Friday, 29 August 2014

Happy Trails: John Cipollina's Guitar Rig + Technique Analysis - Chapter 1: Guitars (Editorial)

Rig Rundown - Guitars - (see introduction here)

Guitar: John Cipollina and the Gibson SG are as synonymous as Jimi Hendrix and the Fender Stratocaster - any fan can't help but think of one when they hear the other. 

Cipollina's were somewhat special, and came in a more unusual flavour than most SGs of the day. John acquired his first SG, which was an SG Special, in 1965. However, it was not until 1967 that Cipollina started using his most iconic, 1959 Gibson SG. This 1959 SG is the guitar used on his most recognised records, and is of most interest to those trying to capture that 'Cipollina tone'. 

The guitar itself featured several aesthetic and tonal modifications. The guitar featured a uniquely cut pickguard that formed the shape of several bats; mercury dimes glued to the top of its control knobs, and both the fretboard and headstock featured additional mother of pearl inlays. (You can find a enlarged picture of Cipollina's main axe here).

Furthermore, the guitar featured older Les Paul style pickups with the neck pickup mounted in reverse; Grover Imperial tuning machines, and an added Bigsby B5 vibrato unit (a device that became a staple of Cipollina's sound). Additionally, the SG was specially wired to have one pickup fed solely treble, and the other to be fed solely bass (we will touch on this again in the chapter regarding amps).

On a side note, when Cipollina left Quicksilver Messenger Service he went on to use his awarded Gibson Les Paul 25th Anniversary guitar throughout the 1980's, and also used several customised Carvins too. Furthermore, before his discovery of the SG, Cipollina used a Fender Stratocaster, and several Danelectro catalogue-model department store guitars.

Written by Daniel Sharman.

Tuesday, 26 August 2014

Happy Trails: John Cipollina's Guitar Rig + Technique Analysis - Introduction (Editorial)

Anyone who has ever listened to the early Quicksilver Messenger Service album's will know the amazing effect and power of the late and great John Cipollina's guitar work. The man was a psychedelic powerhouse when it came to grappling with his instrument, and surely went onto inspire generations of fledgling rock guitarists. Recently, Cipollina's birthday came to pass and it has prompted me to celebrate the occasion with the beginning of a rig rundown of this man's influential sound, and an analysis of his playing technique. This will be a series that runs over the course of several weeks and will hopefully keep you engaged throughout. The first chapter will detail his guitars, the second his amps, ect, ect. Michio Kurihara, whom is often cited as sounding like a spiritual successor to Cippolina in technique and feeling, claims that the guitarist's work with QMS was filled with 'Eroticism and lustre' - a very apt description of Cipollina's incredibly expressive musical ability.

Thursday, 21 August 2014

Beyond Beyond Is Beyond Interview with Mike Newman!

It's Friday again and time for another set of great insights from a man on the cusp of independent music labeldom. Beyond Beyond is Beyond's back-catalogue includes many stellar line-ups, and artists - from Prince Ruperts Drops and Mmoss & Quilt, to Do You Even Psychedelic? mainstays like Montibus Communitas and Kikaguka Moyo. Plus... Beyond Beyond is Beyond is a fucking cool name.
Dan: Hey Mike, Beyond Beyond is Beyond has kept on keeping on for quite a while now. When did it begin, and why did you choose to start a label?

Mike: Howdy, Daniel!  Yeah, we’re trucking along since 2012. The first release, Prince Rupert’s Drops Run Slow was released in November of that year. I had been doing my East Village Radio by the same name for a few years and after playing so much great new music and having so many great new bands doing sessions on the show, it dawned on me that I wanted to start a record label and help get this great music out to the world.

Dan: Triple B records has acts from across the globe, from Peru to Japan. Does your label try to be deliberate in the sounds it releases?

Mike: I think there is a definite thread in all the music that we release but the only strict guidelines we follow is that the music really has to blow us away in one way or another. It just turns out that it is so easy these days to hear music from all over the globe. And we have been absolutely blown away by some international bands that we just HAD to share with other people.

Dan: As I previously mentioned, you source artists from across the world. How do you normally source the acts you put out?

Mike: Like I said, it’s easy to hear music from anywhere at any time. We’ve sourced releases in many different ways, from stuff we stumbled on via Bandcamp to submissions from bands to having friends in amazing bands to hearing about stuff from a friend.

Dan: How does the collaboration between the label and band usually work?

Mike: It depends on the band, but typically there is a lot of emailing about every aspect: music, release dates, artwork, tours, etc. And then sometimes when all the logistics for a release are all done, then we can just chill with the band for a minute. And then the next album cycle starts! The bands we have worked with love making music and we loving listening to it and releasing records, so the work is fun and rewarding for all.

Dan: Beyond Beyond is Beyond tends to release its artists music on multiple mediums. If you had to choose from cassette, vinyl, or CD, what would you choose and why?

Mike: Vinyl. It’s just the ultimate for me and always has been since I was a wee lad. I like the ritual of listening to music on vinyl the best. But I use all of the above in my musical consumption. And I also love having the convenience of an iPod for subway trips and being able to carry around thousands of titles on one little device.

Dan: How do you normally decide on what is the right physical medium to put out a band's music on?

Mike: Most of our releases are put out on vinyl, CD and digi but then sometimes we’ll choose to put out something just on cassette/digital or just digital. Those are usually something that we love but need to test the audience on and see how people respond to the music.

Dan: Being so closely involved with record output, do you have a collection of your own? And, if so, what are some of your most prized pieces?

Mike: Oh, definitely. I’ve never been much of a collector of super rare high-priced vinyl but I have always had a collection. I did drop some coin on an album from a mid-70s band called Highway though. I really love it and was hoping that BBiB might do a reissue. Maybe one day. Another one in that category is a record from a band who made just one album in the late 60s and for some reason I had a copy of it that I listened to when I was like 8 years old. There has only been the one vinyl pressing of it, and I don’t want to give away the name just yet since BBiB will be reissuing it next year! Then there’s those beloved records that get played a lot because they are just part of my DNA: Jon Anderson’s first 3 solo albums get lots of play at my house, Ashra’s Correlations, Between’s And the Waters Opened, Alice Cooper’s Love It to Death and Special Forces, Man’s Back Into the Future, a few different Grateful Dead albums, Manfred Mann Chapter 3’s Volume 1, Bob Dylan’s Street Legal, Zappa’s One Size Fits All, Phil Collins’ Face Value, Ravi Shankar in New York, Yes albums and one I’ve listened to a ton lately is Freeman, Aaron Freeman (aka Gene Ween)’s new solo album. Fucking brilliant. And of course a bevy of other great records!

Dan: Additionally, with so many great acts being released on your label, what are some of your favourite, current releases?

Mike: Like I said, that new Freeman album is bonkers good. I’m always digging Trouble in Mind releases. Krakatau’s Water Near a Bridge is a new great one. Also Verma’s Sunrunner. I love everything Kikagaku Moyo’s done and am psyched to get the first album and Mammatus Clouds on vinyl finally when the Captcha releases touch down in September. Quilt’s Held In Splendor is amazing, as is Marian McLaughlin’s Derive. New Apache Dropout (Heavy Window) is great. The list goes on thankfully.

Dan: Is there any advice you would like to impart to prospective label owners?

Mike: I guess I’d say have fun and find stuff to release that you truly love.

Dan: Lastly, how do you feel about the digital age, and the way it has shaped music listening culture? 

Mike: I feel fine about it. There is so much good music being made these days but I guess it’s harder to wade through the mountains of not-so-good stuff. That’s why I think it’s important to have trusted sources (like good record labels what you can trust) to help you find just the jams you’re looking for. Digital is fine but I’ll also never be without a turntable.

Dan: P.S: Who did the fantastic artwork on your signature logo?

Mike: That was done by my magical friend, Macho Mel Shimkovitz. She is an artist and all-around cool and great person. She also inspired the name Beyond Beyond is Beyond from one of her art pieces that I fell in love with and proudly display on a wall at home. AND she designed the BBiB website. This is her tumblr:

Check out Beyond Beyond is Beyond's full catalogue: here - at their website, here - at their Bandcamp, or here - at their Big Cartel page.

Also make sure to check out their Facebook to keep up to date here.

Do You Even Psychedelic? Would like to thank Mike for taking the time to do the interview. 

Interview conducted by Daniel Sharman. 

Wednesday, 20 August 2014

Distortion, An Expression of Anguish - Chapter 1: Why Distortion Continues to Satisfy the Savage Listener (Editorial)

Distortion. Overdrive. Pain. These are all things which have come to be associated with rock and roll to such a degree that they are almost prescriptive instead of descriptive. Ever since the first sonic pioneers discovered the beauty of a dimed electric amplifier, musicians have been using distortion and overdrive in one way or another for the better part of 50+ years. This cultural hurricane changed the face of rock and roll forever, and its effect is still felt to this day. 

As a result, distortion has always been in great demand, the 1980's in particular seeing how far into the realms of hyper-distortion a guitarist could tread, and modern psychedelic records like those of the Wooden Shjips demonstrating how one can layer on copious amounts of fuzz without seemingly any restrictions. 

However, to pull away from the generality of speaking of all rock music, in this editorial series I want to focus solely on why distortion continues to be so compelling to the human ear to this day in a myriad of genres such as rock and roll, garage, desert rock, roots psychedelia, ect.

Distortion is the purest form of human anguish and distaste. When one listens to a searing guitar lead cut through the mix of a steady percussion section, it evokes something in the mind and body of a human which can be described as almost metaphysical reaction. The pain that every human, even the most contented human, feels is remedied by the embodiment of savagery that is heard in harmonics of distortion and overdrive. 

Think of how you first felt when you heard the signature guitar riff of 'All Day and All of the Night' by the Kinks (notable for being one of the first uses of a serious, beefy garage tone), or when the heavy riffage of 'Tree Smoke' by Kikagaku Moyo erupted into the mix - that feeling of completeness, and satisfaction is the invigorating ability of musical distortion.  

In the coming weeks, I will try and elucidate upon several more elements of distortion's continuing attraction and why it remains so embroiled in the human psyche, discussing different elements and emotions the broken signal can produce. I will also discuss the previously mentioned metaphysical reaction caused by distortion in more detail too - in this way I can delve further into the deep recesses this peculiar subject has to offer, and explore one of the trusty steed in any musician's emotional tool box. 


You can hear Kikagaku Moyo's Tree Smoke, and purchase the album it is from, here.

Written by Daniel Sharman.

Wednesday, 13 August 2014

The Drone Accelerator: The Drone Accelerator Début Review (for Hipsters, Tripsters, and Serious Students of Jazz)

The Drone Accelerator's first savage offering is described as 'an anarchic blend of space rock, free jazz, and krautrock' and surely makes a compelling listen for any hipster, tripster, or serious student of Jazz. - Written by Daniel Sharman.

Released in: 19 November 2013 
Genre: Roots Psychedelia/Wilderness Rock
Record Label: Sky Lantern Records
Medium: Digital download, Cassette
Recorded at: Andean Wings Hotel (Cusco–Peru)

Comprising of past members of Anglo-Franco space-rock legends Gong, and folk-psych collective Montibus Communitas, even before listening The Drone Accelerator has some fantastic on-paper, musical credentials. Once again, this is another release discovered by the free music label, Sky Lantern Records, whom I recently interviewed (interview here) - I am currently working through their back-catalogue of fantastic releases, of sure interest to any music lover who finds themselves yearning for varied, experimental psychedelic music. 

This release is The Drone Accelerator's début album, and benefits from a similarly lo-fi recording style and atmosphere, akin to that found on the band members' previous projects. Clocking in 01:07:15 minutes, the two tracks are extracted from a series of lengthy jams recorded in a 'crumbling hotel room' in Cusco, Peru, a environment which is surely reflected in the recordings themselves.

It is immediately clear upon listening to the album that the recordings featured rely heavily upon a strong sense of pace, timing, and rhythm - utilising a strong percussion section (as performed by the aforementioned past-member of Gong) to drive the wild instrumentation of the members home. Crescendos, and diminuendos are used fruitfully throughout to give texture and landscape to the seemingly minimalistic, instrumental character of the LP - the instrumental line-up consisting of fuzzed-out guitar, piercing saxophone, airy flute and keys, and thumping drumbeats and basslines. These three musical elements come together to make for a compelling wild experience, one which focuses more on fluidity, and spontaneity, than on delicate composition, and planning. The recordings are very much a capturing of pure expression and emotion, the guitar work of Paul Forsyth Tessey being very free and wild - leading me to give this release the genre title 'Wilderness Rock' - one which I have not used on the blog before (post detailing the genre to come later).

Furthermore, both jams on the album both feature their own unique quirks, making them both memorable and giving them a lasting impact. The first jam on the album, Casiopea Pai Mantra, is where the idea of this post's description comes to mind, the recording being best suited to either a hipster, tripster, or serious student of jazz. The hipster appeal is immediately apparent, but not a point I shall dwell on, hipsters having no place in the life of any true psychedelic enthusiast. Similarly, the tripster appeal is also apparent, the jam having a warm, and inviting tone, without being too abrasive to the ears. However, the most interesting point is the study for students of jazz, The Drone Accelerator giving a master class on free-jazz instrumentation - showing when to hold the musical cards close to one's chest, and when to go all in.

To divulge more into the detail of Casiopea Pai Mantra, the guitar is savage and continuous on this track, soloing over a consistent, steady rhythmic thud with a fat, distorted signal. The unrelenting beat is also given flavour by short licks and vocal lines courtesy of greasy saxophone,  brilliantly complimenting the wailing guitar lead. Additionally, the unwavering nature of the percussion allows for the a slow, gradual change in pace throughout the jam at different points - all this giving structure and vibrancy to the somewhat bare-boned nature of the recording.

Moving on, the second recording of the album, Orion Pax, is more akin to the music produced by the earliest incarnations of Hawkwind. A groovy saxophone bursts onto a backdrop of chugging, tribal percussion, making you feel as if you are in a 1930's speak-easy and a Native American ceremony, simultaneously. The 39 minute epic then descends into a more jungle-esque setting, borrowing some of the far-out buzzes and organ-work reminiscent of those heard on many of Gong's records. Flute work and droning chanting also takes centre-stage at points, this jam allowing every member and instrument to have their own moment in the spotlight (make sure to listen to the end of the track as well to hear the return of the fantastic guitar work).

Critic's Comment: Tired of getting your rock music out of a can? Well, set aside a couple of hours and prepare to feast upon this lo-fi epic of a record. Excellently capturing spontaneous, and fluid instrumentation, The Drone Accelerator's début is a fantastic example of how the right musicians, in the right place, at the right time, can easily defy any convention you may of been taught, and inspire artists anywhere to express themselves no matter their circumstance. 

Friday, 8 August 2014

Soledad Brothers: Steal Your Soul and Dare Your Spirit to Move Review

Tired of always seeing Gary Moore, and Joe Bonamassa, taking the spotlight for blues rock? Well, come this way then, and step back to 2002 for a garage blues offering from the Detroit trio, The Soledad Brothers - Written By Daniel Sharman.

Released in: 2002
Genre: Electric Blues/Garage Blues
Record Label: Estrus Records
Medium: Blue vinyl, black vinyl, CD, digital download
Recorded at: 3rd Man studios, Ghetto Recorders, and The Covington Lodge

Recorded only a couple of years after the turn of the century, looking back on this particular record, it feels much older than that. This is thanks in part to its authentic, lo-fi recording style, which helps accentuate the genuine, bare emotion of the album. 

Unlike on their début LP, for their second musical outing the Soledad Brothers employ a third member to their originally two-piece line up, Oliver Henry. Henry provides some much needed texture, which at times felt lacking on the Soledad Brothers début, bringing in greasy saxophone, church organ and backing rhythm guitar on many of Steal Your Soul's tracks. This new set of accompaniments helps add flavour to the album, and make for an all the more dynamic, compelling listen. 

However, do not be mistaken, Johnny Walker still remains as the enigmatic preacher of the group, exercising gritty guitar riffage, and reverberated slide action, from his various hollow-body guitars, whilst also delivery Burnside-esque vocals, and raw harmonica action. Similarly, Ben Swank remains to deliver the same, heavy-handed action on the percussion section of the LP, as before. His beefy, heavy beats, helping give structure to the recordings, and firmly anchoring Henry's saxophone lines in place.

All these elements come together to evoke the same sense of magic that so many British, and American, blues rock acts managed to conjure in the past. The Soledad Brothers make no effort to hide these influences, and quite clearly wear them on their sleeve. For example, 'Prodigal Stone Blues' remorselessly borrows both Mick Jagger's vocal style, and Keith Richards' guitar technique and tone, to seemingly pick up from where the Rolling Stones left them in 'Exile on Main Street'. 

Additionally, tracks such as Break 'Em on Down, and Michigan Line, portray the same overdriven prowess of so many hill country blues records, from artists such as R.L Burnside. Even though the two songs aren't direct covers of such artists, they are still credited by the band due to the fact the influence clearly shows. 

Now, reading all of what has just been said, it may seem like I do not favour this LP much, however the answer altogether the opposite of that. In fact, this is a blues record that succeeds in so many ways. Yes, it is derivative, but that is not the point of a good blues record. A good blues record seeks to borrow from the styles of it's contemporaries, and craft a new recording by adding its own signature twist. 

Furthermore, Steal Your Soul, and Dare Your Spirit to Move is obviously a delicately crafted record, even if the songs don't always aim to convey that. The recording is sharp, the sound rehearsed, and the mixture of songs successful due to their varied pace (having slower tracks like 'Nation's Bell', and 'Miracle Birth', implemented throughout, so as to contrast with high-tempo tracks like 'Prince Among Thieves').

Critic's Summary: Altogether, Steal Your Soul is a very wholesome listen, and leaves the listener's appetite for raw, blues rock thoroughly quenched. Not too full on, not too laid back, the LP is a shining moment in the career's of the Soledad Brothers, giving listeners a full range of tastes from their rootsy palette. 

Written By Daniel Sharman.

Saturday, 2 August 2014

Cardinal Fuzz Records interview with Dave Cambridge!

When the blog first started, Cardinal Fuzz Records, or more simply, Dave Cambridge, was one of the very first people to share the blog, and show an interest in what I was doing. Since then, Dave has gone onto release countless amounts of great music, including The Cult of Dom Keller, The Janitors, and The Shine Brothers. With all these amazing records being produced by the label, I thought I'd catch up with the man behind it to learn a bit more about how everything worked, and operated. 


Dan: Hey Dave, Cardinal Fuzz Records have been going for some time. When did it begin, and why did you choose to start a label?

Dave: Well, it started through doing the Optical Sounds fanzine which started back in the Summer of 2010, though at that time I had no intention of doing a label; I just wanted to do a print magazine, giving coverage to a whole music genre that was getting totally overlooked by the mainstream press. Quite a few of the bands I was really into had no vinyl output, and I would be interviewing them and asking when the vinyl was coming and a few said if I did a record label they would gladly let me release it. Still seems crazy to me that no-one was releasing The Dead Sea Apes or The Janitors or The Cosmic Dead at the time. Anyway, once that idea germinated I was selling old records to raise money! I'm the type of person who when he says he is going to do something, I go and do it.

Dan: Even though I would say the sound of your label's output is somewhat hard to put a finger on, there is definitely some consistent themes, one for example being that you tend to put out acts from all over the globe, as opposed to just one location. Does your label try to achieve a certain sound?

Dave: My whole musical landscape is shaped by Spacemen 3, and The Heads. I think pretty much any band I release you can see the connection back to those 2 bands.  Pete Kember is a genius and I'm glad that after what seemed like a while of not getting the recognition he deserved, he is now, and is highly in demand it would seem. Still wish he would finish just one more Spectrum LP. Forever Alien is a much overlooked gem in his back catalogue – seek it out please.

Dan: As I previously mentioned, you source artists from across the international spectrum. How do you normally source the acts you put out?

Dave: I'm just like most music obsessives, I just scour the internet. Sometimes bands tip artists my way or it's just a word of mouth thing. I get really excited when I find a new band and become pretty obsessive. Myspace was great for that a few years ago, and I found so many great bands that way like Hills,  Magic Lantern, all the Santiago bands and The Cult Of Dom Keller and now there are so many places to find bands and hear their music. Some people might argue there is too much clutter out there making it harder for the better bands to be heard, but personally I don’t agree – good stuff will always shine through and of course what is good is always different for all of us.

Dan: How does the collaboration between the label and band usually work?

Dave: So far, it's been really good. I get completely obsessed with them and offer them a good deal and I think the bands can see that my enthusiasm is genuine. It helps that there has been a very, very positive buzz around the label with pretty much ever release selling out and that of course helps as the band knows it will get out there and create some excitement. However, I don’t do contracts, or any of that - though if the label does get much bigger I guess that would have to change…not for a while though. Bands do have full control, but I’ll always give my input and try to get what I want as well – be that on the art side or the track listing – but it's done out of a passion for everything to look and sound the best it can.

A Cult of Dom Keller test pressing.

Dan: Cardinal Fuzz doesn't seem to learn toward one medium over another, but what if you had to choose from cassette, vinyl, or CD, what would you choose and why?

Dave: The first few release were all on CD with the ever great Sam Giles doing the handmade vinyl replica sleeves that I really love. Small pressings because that’s simply what I could afford. But, I do much prefer Vinyl – I love everything about vinyl, especially the artwork which has sucked me into so many great albums. Also, what I love about vinyl over CD and digital is that you cannot skip songs or fast forward through tracks (well I know you can), but I  sit down and take each side in and it feels immersive. It always feels special as well when you get buy a vinyl record compared to a CD. And course I fucking love that the some of the music industry tried to kill it off - haha, clueless idiots.

Dan: How do you normally decide on what is the right physical medium to put out a band's music on?

Dave: Vinyl is always first choice for me, but I also wanted to do a live rehearsal room series. Really raw sound with guitars cutting you down, no hi-fi audio, and rough as a badger's balls and for that to me it seemed CD would be the right medium as a lot of people might not share my enthusiasm for everything in the red recordings! And more to the point these would run to 60-80 minutes and double LPs are bloody expensive. I’ve already released 4 double LPs by bands that had never even released one vinyl record which looking back scares me! I promised myself I wouldn't do any more doubles and now I'm committed to two more!

One of Sam Giles' vinyl sleeves.

Dan: Additionally, how do you usually source artwork for your releases? I've noticed most of them are quite innovative, and/or original.

Dave: The band normally has their own idea's and even if it's not been to my liking – if they are 100% sure, I’ll go with it. Hills and The Oscillation let me go ahead with my own idea's though which was much fun. I roped in Sam Giles to do the Hills one which looked great (based of course on Hapshash and Marin Sharp's artwork).  For The Oscillation I had my own idea's which Brett Savage helped with and in the end I changed and inverted the sleeve after Brett sorted out a cool warped background. Printed on the Mirror Sleeve, I was extremely pleased how that looks and feels. We have just found a great screen printer as well and I'm really pushing bands to go down the screen printing route as I love the look of hand screened sleeves.

Dan: Being so closely involved with record output, do you have a collection of your own? And, if so, what are some of your most prized pieces?

Dave: I reckon people would be pretty disappointed if they saw how little my collection is! Well the wife would not agree but compared to some of the collections of friends its tiny. Prized bits - The Heads and Spacemen 3 vinyls of course and some of them are worth (to others) a fair bit but to me they've never been sold so it doesn’t matter. I've got a real nice Seeds album, 'Future' on a South American label (lovely little op art logo) with all the titles in Spanish…sounds like shit though! Pretty Things SF Sorrow though I would reckon to be one I do take extra special care off as it’s a first press.

Dan: I have to ask, Cardinal Fuzz is an unusual name. Does it have a special origin, or suchlike?

Dave: With both the fanzine and the label the links are to bands I love, so Cardinal Fuzz is The Heads, and Optical Sounds is The Human Expression. Much love to each of those bands.

Dan: Is there any advice you would like to impart to prospective label owners?

Dave: Just don’t be too downhearted if/when things go wrong – because everything will! You have to be a stubborn bugger in this game to keep going. But, the rewards of releasing music you love far far far outweighs all that. The sleepless nights you will encounter are all worth it for the day the vinyl pressing arrives at the front door and you get first play – it’s a great feeling. Work out all your costs - know what your brake even is. Don’t rip off the bands you are working with – these are people you love so treat them well. I don’t promise fame or fortune just that I will get you music pressed on vinyl in a real nice package and I will get people excited about your band. Hopefully then you can sign to a proper label!

The Optical Sounds Fanzine.

Dan: Lastly, how do you feel about the digital age, and the way it has shaped music listening culture?

Dave: Personally I think its brilliant – I hate elitism - maybe that’s a British class thing but it used to be only those in the know got to hear all them mythical recordings. Now anything you want is there at the tip of your fingers. It used to be you only got to know about a very small amount of bands through the weekly press – now there are some great blogs out there pointing you all in whatever direction you want to go in. A band in Santiago releases a record and everyone in the world can now hear it – that has to be good. The media  like to tell you nowadays because of the internet we all have the attention span of a gnat but for me I've only got the attention span of a gnat when I'm listening or reading something that doesn’t excite me. Its great to read a blog where their excitement for a particular band or record is coming through and within a few clicks you can be sat listening and making your own mind up and maybe within a few more clicks buying the vinyl/CD/download.


With new records for Kikaguka Moyo, The Myrrors, and more, skewed for release soon, make sure to like the Facebook page here to stay up to date.

Also, to find all of the current Cardinal Fuzz catalogue make sure to check out their Big Cartel site here.

The Optical Sounds Fanzine can also be found here.

Interview conducted by Daniel Sharman.