Posts Tagged ‘Netherlands’

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Buy Online The Who - Live In Amsterdam Red

“Live In Amsterdam 1969”. The Who’s performance at Amsterdam’s Opera House in September 1969 was remarkable in a number of ways. It was the first of a series of gigs in more formal surroundings and one of the longest live gigs the Who ever performed.

The recording was made by a Dutch radio/tv broadcast. It’s not 100% certain who did it, but it was probably done by the VPRO, who also did the Pink Floyd recording the same year at the same venue. And just like that Pink Floyd recording, this one was also bootlegged a million times from various very good to very poor sources. Alll of these sources were originated from radio broadcast/s. Back then, and today still, The Concertgebouw was not a place for rock bands but for opera’s and other classic music.

Mixed directly to 2-tracks, this may been one of the reasons why the mixing engineer had a hard time finding the right balance. The mix changes often, and sometimes the drums or the guitar just disappear or get buried for a while. It also must have been hard for the band to hear each other, because of the extremely reverbrating acoustics. Remember, this was 1969 and sound monitoring on stage was still a thing for the future.

When comparing this one to other Who shows from this period, this one probably isn’t the best. Roger Daltrey has once said that he didn’t think he sang very well this night. And playing the “Tommy” album on stage was obviously not a routine for the band yet. But, there is more than enough to enjoy here. It is the only complete soundboard recording from this year. It is also the only one with complete lineage, and it has the best sound. Beside that, all other Who ’69 board tapes are far from complete and don’t have most of Tommy.

Somewhere around 2000, a Pre-FM source of this show was unearthed. Funny enough, the same thing happended with the aforementioned Pink Floyd recording . They may have come from the same person though.

The recent boot “Amsterdam Journey” on the Hiwatt label is the one taken off his copy.

The Who, live at Concertgebouw, Amsterdam, Netherlands 29th September, 1969
Following the release of Tommy in May 1969, the Who embarked on a series of epic concerts, soon earning themselves a reputation as the finest live band in the world. This amazing set was broadcast on AVRO-FM, in Amsterdam’s most prestigious concert hall on 29th September 1969. The only complete soundboard recording of them made that year, it boasts astounding fidelity and captures them at the peak of their powers, playing not only most of Tommy but also numerous other classics from the length of their career to date. It’s presented here together with background notes and images.

The Who – The Complete Amsterdam 1969 
Venue: Het Concertgebouw, Amsterdam, Netherlands
Date: 29th September 1969

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Dutch five-piece Iguana Death Cult have returned with even more hopped-up absurdity than before. Their new album Nude Casino, which follows their 2017 self-released debut album The First Stirrings of Hideous Insect Life, is a quest to wriggle out of life’s bitter clutches with the maximum possible levels of fun and debauchery. While their debut mixed speedy garage punk with steady psych and adroit post-punk, Nude Casino sees them embrace their funkier side—they even dip their toes into New Wave and disco. “Carnal Beat Machine” is a disco punk number for the ages, and “Half Frysian” is a krautrock meets Talking Heads ripper—musically saucy and lyrically anxious. While the album masquerades as a dancefloor filler and moshpit starter, their lyrics are bursting at the seams.

Frontman Jeroen Reek presents himself as a neurotic mess, and Nude Casino is his wide array of responses to such neuroses—total breakdown, wild nights out, wacky dreams, seclusion and even imagining himself in liquid form. Nude Casino may be full of surreal imagery, but the album’s mercurial happenings couldn’t be more realistic.

Dutch rockers Iguana Death Cult have unveiled their new album Nude Casino via Innovative LeisureNude Casino follows their 2017 self-released debut album The First Stirrings of Hideous Insect Life. “Liquify” is an ode to morphing states of matter in pursuit of transcendence, appreciation of life and rejection of demoralizing monotony. With a carousel of outlandish and frisky guitar tones, Iguana Death Cult curate something absurd and sportive, yet illuminating.”To liquify is what you need to do whenever you feel stuck and tired of your own shape,” the band says. “Take some time to observe and just enjoy being. Get rid of your solid state and let the spirit take over.

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Jacco Gardner is a baroque pop multi instrumentalist. He creates a unique sound by combining the sounds of harpsichord, strings, flutes and other classical instruments with raw psychedelic effects.

“Fading Cosmos” and “Autumn In Lisbon” were both recorded in Lisbon during the Somnium recording sessions, but they were not included on the album. The reason for this is that they are while being thematically similar, significantly different in their approach. Somnium was intended as one 43-minute journey, while these two tracks respectively interpret the concept of transformation within 8 minutes of improvisation. The concept of a journey of exploration, mixing cinematic and electronic sounds with a more jazz and folk, live improvisation type of performance has been very inspiring while working on this EP. I’ve been listening to a lot more jazz and progressive than I had before, mainly because I was introduced to a lot of really inspiring stuff by my girlfriend María Pandiello, who is performing Somnium with me right now on synths. Her presence has been very influential, but also the sense of adventure and discovery she brings. Some influences I feel like were major inspirations on this EP are Popol Vuh, (early) Vangelis, Bo Hansson, (early) Patrick Cowley, Francis Bebey, Piero Umiliani, Silver Apples and of course some (mainly Saucerful Of Secrets era) Pink Floyd. All these artists come from different parts of the world, but I still see them very connected on a basic principle, creating a psychedelic progressive trip through the process of experimentation with electronics, a foundation of Synthedelia. 

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During the creative process, the line between what was calculated and what was a total “happy accident” became very blurry, and I just went with that, which resulted in the type of sound that it has. Live sequencing synthesisers while jamming to this on other instruments, like bass or electric piano, seems like a pretty basic concept, but I had not really explored this interaction and it’s full potential in depth before. I found it a very exciting and liberating feeling, to feel both focused and precise and totally free at the same time while working alone in the studio. I’ve always been able to immersive myself in something very intimate and personal, and to really escape to another place while I’m working alone. Also, the mood of Lisbon and the area where I live became very present, as I often went on solitary walks, mainly at night. To me, the city holds something almost mystical and very powerful, which can be very present in the area I live, and it undoubtedly found its way into these two tracks.

The first ideas for “Fading Cosmos” came after conversations I had with my brother, about the tragic reality that the endlessly rich cosmos around us is rapidly becoming invisible because of an increase of artificial light, leaving us in the solitary darkness of human progress. I wanted to offer some potential visibility into our cosmic neighbourhood with this track, but also to escape into a world of wonder and mystery.

“Autumn in Lisbon” was written after walking around on a beautiful but stormy autumn day in Lisbon, not long after I moved there. The air was full of changes and a mysterious future was showing her powerful presence while hiding her face.

Both tracks feature acoustic guitar, synths, bass, drums, percussion and electric piano, all greatly manipulated via analogue tape. It was mastered by Simon Heyworth, who did an amazing job on it. I felt the same about his work on Somnium, so I naturally asked him for this EP as well, and I’m very happy with it. Every time I can feel the immense experience he has in making otherworldly creations feel truly immersive. I’ll likely work more with him in the future if he’s up for it as well.

released June 14th, 2019 “Fading Cosmos” is released on 12″ vinyl on Full Time Hobby (ROTW) and Excelsior Recordings (BENELUX), and digitally on Polyvinyl Record Co. (US).

pip blom debut album boat 2019

Promising young indie rocker’s Pip Blom are looking to break beyond the canals of their Amsterdam hometown with new album “Boat”. Due out through Heavenly Recordings. “Boat”  was first recorded by Dave McCracken at Big Jelly Studios in Margate on England’s southeast coast. It was then mixed by Dillip Harris in — of all places — a shipping container that sat along the banks of the Thames in East London.

Based on the title and various studio locations, Blom clearly has a fascination with water and travel. But it turns out those themes were already on her mind well before she and her band even began working on their debut LP. “Before we had even made the album I decided that I wanted to call it Boat. I envisioned a really big cruise ship in the 10,000-times bigger ocean. When I think of boats I think of journeys, traveling, going somewhere and having a goal. And I think that that has been what the last couple of years have been for us.”

The bouncy lead single, “Daddy Issues”, and its music video, a “love letter to classic cinema.” Blom broke Boat down Track by Track.

“Daddy Issues”:
We decided to play this song for the second time when we had to play a pretty important gig in London. We had already played it the day before in Manchester, and our managers weren’t the biggest fans. They said, “Are you sure you want to play it in London too?” We were very stubborn and said, “Yes, we are going to make it work.” When we finished the gig, our managers ran up to us and said, “This is such a good song, you guys were right, think it’s definitely a single.” And look where we are now!

“Don’t Make It Difficult”:
There are a few songs on this record that have demo parts in them. Me, Dave and Dilip agreed on the fact that sometimes there’s no point in trying to beat a demo part. The bridge guitar that goes round and round in your ears is the perfect example of that. We tried to record a different one in the studio, but it wasn’t close to this one. I feel quite proud that we’ve used parts that I recorded at home with a crappy amp and a mic hanging from a duct-tape thread. It gives an extra personal touch to the record that means a lot to me.

“Say It”:
We recorded the album in two legs. “Say It” was saved for the last leg. We thought it wouldn’t be too difficult to play that one, but because of all the changes in dynamics and parts it was a hard song to record live. It took more time than expected, but I think we captured the energy from the studio perfectly. I really like the combination between the gentle and soft singing in the verses and the quiet though busy instruments that bring the singing to a next level.

“Tired”:
This song is the most straightforward song on the record if you ask me. When I started off writing songs I didn’t have a clue how many varieties you can have in terms of song structures. “Tired” is one of the oldest songs of the record and thus the most straightforward one. I am really happy that this one has made it to album because it represents us as musicians very well. It’s not about doing the most difficult things, it’s about the melody and the energy.

“Bedhead”:
This is the song we had the most discussions about. Gini is not a big fan of the drum computer. We tried multiple times to rehearse this song without it but it didn’t go anywhere. It sounded very weird and not cool. So after lots of conversations between us, the band, we asked Dave (the producer) what he thought. He immediately said that we should keep the drum computer in. We did, and I think it really works. I am very happy that we had a chance to step away from just the regular band vibes and add something to the album that’s not really common in the indie scene.

“Tinfoil”:
I really tried creating something different with this track. I don’t know a lot about different keys and tempos but I wanted to make song that’s in 3/4 instead of 4/4. I had never tried it before so it was quite the experiment. I always start off with guitar and drums. And after I came up with a guitar part that I liked, i decided I wanted this song to sound ominous and kind of sexy. The rest is history.

“Ruby”:
Al
and Mike were the technicians at the studio. One day Al was in and helped with recording “Ruby.” I was messing around a bit with my crappy Behringer delay pedal when Al turned around and said, “Wow, that’s really cool, you should use that.” Dave came running down the stairs and said, “Yes yes yes! Let’s record this.” We used it in the bridge and I think it really lifts up the entire part. It sounds weird, like aliens, but that’s what I like about it.

“Set of Stairs”:
When we started rehearsing the songs for recording, this was one of the songs that felt right immediately. Especially the verses are so full of energy. We recorded this one in the first leg. But when we went back home and had a listen to all rough edits, I wasn’t happy with the way I sang it. So the first thing we did when we returned to the studio was sing it again. It needed spice.

“Sorry”:
This song is my personal favorite. It was really hard to sing the chorus. I am not a trained singer and this was really high for me. After five takes of the high backings, my voice was completely gone. I loved recording those though; Dave and I were together in one room and his energy helped me so much to nail it in the end. When I wasn’t able to sing it in tune, he turned around with and said with his thick Scottish accent, “That’s awesome. We’re almost there.”

“Aha”:
This was a weird one. I always make demos and send them to everyone else. And when I make those demos, I usually stick to a maximum of two guitar parts because we’ve got two guitarists. I am not sure what happened to “Aha,” but the chorus in the demo had seven guitars playing different stuff. During the recording process we tried to stick to the same rule with just using two guitar parts. But “Aha was the exception. This one needed mayhem. And it’s there.

Blom and her band, called Pip Blom,

Jacco Gardner

Here we have 16 minutes of new music from Jacco Gardner out June 14th. Listen to Side A, Fading Cosmos, now.

Jacco follows up 2018’s sonically adventurous, instrumental album “Somnium” with a new 16 minute EP “Fading Cosmos.” Written and recorded during the “Somnium” sessions in Lisbon, Portugal, Jacco looks to the stars once again for inspiration. Where Somnium was deeply influenced by Kepler and his stargazing innovations, Fading Cosmos asks “what’s next?”

Korg synths bubble and fizz, basslines carry the groove and a beautifully picked acoustic guitar line comes together to bring to mind the work of Michael Rother and Conrad Schnitzler but with the lightness of one of Jacco’s big inspirations – The two tracks were mastered by Simon Heyworth (Eno, Oldfield, King Crimson) and are cut at 45rpm on black vinyl.

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Jacco Gardner is a baroque pop multi instrumentalist. He creates a unique sound by combining the sounds of harpsichord, strings, flutes and other classical instruments with raw psychedelic effects.

releases June 14th, 2019

Exclusive: Pip Blom Share Eerie, Seaside "Ruby" Video

Dutch indie rocker Pip Blom and her band are preparing to release their debut album Boat, out on May 31 via Heavenly Recordings / PIAS. After a searing showing at SXSW last month (their first set of U.S. dates), the band have shared the video for “Ruby,” premiering exclusively at Paste.

After 2018’s solid Paycheck EP and recent single “Daddy Issues,” the 22 year-old singer/songwriter’s new song “Ruby” is another rapturous gem of post-punk adjacent indie rock. With clamoring guitars and vocals that range from sassy to melancholic to euphoric, “Ruby” embodies the ephemeral rush of joy you get from a gentle beachside breeze.

Set on the seaside, the music video captures Blom visiting a UFO hypnotherapist after catching a glimpse of something eerie. The video’s director Raymond van Mil said of the cryptic clip, “We made a few jumps in our imagination, and we were explicitly not trying to explain or illustrate the lyrics. We started with flamingos. Apparently there are two distinct families standing some 20 meters apart on one exact place in Zeeland/the Netherlands. We went there and were in amazement, it looked so alien in the Dutch landscape. From there the UFO story unfolded and was fun. Was it a dream? A memory? A documentary? Only Pip knows.”

Ruby, Video by Raymond Van Mill. Shot on analog film, Super 8 – Kodak Ektachrome / Kodak TriX

‘Ruby’ taken from ‘Boat’ LP out 31st May on Heavenly Records.