú vasárnapot húzatta a cigánnyal.

Tavasz lett, a dalból meg sorozatgyilkos világsláger, mire kiderült. A magyarázatot a Vörös Béka vendéglő étlapja adta meg. Erre írta Lédig igazi búcsúlevelét. Egy barátja találta meg holmijai között. A gyorsírással írt jegyzeteket írásszakértő segítségével fejtették meg. Szó van ebben egy fiatal úrileányról, akinek nevét senki sem ismerte Lédig barátai közül. Csak annyit tudtak, hogy a fiú nagyon szerelmes valakibe. Az étlap szélén volt a leány neve és lakcíme is. Detektívek elmentek a címre, ahol egy nagyon szép, tizenhét éves leányt találtak egy magas rangú tisztviselő otthonában. Amikor közölték, hogy milyen ügyben akarnak beszélni vele, eszméletlenül összeesett. Napokra el kellett halasztani kikérdezését, míg végre olyan idegállapotba került, hogy elmondhatta, mit tud Lédig László haláláról.

– Egy évvel ezelőtt ismerkedtem meg vele – kezdte. Már a második randevún szerelmet vallott és megkérte a kezem. Azt mondta, nem tud élni nélkülem. Próbáltam neki elmagyarázni, hogy túl fiatalok vagyunk még hozzá, és én különben sem szeretem még őt annyira, majd talán később. Kértem legyen türelmes. De Laci türelmetlenkedett, minden nap idegesebb, nyugtalanabb lett. Sokat beszélt a halálról. Öngyilkos leszek maga miatt – mondta, de én csak nevettem. Nem lehetett komolyan venni azt, amit mond. Azon az este itt volt nálunk. Megint nagyon ideges volt. Azt mondta, majd olvasni fogok róla az újságban. Másnap levelet kaptam tőle. A búcsúlevele volt. A Szomorú vasárnap soraival fejeződött be: Nyitva lesz szemem, hogy még egyszer lássalak… Ne félj a szememtől, holtan is áldalak. Kétségbeesetten rohantam le az utcára egy újságért. Benne volt halálhíre. Napokig ideglázban feküdtem otthon. Arra gondoltam, ha kiderül, hogy nekem valami közöm van a halálához, akkor levetem magam az emeletről.

Ahogy azt Seress Rezső 1968. január 6-án megcselekedte. Élete utolsó időszakában mindennap órákon át a dal különféle verzióit hallgatta, és túladagolta magát vele.

És akkor most következzen az “öngyilkosok himnusza”. Ha hallgatása közben úgy érzed, kezd elborulni lelki egyensúlyod, inkább állítsd le, mert egy svéd lap szerint ezrek dobták el maguktól életüket hatására:

KILLBONOCLUB # 17

PLAYLIST SERIES

is an eclectic mix of hit songs from the latest records of the least labels.

Please open your mind and push that start button now!

 

The making of the album VOUS ET NOUS was also full of twists and turns. It started out as a solo effort by Kabyle musician ARESKI. But little by little, as Areski was filling tapes with poems, improvised skits, electronic experiments, North African trance, refined acoustics and medieval drones BRIGITTE FONATAINE would sneak into the studio at nightfall, adding her voice here and there, her whispers and screams, giving fuel to the fire in a total surreal blaze. The album was originally released in 1977. Now you can get it from KYTHIBONG RECORDS. Anyway Fontaine also collaborated such acts as Stereolab, Jean-Claude Vannier, Gotan Project, Grace Jones or Sonic Youth of course.

On their blistering 7″ debut on 12XU RECORDS, Texan band MISSING PAGES channel the anxiety, exasperation, and jubilation born of those delicate moments in life when the casual comforts and routine are stripped away, forcing us to confront the ugly truth of who we really are.

3 —–

John Schooley‘s project ROCKET 808 is like Suicide adding Link Wray as a third band member. Debut single out now on 12XU RECORDS. Full-length album in early 2019. Anyway his moment in time, Schooley is the only person who can claim to have been a member of the Crypt, Goner, Sympathy For The Record Industry and 12XU rosters.

4 —-

Ground-zero Louisiana-born rocker LINDA GAIL LEWIS is the younger sister and frequent performing partner of Jerry Lee Lewis, whose piano innovations she carries forward. Her present-at-the-creation cred buoys the record while country musicians ROBBIE FULKS – who sings, plays, leads the band, writes most of the songs, and arranges the others – provides an anchoring sensibility, one that savors old sounds but sidesteps nostalgia on the album WILD! WILD! WILD! on BLOOODSHOT RECORDS (US)

5 —–

“TERRY is domesticity. TERRY romances the mundane. This is how romance ekes out a triumph amidst mundanity. That’s what Billy Bragg’s New England and Squeeze’s Up The Junction do. TERRY’s suburban escapism moment is Ciao Goodbye.” You can find it on TERRY’s third album I’M TERRY on UPSET THE RHYTHM RECORDS (UK)

6 —–

Cleveland based gutter pop band FASCINATING perfectly melds its sharp, no-bullshit pop sensibilities with the raw, in-the-red sound indelibly connected to the midwestern underground. Debut album COMMUNIST POWER on DIRTY WATER RECORDS (UK)

7 —–

PINK AIR is the new album from the distinctive and idiosyncratic New York cult band ELYSIAN FIELDS. Their 11th record is a post-apocalyptic rock & roll joyride will be released by OJET in the States and by MICROCULTURES RECORDS in France.

8 —–

Swedish band HATER‘s new album SIESTA is the perfect soundtrack for that summer romance and the inevitable break up.

9 —–

In some respects New Yorker ANAMON‘s self released debut album PURPLE, GREEN & YELLOW is the fruit of what the hardcore underground once promised to deliver us: the self-reliance, moxie, and quick/dirty recording ethic of the Minutemen and the Meat Puppets, coupled with Fleetwood Mac and Blue Oyster Cult’s flair for drama and sprinkled with the goosebumpy starlit twang old Crystal Gayle and Gram Parsons records give us.

10 —–

and that record is insane, Ivy Claudy the Female Singer is just a total wild woman! super crazy live show and she give you everything! and Buddy Fuzz the guitar player plays like a caveman… this is raw end of time punk no wave at its best!!! The SLOKS are a Super Raw Power Ultra Primitive Dirty Suicide Destructive Garage Punk No-Wave Trashed out Rock’n’Roll combo from Turin, Italy and their debut album out now on VOODOO RHYTHM RECORDS (CH)

11 —–

JOSEPHINE FOSTER‘s new album FAITHFUL FAIRY HARMONY is a maze of spirituals, ritual prayers, blues laments, vestal hymns and jubilant benedictions.

12 —–

The 3 entreprenors of French trio THE WORLD stay on their ultra-liberal path with NIGHTS, their second album. Transhumanist synths, lyrics of winners, rhythms tuned to convince investors. Turn any car into an SUV. An ideal album to go with team building weekends, administration boards meetings and redundancy plans. it will release soon on KYTHIBONG RECORDS (F)

13 —–

SUPERHUMAN HAPPINESS is a musical collective led by Brooklyn multi-instrumentalist Stuart Bogie (Arcade Fire, Iron and Wine, Antibalas). While the first album “Hands” has earned a reputation for ass-shaking, euphoric dance music, the new album BEACON takes a darker and more emotional turn. It is performed by musicians from Antibalas, Rubblebucket, Metropolitan Opera, Angelique Kidjo, Elysian Fields, War on Drugs, Darkside and more.

14 —–

Refined R&B grooves and defined jazz harmonies on New Yorker GADADU‘s second album OUTER SONG.

15 —–

If you claim MARIJUANA DEATHSQUADS to be the Midwest’s answer to Boredoms (or at least F*ck B*tt*ns), they probably wouldn’t mind the compliment. Debut album TUFF GUY ELECTRONICS on PIONEER WORKS (US)

16 —–

BOGIE KAUFMAN MANN’s album VOLUME 1 is a record of improvisations that don’t sound like improvisations because “we wanted to feel like it was a group improvisation all the time, so there was never really a lot of soloing going on – there was a lot of trioing going on.” Playing at low volume on guitar, woodwinds, and percussion, set up close to one another in the same room, headphone-free.

17 —–

END OF THE GAME is the anticipated debut full length by EYES OF LOVE, a band helmed by Brooklyn songwriter Andrea Schiavelli. Assembling a crew of some of the most skilled musicians in New York’s underground; Lily Konigsberg (Palberta, Lily and Horn Horse), Sammy Weissberg (The Cradle, Sweet Baby Jesus), Paco Cathcart (The Cradle, Shimmer). These 14 tracks harness the chaos of reckless abandon amid classic structures.

18 —–

New Zealand band ORCHESTRA OF SPHERES‘ double LP MIRROR is an exploration of energies and atmospheres, from intense futuristic funk and sonic tape assemblages to windswept reflections from a far flung corner of the world. It combines the band’s ecstatic rhythmic power and ritualistic vocals with an expanded orchestral palette.

19 —–

The band JOBS is fueled by truly ambitious compositions that seem to defy all logic in the most profound of ways. They’ve always had a knack for producing melodic head-boppers within bouts of joyous experimentation. You can feel this on their new cassette LOG ON FOR THE FREE CHANCE TO LOG ON FOR FREE on RAMP LOCAL RECORDS (US)

20 —–

Globetrotting Swiss-American blues trash duo REVEREND BEAT-MAN & NICOLE IZOBEL GARCIA’s collaborative album BAILE BRUJA MUERTO of course on VOODOO RHYTHM RECORDS (CH)

21 —–

WILLIMAM ELLIOTT WHITMORE is a singer-songwriter/banjoist/guitarist/drum-stompin’ solo act from Lee County, Iowa. He meld country, blues, folk, and punk styles. His songs are haunting, rustic, powerful, and byproducts of living his entire life on the family farm and being involved in the hardcore-punk scene in the local community. His brand new album KILONOVA is a collection of 10 cover songs from artists who have influenced him: Dock Boggs, Harlan Howard, Magnetic Fields, Bad Religion, Bill Withers, ZZ Top, Johnny Cash, Red Meat, Jimmy Driftwood and Captain Beefheart.

22 —–

“The foundation for what is on the record comes from long before I had any interest in playing jazz. It is heavily rooted in the grunge, indie, and punk rock that I was listening to in high school. We’d write music, rehearse bands, and play shows all summer long in Baltimore clubs like the Small Intestine, Talking Head, and the old Ottobar. The album CRICKETS is just the sound of those summers as a teenager, but with a decade or two of musical development mixed in” – said composer and bassist ADAM HOPKINS about his album. It is the first release of his label OUT OF YOUR HEAD RECORDS (US)

23 —–

THE CALLAS is the tip of a Greek artistic squad producing music, artworks, films, magazines, events, art shows, initiated by the brothers Lakis & Aris Ionas. They worked with Sonic Youth drummer LEE RANALDO on the soundtrack of their new feature film “The Great Eastern” and on their new full-length album TROUBLE AND DESIRE which is released now on INNER EAR (GR) and DIRTY WATER RECORDS (UK)

24 —–

Throwing Muses’ KRISTIN HERSH has recently released her new album POSSIBLE DUST CLOUDS on FIRE RECORDS (UK)

25 —–

TEKSTI-TV 666 is a six-headed shoegazing kraut-punk monster. Armed with no less than four (and sometimes, just sometimes, five) electric guitars. Nowadays they are one of the most in-demand live acts in their native Finland, and select performances abroad have caused a bit of a storm as well. Second album Aidattu tulevaisuus on SVART RECORDS.

26 —–

JOHNNY MAFIA. French reverb-soaked slap-backed fuzzed out sonic attack. Inspired by classics like The Ramones, T-Rex, and The Clash, they also draw heavily on contemporary acts like Ty Segall, Jay Reatard, and the Wavves. Their debut album PRINCES DE L’AMOUR is produced by Jim Diamond (The Dirtbombs) and will release on November 9 on DIRTY WATER RECORDS (UK)

27 —–

IGUANA DEATH CULT is just a fine Dutch garage rock band who has a new single. Buy the vinyl here.

*

MORE KILLBONOCLUB

KILLBONOCLUB on SPOTIFY

SUITABLE TO PLAY AT THE BEST RECORD SHOPS AND BARS!

NOT SUITABLE FOR BARBER SHOPS

 

KILLBONOCLUB # 15

COUNTRY HARDCORE JAZZ PUNK TECHNO PSYCHEDELIC TRASH BLUES NOISE ROCK AND ROLL INDUSTRIAL METAL GARAGE POP EXPERIMENTAL STUPID MUSIC & more

LAST RECORDS OF THE LEAST LABELS
EVERY MONTH LAST WEEKEND ONLINE
and LIVE at BEAT ON THE BRAT in BUDAPEST

 

1. Experimental, kitchen-produced hybrid of folk, musique concrète and psychedelia by ODETTA HARTMAN.

She raised by pioneering parents on the Lower East Side of Manhattan, NYC, Odetta’s milieu was a “colorful culture of artistry,” that included early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB’s. Inchoate punk and hip hop were aural wallpaper, as were the 45s spinning in the household jukebox featuring her dad’s extensive collection of soul and afrobeat records, as well as her Appalachian mother’s classic country selections. A classically trained violinist with a penchant for back-porch banjo, Odetta combines these variegated sounds of her childhood with her personal passion for folk music and the musicological legacy of Alan Lomax. But she never takes herself too seriously and always tries to have fun, so she went to the kitchen.

“Many of the beats on the album were recorded in the kitchen: the snare sound is actually a running faucet, or if you hear these glockenspiel bells that’s actually a set of kitchen bowls. Other percussive elements include scissors, a pepper grinder and keys on the radiator.” Anyway she loves mistakes in songwriting or recording, because they so often lead to something greater. I do not know how many songs got its final form by mistakes on this album, just know that is weird and wonderful. Her second album OLD ROCKHOUNDS NEVER DIE is slated for release on NORTHERN SPY RECORDS and MEMPHIS INDUSTRIES on August 10, 2018.

2. THE DUE DILIGENCE is a free form band of songwriter Isaac Gillespie and his friends. The new alum LIFE IS HARD is the final piece of a trilogy. It was started with the country-soul album “I Will Wreck Your Life” in 2011. It was the encapsulation of the years Gillespie spent in the antifolk scene. The second part was the frenetic Velvet Underground-infused sarcasm of 2014’s Are You Down. It’s the wild night on the town, but it’s also the morning after. A recognition of the difficulty of life.

LIFE IS HARD is largely inspired by songwriter Gillespie’s grandmother’s passing, and her perseverance through the many challenges of being a single mother and a child of immigrants in the 1950s. LIFE IS HARD is both the death album and the pop album. It provides a trash-gospel meditation on the tug of war between the lusts that drive us and the deaths to which we’re driven. It was inspired by the psychedelic soul of Sly & the Family Stone and the “plaintive mythologizing” of Grateful Dead. It will be released in June on PAPER GARDEN RECORDS (US).

——–

3. Atlanta’s SUBSONICS are a gutter-glam, minimal rock’n’roll trio. FLESH COLORED PAINT is their 8th album. Like all their previous works, this is a distilled hodgepodge of decades of popular culture and classic literature culminating in a collection of short and groovy shambolar: Chuck Berry, Albert Camus, AM radio rock jocks, Bo Diddley, Golden Age TV, surrealism, Mad Magazine, kung-fu flicks, Herman Melville, Little Richard, self-negating philosophy, David Johansen, The Bible, Dee Dee Ramone, Lee Van Cleef, Cornell Woolrich, advertising jingles, Dada, Carole King, Bugs Bunny, and Casablanca; the poem, not the film. The album was released by SLOVENLY RECORDS.

——–

4. New Yorker PARQUET COURTS is a punk band. Hard to say anything else. OK, compared to Total Punk Records style punk bands they rather play pop music. Their influences come from Velvet Underground, Ramones and Talking Heads, but I also hear The Fall and even Country Teasers in their music. I remember their first album was a big revelation for me. There the sound was more punk than on the next ones. Fortunately unlike many others they don’t write the same record year by year. And now with the new album WIDE AWAKE we arrived to New Orelans.

——–

5. Howe Gelb refused to cancel their first Los Angeles live gig when his band Giant Sandworms had broken up days before in Tucson, Arizona. Instead, he headed out anyway with Scott Garber, the newest member who’d only been in the band for about a year. Gelb asked fellow Tucsonan Winston Watson who lived in Los Angeles to jump in as drummer for the live date. And he did it with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. Later they recorded some songs to make it to a full LP with a different drummer in Tucson. The album Valley Of Rain was released in 1985 under the name of GIANT SAND.

But at the time of the recording Gelb was unacquainted with the possibilities of tube amps. So 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. And they recorded the songs again together with the two newest member. And the sound is insane.

The album RETURN TO VALLEY OF THE RAIN on FIRE RECORDS (UK)

——–

6. After a few months spent abroad in Spain and her infatuation with Brazilian music, Chicago based Vivian McConnell was inspired to create a dreamy new genre she calls “nap-rock” and to assume the moniker of V.V. LIGHTBODY – the name of her piano-playing grandmother. The ocean-like tunes on the album BATHING PEACH combine the vivid lyricism of Joni Mitchell with the jazz-inflected chords of Sam Prekop’s early solo records. Unanchored in a sea of glitching mermaids, V.V. LIGHTBODY is a surreal reflection of McConnell’s experiences and influences that coalesce into an intimate narrative of self-discovery.

——–

7. After half year that her album with Kurt Vile was released Australian indie rock songstress COURTNEY BARNETT has released her new album TELL ME HOW YOU REALLY FEEL with contribution of Kim and Kelly Deal from Breeders on MILK RECORDS (AUS), MOM+POP MUSIC (US) and MARATHON ARTISTS (UK)

——–

8. So here is PALBERTA‘s new album ROACH GOIN’ DOWN on WHARF CAT RECORDS (US) soon. The best phrase which best describes the music of these girls is: wap wap wap dabbada ding ding dack dabbada.

——–

9. THE DREEBS have been making music in New York since 2009. Over the next couple years they would find a home in the Brooklyn noise rock community, while staying true to their specific sound palette. The best if their friend Andrew Savage (Parquet Quarts) tells you about the band and their new album FOREST OF A CREW on RAMP LOCAL RECORDS (US).

First a little catch up for the unacquainted: Every member of The Dreebs has, at some point, been a member of PC Worship (that is if the players in the notorious New York City collective could ever be called members). The Dreebs were first described to me years ago as PC Worship’s weirder side project, which immediately caught my attention because, how could a band be weirder than PC Worship. I’m not going to even attempt to quantify that because it’s utterly impossible. Though over the years, we’ve seen a sort of Dreebian declaration of independence by their increased presence in the New York City DIY and avant-garde scenes. That independence has been loudly articulated in the form of Forest Of A Crew. It’s the sum of eight songs and seven instrumentals. These pieces wash over the listener like vignettes of a fever dream, punctuated with moments of terror and beauty. It exists not in romanticized New York of old where artists could survive in squalor so long as they existed in inexpensive and undesirable locations where no squares fear to tread. Rather, the hellscape of The Dreebs is of a different variety, where even Bushwick is unaffordable and the decision to live as an artist in the city has become a perilous one.

——–

10. THE COMMON COLD is an English psychedelic rock band whose sound incorporates elements of Krautrock, post-punk, and northern soul. It has been formed by two friends Ajay Saggar and Mark Wareing, the duo had served time in legendary British punk band Dandelion Adventure many years before. Two years ago they took to the stage for the first time together nearly after 30 years to play a set of psych jams. Later they got three drummers, but one time just two play. They got the influence from Kaleidoscope, Neu!, Quicksilver Messenger Service, and The Fall. On their debut album SHUT UP! YO LIBERALS! on ACTION RECORDS features former drummers of Cornershop and The Fall.

——–

11. SECOND STILL is an LA based post-punk, cold wave wave band. Best describe them the names of the labels which release their music: Manic Depression, Weyrd Son and Sentimental Records. Their new EP EQUALS was released on WEYRD SON RECORDS (Belgium). I was so lucky that i saw them in Budapest not long before. It was a frantic night.

——–

12. APOSTILLE is the solo electronic project of Night-School Records‘ head Michael Kasparis. His second solo album CHOOSE LIFE will release on 8 June on UPSET THE RHYTHM RECORDS, and it’s the greatest new wave synth-pop music what I heard recently. Minimal and courageous. It’s not a simple thing. Through EBM and acid techno finally it reach to Prodigy.

——–

13. It’s time for mysterious cinematic pop melancholia with Scottish musician PICTISH TRAIL. He is a svelte, intelligent, adorable balladeer, trapped inside the body of an oversized, oft-bearded folk ogre. Runs Lost Map Records, up on the isle of Eig. It’s one of the Small Isles in the Inner Hebrides with a population around 100. His extraordinary vocals reveal hidden depths and have been accompanied by everything from acoustic guitar to a full-on four piece metal band to throbbing dance beats and samples, and often during the course of the same gig. The album FUTURE ECHOES originally released in 2016 on his label, but now it will be re-released with a bunch of unreleased remixes and live materials in July on FIRE RECORDS (UK)

——–

14. “Searching for the light in the pouring rain” is the motto of THE GOLDEN DREGS. It’s the project of Benjamin Woods with a musical approach inspired by 70’s Americana and jam bands, The Grateful Dead, Bob Dylan’s The Basement Tapes, and the documentary movie about the Mussel Shoals Studio.

The debut album LAFAYETTE is jangly summer-summoning pop for the hours when the sun is disappearing below the sea. What it plays out is a rich representation of small town living; from the churn of the rumour mill to the assortment of intriguing characters that only seem to exist far away from motorways, Itsu chains and the relative anonymity afforded by city living. It was recorded with contributions from some of the town Falmouth’s best musicians – the Cleave brothers (The Red Cords), Samuel Stacpoole (Holiday Ghosts), Jake Wilbourne (The Black Tambourines) and plenty more. And released on ART IS HARD RECORDS. And good to listen to it.

——–

15. ONYX was the avant-garde electronic duo of American songwriter and instrumentalist Judd Stone, and British vocalist and fashion model Beveur in the early 80s. The only instruments they used are drums /percussion and synthesizers – except for a primitive drum machine track that is used on “Planet X”. All of the instruments are played, and there is no syncing or sequencers used on any of the recordings. The bass tracks are keyboard bass. And what they recorded it is still fresh.

COMPLETE WORKS 1981-83 will release in June on Osaka based Franco-Japanese label MIND RECORDS.

*

MORE KILLBONOCLUB

KILLBONOCLUB on SPOTIFY

SUITABLE TO PLAY AT THE BEST RECORD SHOPS AND BARS!

NOT SUITABLE FOR BARBER SHOPS

 

South London Calling

Now you can listen to the split CD single of two strange South London bands. On the one hand H0NKIES play a blend of South-London scuzz incorporating elements country, electronic, post-punk and lo-fi. File next to bands such as these South London fellows: Goat Girl, Meatraffle, Warmduscher and Peeping Drexels, but also Rebel and Country Teasers of course.  And thye are really just “like a drunken boat.”

On the other part PEEPING DREXELS play sleazy melodies with sloppy beats from South London scum. It’s music for horrible people like you.

It is released on PERMANENT CREEP RECORDS. Order here.

 

A Tale of Barbarity, Sorrow, and Vengeance

 

HOTEL LUX tells a tale of barbarity, sorrow, and vengeance. It is an attempt to step into the British realist tradition of portraying the most vulgar and distorted aspects of the communities they (we) live in:

7″ single will be released on Big Score Records in June. Listen and preorder!

You can listen to more songs of them here. Anyway Hotel Lux was the abode of exiled or escaped foreigner communist cadres in Moscow between 1921-54. They lived in fear there because nobody knew who would be labeled as a terrorist, traitor, conspirator or heretic next day.

2018 máj 25. napi mottónk:

The Bad and The Ugly

A Page you like, Primitive Calculators, changed its name to Primitive Calculators, Shit music nobody likes.

On The Spot with Xeno

at the darkest hole of Budapest

 

– Hi! Are you Xeno or Oaklander?

– I’m Xeno.

– What are your favourite Hungarian music?

– Korda.

And after a short discussion with Oaklander she said:

Új Látásmód Fúzió, Alpár, Koyanisquatzi, Hungarian Dracula*, but last year we made a live radio show with our favorite Hungarian music for the London based radio station NTS. It contains Katalin Karády, Új Látásmód Fúzió, Csermanek Lakótelep, Alpár, Trabant and Pal I, Prince Esterhazy of Galántha, Palatine of the Kingdom of Hungary, who also was a composer and wrote numerous cantatas:

*Very strange. I did not hear the name of Koyanisquatzi in the past 15 years. It was a great ritual rock band in Szeged in the late 80s and early 90s. And for the first time I got news about the darkwave band Hungarian Dracula from same place and same period like Koyanisquatzi.

Anyway, XENO & OAKLANDER are a cold minimal synth pop duo from Brooklyn. They are on European tour now.

 

New Shades in the Black

I think Black Metal got to dead end. The bands want to be more and more radical but just become more and more ridiculous. But there is a fistful of bands like the Swiss Bölzer, the American Liturgy (which is denied by the black metal community) or the Norwegian URARV who are able to bring new shades in the black.

For example the music of URARV is scattered with psychedelic moments and folk tunes. Often it reminds me of the Japanese noise rock band Zeni Geva. The band is headed by Björn Aldrahn Dencker (Dødheimsgard, The Deathtrip, Thorns). He said: The ideas and visions for Urarv started actually back in 2003 during a stay that I had at the local mental institution where I live. (…) We want to tap into uncharted territories to see what lies hidden under the rocks and dead horses and beneath the cold vastness of uncertainty (…) We’re travelling to remote regions of metal music and mental space with this music. Although our message is one of emotional putrefaction, we want to help listeners find a way through the black hole.

And this is the Sannhet i.e. the Truth:

from the new mini album ARGENTUM. It was recorded same time when the debut LP AURUM last year.

 

A világ második legjobb rock’n’roll zenekara

 

Nahát! Az eredetileg a Quartban 2013-ban megjelent NATURAL CHILD interjú magyarul még nem volt olvasható az RNRen. Na de most már igen:

A NATURAL CHILD utóbbi idők legjobb rock’n’roll zenekara. 2009-ben Nashvilleben alakult egyszerű garázs rock trióként, amin már első, 1971 című nagylemezükkel túlléptek. Zenéjükben rock, blues és punk elemek keverednek. Az évek folyamán punkos lendületüket megőrizve egyre inkább a rockzene gyökerei felé fordultak, erőteljesebb lett a blues, keményebb a rock, s muzsikájukban a country is megjelent.

 

Interjú a NATURAL CHILD gitárosával

 

– Nashville a country zene fővárosa. Mennyire határozza ez meg a hétköznapokat?

Seth: Nashvilleben minden countryból van. Vagy az abból befolyt pénzből. Sok helyen, főleg a hivatalokban, a „Peace in the Valley” (nagyon híres country szám) a „kapcsolásig kérem szíves türelmét” dal. A country az életemet is meghatározta, ugyanis nagyfaterom kiváló country zenész volt. Red Foleyval meg Hank Williamsszel játszott együtt. Sok ismert ember megfordult a nála rendezett híres reggelig tartó zenés ivászatokon. Jerry Lee Lewis, Johnny Cash, egyszer-kétszer Elvis is eljött. Erről apám tudna sokat mesélni. Egy ilyen buli reggelén szívtam először, lehettem vagy 9-10 éves. Anyám átszalasztott valamiért, még mindenki aludt, csak Willie Nelson (többszörös Grammy-díjas country legenda) üldögélt a kertben, és megkínált a cigarettájából. Kérdeztem, mi ez. Annyit mondott: isten ajándéka a szenvedő emberiségnek.

– Első, 2011-ben megjelent nagylemezetek címe 1971. Miért pont 1971?

– A rock’n’roll legjobb éve volt. Például akkor alakult az őspunk New York Dolls. Akkor jelent meg Hendrix és Janis Joplin utolsó stúdió albuma, meg a Doors utolsó lemeze Jim Morissonnal. Aztán volt Black Sabbath, Led Zeppelin meg Rolling Stones lemez. Olyan híres számok köthetők ehhez az évhez, mint az Imagine John Lennontól, a Smoke on the Water a Deep Purpletől, a Stairway to Heaven a Led Zeppelintől, a Brown Sugar a Rolling Stonestól, vagy az L.A. Woman a Doorstól. Sorolhatnám napestig.

– A blues fokozatosan került előtérbe zenétekben. Tulajdonképpen milyen zenekarként, milyen céllal alakultatok meg 2009-ben?

– Azért alakultunk, mert már egyetlen igazi rock and roll banda sem létezett. A műfajt az elmúlás fenyegette, mi pedig elhatároztuk, hogy megmentjük. Szóval mi vagyunk az utolsó rock’n’roll együttes a világon.

– Én persze tudom, hogy ti vagytok a legjobb rock’n’roll zenekar a világon, de rapper szokás a nyilvánvaló kisebbrendűségi érzésből fakadó önfelmagasztalás.

– Hé! Mi vagyunk Keith Richards (a Rolling Stones gitárosa) lányának kedvenc zenekara! Járt is nálunk egyszer a csaj. Kiderült, hogy a basszusgitárosokat szereti. Neki mindegy, csak basszusgitáros legyen, és az se számít, ha csaj.

– Esetleg az apjával találkoztatok?

– Csak telefonon beszéltem vele. Pont akkor hívta a lányát, amikor Wesszel gyakoroltak, így én vettem fel. Akkor mondta, hogy mi vagyunk a világ második legjobb rock’n’roll zenekara.

Nagy meglepetésre egy pedál slide gitáros meg egy orgonista csatlakozásával nemrég öt tagúra bővült a csapat. Ti nem voltatok meglepődve?

– De, nagyon is. Nekem két hétbe telt, míg észrevettem, hogy öten vagyunk, de Wes még mindig nem tudja.

– Miért volt szükség plusz tagokra?

– Luke és Benny kábé egy éve csatlakoztak hozzánk. Hangzásunkat teszik teljesebbé, és lehetőséget adnak arra, hogy új irányokba is elkalandozzunk.

– Meglehetősen sokat változtatok 2009 óta, nem csak zeneileg, de külsőleg is. Mintha a megjelenésetek együtt változna a zenétekkel. És most egy-egy country szám is megjelent a repertoárban. Merre tart a Natural Child a zene és a divat terén?

– Zeneileg mindenféle műfaji keretek áthágása a cél. Divat szempontjából csak a három őstag tekintetében merek nyilatkozni. Én a kamionos country rocker stílust képviselem, a dobosunk Zach, a középnyugati benzinkutas divatot követi, Wes pedig egy cseh rajzfilmfigurára, egy Rumcájsz nevű torzonborz cseh erdei rablóra kattant rá.

– ??? Hogy került Rumcájsz Nashvillebe?

– Wes családja cseh származású. Nem szakadtak el a cseh kultúrától, tartják a kapcsolatot az óhazával. Wes persze főleg a cseh sörökkel, meg a rajzfilmekkel. Természetesen kiválóan beszél csehül.

– Eszem megáll.

– Van is egy cseh country szám, ami mindig előkerül nálunk házibulikon. Olyankor mindenki fetreng a röhögéstől. Főleg mikor egy bendzsó is előkerül és Wes is elődja.

– Huh. Hát én erre már csak annyit tudok mondani, hogy “Nudíte se? Kupte si medvídka mývala!”

– ???

Unatkozik? Vásároljon mosómedvét!

 

*

English version

 

 

Acid in the House

ONYX was the avant-garde electronic duo of American songwriter and instrumentalist Judd Stone, and British vocalist and fashion model Beveur in the early 80s.

The only instruments they used are drums /percussion and synthesizers – except for a primitive drum machine track that is used on “Planet X”. All of the instruments are played, and there is no syncing or sequencers used on any of the recordings. The bass tracks are keyboard bass. And what they recorded it is still fresh:

COMPLETE WORKS 1981-1983 will release in June on Osaka based Franco-Japanese label MIND RECORDS.

 

Yes! Wave

 

11 years ago in Atlanta, 4 girls have decided to start a band, walked in a pawnshop, bought the cheapest instruments and begun to learn play. So THE COATHANGERSearly recordings are not too defined works, but I like these nice no wave-like primitive garage rock songs. Naturally, they have developed their musical skill, but the music stayed simple, not too sophisticated but great garage rock and roll. There were more albums and some split 7″ singles (Audacity, Nü Sensae, Davila 666) but I think their best album LIVE is going to release on 1st of June on SUICIDE SQUEEZE RECORDS. Listen!

Oh, almost I forgot that one of the original 4 quit.

 

Parquet Courts Went To New Orelans

 

New Yorker PARQUET COURTS is a punk band. Hard to say anything else. OK, compared to Total Punk Records style punk bands they rather play pop music. Their influnces come from Velvet Underground, Ramones and Talking Heads, but I also hear The Fall and even Country Teasers in their music. I remember their first album was a big revelation for me. There the sound was more punk than on the next ones. Fortunately, unlike many others they don’t write the same record year by year. And now with the new album WIDE AWAKE we arrived to New Orelans:


© Copyright 2013-2018 RNR666.