Keep On Shaking

Automatic Sam is the latest sensation from the east side of The Netherlands. This foursome plays stunning Alternative Guitar Rock with here and there some Blues. I saw these guys perform in a one minute presentation on the dutch television last night and they made a hell of an impression.

Texino is their brandnew debut album and it is really a great start for this band. Their sound reminds me somehow of the Belgian band Triggerfinger.

Texino has become a varied album with twelve songs that can be called entertaining. The guitar sound is awesome, the drums and bass are very solid and the singer is incredibly good. How surprising that this young guy has such a great voice. Automatic Sam is a band with a lot of potential. I hope to see this band soon on stage. Enjoy!

Who is Automatic Sam? Honestly, we’ve got no clue. But when you listen to Captain Beefheart singing about this man in his song Tarotplane, it sound like Sam’s a pretty cool dude with a great sense of boogie.

We are Automatic Sam; a fourpiece from Nijmegen with roots in the legendary Magic Barn in the far east of the Netherlands. The band was formed in late 2008 by Pieter Holkenborg (lead vocals / guitar), Rense Slings (guitar / vocals), Bob Hogenelst (drums / vocals) and Harm Wopereis (bass / vocals) and soon gets a great live reputation. Think of a speeding train of 70’s hardrock with rusty rivets attached to a wagon full of garage, some blues and all pulled by a locomotive fuelled by pure punk rock.

In November 2009 Automatic Sam releases “Hot Foot Oil”. The EP is widely praised: Well-known Dutch magazine OOR: “Lovely and cocky!” and Holland’s biggest platform for alternative music 3voor12: “Rough, but well thought rock album that never get boring”. “Hot Foot Oil” is sold out within a few months, both on CD and vinyl. The band is on the bill of festivals like Zwarte Cross, Valkhof Affaire and Paaspop plays the support show of bands like DeWolff, Claw Boys Claw, Orange Sunshine, and the entire Dutch tour with Black Rebel Motorcycle Club.

Who is Bozo Texino? This mythical character from the American hobo culture, unshaven, unrestrained and hopping on freight trains without knowing his destination, was an inspiration for the album “Texino”. This full length debut contains twelve songs that tell the real story about the hobo Automatic Sam and his journey.

“Texino” was produced by Koen-Willem Toering (Woost) and Gijs Coolen (Woost / Coparck) and mastered by Pieter Kloos. Guest musicians are KW Toering, Otto Kokke (Dead Neanderthals) and Wout Kemkens (Shaking Godspeed). The record will be released on Suburban Records (CD) and Quadrofoon Records (Vinyl). Management and bookings are handled by SOZ Concerts.

Coming soon to a station near you…

(their bio)

Automatic Sam - Texino (2011)

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Slovenian Strange.

There's many great music for free available in the world of MySpace, like this:
Broken Lock is a band from Slovenia and it's hard to describe their music. The band says they play Alternative, Progressive and Hardcore music. I think it's more than that. I even hear some Stoner, Funk and Jazz influences. Ater from 1999 is their first album. It's strange music, but also great. The guitars are very nice. This debut album contains some nice songs, which all are different from each other. This is stuff I can't compare with anything, but I like it! (And maybe do you!) Enjoy!

The band was created in 1995, some changes in lineup followed and band was finally formed in 1997. First album called "Ater" was recorded in the harshest conditions in 1999. "Ater" enjoyed good critics and the band was invited to Novi Rock 2000 festival and recieved the Boomerang award in 2001. In following years band toured and played with names like Laddio Bolloco, Karma to Burn, Dozer, Psychopath and many other. In 2002 band recorded its second album called "Endemic". The first video - the song "Alloy" - was recorded in 2003. In XII.2004 the second video - the song "G" - was released and hit the charts. Currently the band is preparing the songs for the third album.
(From isound.com)

Broken Lock - Ater (1999)

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Strange Stuff From Philadelphia Part 2.

This is the second part of the CD's that Bruce from Dangerbird and Hulk Smash has send me. (Thank you again, Bruce!)
Dangerbird is like Hulk Smash also a bit Strange, hard to compare with anything. But Dangerbird is more heavy and depressive. If I compare this with Hulk Smash, I must say I like Dangerbird some more. The guitar is better and so are the vocals. The highlight of Homestead is the song No Hope On Hope Street.

In this post there is also a second download: The Dangerbird Demo from 2007. Enjoy both and let me know what you think by leaving a comment!

It seems at first an unassuming full-length that Philadelphia contemplative rockers Dangerbird have come up with for Homestead (SRA Records), and on some levels it is. The music isn’t especially overbearing or heavy (at least for the most part), they don’t hammer home riff-based groove after groove, and the overall earthy feel of the music lends itself more to emotional warmth than to any kind of technical chill. There are sweet sub-melodies in the guitars and vocals, and though the back half of the record shifts tone significantly from the front, some semblance of flow is maintained.

The four-piece, which as of this recording was comprised of BJ Howze (guitar/vocals), Mouse Dascher (guitar/vocals), Joe Bats (bass, since replaced by Nick Conway) and Colin Smith (drums/vocals) first adapt ‘90s s t y l e indie rock into a droning or stoner feel, then take a turn toward Neil Young-esque organic guitar pieces beginning with “Snowed In,” track four of the total seven. “Frank,” “Alien+Cop” and the title track which precede it are heavier sound-wise. Even “Homestead,” which begins to display the directional adjustment the record is soon to take, keeps a heavy load of feedback and thick riffing. Nonetheless, it’s clear throughout Homestead that Dangerbird are children of the ‘90s alternative movement, and by that I don’t just mean grunge. There’s some of that teenage melodrama working its way into “Hiram,” but there’s nothing quite so postured about the band as to warrant any Seattle comparisons -- except maybe their methodology for incorporating the aforementioned Neil Young influence, for which acts like Pearl Jam were well known in their beginnings.

Vocally, aside from the harvest mooning, Dangerbird make use of that indie whine that’s perhaps most often attributed to Violent Femmes, but in the context of a heavier rock, it makes for an interesting if not always totally congruous match up. The songs feel loosely structured, even when they aren’t, which speaks to a uniqueness of s t y l e, and though “Sad Waters” receives a quieted enough lead-in from “Hiram,” the song soon picks up with a subtle country twang that adds an Americana feel to Homestead that Dangerbird have yet to explore with such gusto. “Sad Waters” is also the catchiest of the Homestead tracks and shows that when they want to, the band can make traditional songwriting seem easy.

Homestead finishes out with “No Hope on Hope Street,” and if I haven’t yet mentioned Neil Young, I’ll do it one more time. The track is slower and offers a return to the thicker moments of “Frank” and “Alien+Cop” without being redundant. At just over 11 minutes, it is the longest song on the album, and maybe also the most hypnotic. Dangerbird border on some social commentary with the lyrics, but not so much as to dull the music’s affect. Overall, Homestead is made remarkable by its natural feel (the band recorded at least the basic tracks live and it shows). There are blemishes here and there that come up, but by and large it’s a worthwhile experience that leaves one to wonder how Dangerbird will develop over their next batch of songs. It won’t be for everyone, those looking to bang their heads and hoist their beers to Odin will probably want to keep moving, but Homestead establishes itself with a clear sound and execution that takes a not-often-heard approach to the conventions of underground heavy music.
(By JJ Koczan at StonerRock.com)

Dangerbird - Homestead (2008)

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Strange Stuff From Philadelphia Part 1.

Hulk Smash is a duo from Philadelphia that plays some Strange music. The guitar and drums sound like The Jesus Lizard, the singer seems some what frustrated and there is that funny organ. I can't compare Hulk Smash with anything, but it is great stuff. Try it for yourself and let me know what you think.
The other Hulk Smash download is The Mynah Bird, The Mockingbird And The Magpie Album also from 2008. This album contains some covers (Iggy, Black Sabbath and a funny version of Owner Of A Lonely Heart by Yes) and two own songs.
A big thanks to Bruce for sending me these CD's! Enjoy!

E and A sharp over and over and over again with high annoying keyboards on top, long ass songs that go nowhere.
(From MySpace)

Hulk Smash - The Hulk Smash Album (2008)

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Headcleaner.

No Offence Meant... Plenty Taken is the first album of the U.K. Noise Rock band Headcleaner. This album is pretty aggressive and does remind me a lot of The Jesus Lizard. Very great stuff!

It's hard to find any information about Headcleaner, even no website or MySpace. But take my word: You want to hear this! Enjoy!

Headcleaner - No Offence Meant... Plenty Taken (1995)

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Not So Stoner, But Quite Alright (Part 2)

Like DeWolff and Triggerfinger I saw De Staat in an one minute performance in the TV show De Wereld Draait Door (Which means As The World Turns and... it's not the long running soap!). De Staat is like Triggerfinger also a band from the label Excelsior Recordings. When you listen to their debut Wait For Evolution you will hear great music with some strange rhythms. And you will find out that some of the influences are QOTSA (Them again?!) and The Eagles Of Death Metal. Maybe you like it and maybe you don't. But let me know what you think by leaving a comment! Enjoy!

"Josh Homme will ride the speakers when he hears this record" wrote the largest Dutch music website 3voor12 about De Staat's upcoming full length debut Wait For Evolution, right after calling them the most promising band for 2009.

Fully recorded in the old house of singer/guitarist Torre Florim, who's been producing some of the filthiest underground bands in Holland, Wait For Evolution had a more unusual approach than the average rock record.
With the help of befriended musicians like The Bloody Honkies and Fuck The Writer, Florim worked layer by layer, in his 'Fun House', for over a year on songs with attractive titles like... 'Meet The Devil', 'The Fantastic Journey Of The Underground Man' and 'We're Gonna Die'.
In September 2007 De Staat found its perfect line-up. With Tim van Delft on drums, the Croatian Vedran Mircetic on guitar, Jop van Summeren on bass and Rocco Bell mastering the keys, beatring and cowbell, there's no question that Torre Florim has some diverse company on his side. A powerful five-headed coalition, showing its love for the old roots music, though not afraid to put that in a new and refreshing perspective.
Since then they've done shows in every possible setting, from small bars to big clubs with bands like Fu Manchu and the Belgian dEUS.

"2009 will be the year of De Staat" said Eric Corton, DJ for the biggest Dutch radio station 3FM. So it won't be a surprise that they've recently got a record deal with the unique and legendary label Excelsior Recordings.
(From MySpace)

De Staat - Wait For Evolution (2009)

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Not So Stoner, But Quite Alright (Part 1)

Triggerfinger from Belgium is an Alternative Hard Rock trio. What Grabs Ya? is their debut album on the Excelsior Recordings label. This album brings you a variety of songs, some are raw and loud and others are more easy. But the essence here is that they sound a lot as QOTSA. So it's not a strange thing to say that the Queens Of The Stone Age has a major influence in modern Rock Music. I like this album a lot. Do you? Enjoy anyway!

This power trio’s live reputation long precedes the release of this self-titled debut album. A bit reluctant in trying to capture their dazzling live sound onto a record, they went for it anyway and – as the press happily admitted – they managed perfectly. This has become an album full of raw energy and heavy guitars, elegantly combined with honest, sensible en melodic songs. Or, as Dutch music magazine OOR put it: “a brilliant face-lift of the genre”. *** Sure, that prefabricated major label pop that is flooding the charts at the moment might be great on some occasions: while you’re working, on family outings, during a dinner party or at any other time that music just provides for a setting rather than distracts you. But once in a while you need music to be more than that. You want it to totally consume you. You want in to raise your adrenaline and make your heart pound faster. You want it to be subversive and raw. You want it to take your mind of anything and anyone. You turn up the volume and you just let it hit you in the face. *** It takes a certain magic to make that happen. Think of The Rolling Stones, Led Zeppelin, AC/DC, Motörhead or, more recently, Queens of the Stone Age. Magic that is born out of bringing musicians together. With Ruben Block as an enigmatic frontman and high-precision guitar player, Monsieur Paul on bass and Belgium’s most wanted Mario Goossens on drums, also Triggerfinger became such a band where the unit adds up to more than the sum of the individual parts.
(From MySpace)

Triggerfinger - What Grabs Ya? (2009)

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Meet The BELLRAYS.

Meet The BellRays is a compilation album featuring songs from the first two albums by the L.A. based band The BellRays.
This band does sound musically like The Stooges/MC5, but the vocals sounds more like Tina Turner or that singer from Mothers Finest. Lisa Kekaula does a outstanding performance with her vocals.
I've never seen The BellRays live, but what I've heard and read, they're really good on stage.

The BellRays have been kicking around LA for nearly a decade now, however they are not that widely know in the UK.

This puzzles me as I have never seen such a powerful front woman as Lisa Kekaula. Imagine a cross (if you can!) between James Brown and Heather Small - well that's Lisa Kekaula personified.

Kekaula's voice as strong and soulful, yet what accompanies it is not your usual bongo or soft guitar, oh no, The BellRays flitter between, soulful beats, crazy psychedelia and fierce garage rock - in fact the BellRays are probably one of the craziest bands I have seen.

Audience participation was lacking somewhat, and the Charlotte wasn't even at half capacity. The crowd were a rather odd mix of couples, old rockers and the token head banging groupies at the front, never the less the BellRays gave it their best shot.

Kekaula made the show. Her flirtatious ways tease both guitarist Tony Fate and husband/bassist Bob Vennum, whilst drummer Vince M resembles the Muppets' cookie monster as he bashes behind them.

Halfway through their set Kekaula paces through the crowd picking on innocent viewers, inciting them to dance, sing and have a good time.

Tracks seemed to roll into each other, however they did play their single 'Fire on the Moon'. The BellRays are on tour to promote their new album, a follow up from the semi successful Meet the BellRays, released in 2002.

I can appreciate their attempt to mix soul and garage rock, however, the Bell Rays are a little too crazy for me, but nevertheless a good night's entertainment!
(By Caroline Burgess at www.bbc.co.uk/leicester/music/)

The BellRays - Meet The Bellrays (2002)

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Royal Society.

Here is the first full lenght album from The Eighties Matchbox B-Line Disaster. You can expect roughly the same as on Horse Of The Dog. Royal Society is produced by Chris Goss. Great songs are Rise Of The Eagles and Mister Mental.

The snarling and bass heavy modern day troubadours of punk rock that are the Matchbox Disaster boys have created a second album of tunes that are fiery in their passion and relentless in pace. No punches are pulled here, the assault of guitars starts with their latest single and opening track (the fiercely self affirming ‘Rise Of The Eagles’) and continues to blast away throughout. Even the relatively speaking ’slow numbers’, like the perverted calliope of ‘Puppy Dog Snails’, are laden with bass and menace. While there are nods to the gothic and pure metal guitar glory you would be struggling not to think of The Damned while listening to ‘Royal Society’, which is no bad thing.
(From Betweenplanets.co.uk)

The Eighties Matchbox B-Line Disaster - Royal Society (2004)

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The Eighties What???

Wow, what a guitar explosion we got here! The Eighties Matchbox B-Line Disaster from Brighton, U.K. play some Alternative Guitar Rock with aggression. The most awesome song is Psychosis Safari, those riffs! Wooooooow!

Here... they... come!

10 songs, 25 minutes, wham, bam, fuck you ma’am, less a debut album than a seedy grope in an all-night cinema, The Eighties Matchbox B-Line Disaster are here and they want to fuck your mother. Thrashing out of balmy Brighton like an Elvis Of Death on nasty-assed drugs, they’ve never seen the sunlight that Fatboy Slim or The Electric Soft Parade seem so keen to bask in; a bullet to your dog, Norman!

Coming up from the underground like a rabid animal, Horse Of The Dog is the best and worst excesses of savage guitar noise wrapped up in one buzzing, gnashing package of psychosis, Oedipal lust and affectation, an electric shock charade where the singer looks like Make Up’s Ian Svenonius and hollers his hyper-sexual butcher songs like Jim Morrison gone punk, a howling garage-thrash racket twitching through gonzo-riff after gonzo-riff behind him, everything over and done with inside two-and-a-half minutes. In the dark. With your mother.

When they hit a full-blown tune rather than just a riff, a howl and a clatter, TEMBD are awesome, the band ...Trail Of Dead would be if you stripped away the artifice and feeling with caustic soda. “Morning Has Broken” is fantastic dirty lust-rock, and “Celebrate Your Mother” is the best song about shagging mothers that you’ll hear all year. With titles like “Whack Of Shit” and “Team Meat” they clearly mean brutal business, and know not to outstay their welcome.
(By Nick Southall from Stylusmagazine)

The Eighties Matchbox B-Line Disaster - Horse Of The Dog (2002)

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Great Guitars From Texas

The album Independent Worm Saloon from Austin's Butthole Surfers is one of my all time favourites. The guitar work is just great. I used to play Goofy's Concern with some bands. You really have to experience this album.

After Pioughd's semi-misfire and Rough Trade's subsequent collapse, the Surfers were in a surprising position. Not only were they courted and signed to Capitol thanks to the Nirvana-led alternative explosion, they also got high-profile arranger and Led Zeppelin legend John Paul Jones to produce the new album. When Saloon surfaced in early 1993, some accused the band of basically cloning Haynes' memorable collaboration with Ministry, "Jesus Built My Hot Rod," for the entire album. It's true that "Some Dispute Over T-Shirt Sales," simply takes the lyrics from that number and grafts it onto a quick rip from the band, but Saloon is far from a clone of Ministry or anything else. More energetic than the straggling Pioughd and benefiting from Jones' brilliant ear and tight, crisp arrangements, Saloon starts with the fierce "Who Was In My Room Last Night?"; from there, the Surfers tear through hilarious and strong numbers. Creating radio-friendly unit shifters was clearly the last thing on the band's mind, as numbers like "The Annoying Song," with Haynes sounding like what a radar dish would do if it could sing, and the wittily solemn acoustic ditty "The Ballad of Naked Man" demonstrate. The Surfers' taste for rude grostequerie surfaces throughout -- the foul "Chewin' George Lucas' Chocolate," the series of vomit sounds that conclude the record after "Clean It Up"'s heavy trudge and the extremely disturbing artwork are just a few examples. Combined with numerous examples of Surfer-mania at its finest -- the dipsomaniacal rager "Alcohol," the electric country hoedown "You Don't Know Me" and more -- and Saloon is that rarest of records, a major-label debut that surpasses the indie release preceding it.
(By Ned Raggett From All Music Guide)

Butthole Surfers - Independent Worm Saloon (1993)

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