Thursday, November 20, 2014

13th Floor Elevators - Live Evolution Lost (2014) review

13th Floor Elevators "Live Evolution Lost" (International Artists / Charly 3 LP box)

Let's talk about the presentation first as it's not every day that such a lavish box of colourfully presented psychedelic and mystic grooviness makes itself physically known. The cover itself is like one of these magnetic tape reel boxes as used by recording studios, and here they've stuffed it full of goodness: a giant reproduction poster of the Houston Music Theater gig from whence the actual audio tracks on the grooves originate, a cool photo and memorabilia-packed book with yet another essay lovingly put together by ace chronicler Paul Drummond, and a tasty trio of individually wrapped coloured vinyl records: pressed up in red, green and blue.
Actually, however , there are only five sides of music come to think of it as the sixth side - on the red vinyl - is like an etched out affair embossed with one of the images from the poster; the hand with captions etc... Some, or most of these sounds are already known to many long-term fans of the Elevators; a few were also included on the super-surreal "Sign Of The Three-Eyed Men" CD, and later vinyl, box sets. The actual concert itself took place on 18th February 1967 and would mark the end of an era for the original Elevators line up of John Ike Walton, drums, Bennie Thurman, bass, Tommy Hall, electric jug and backing vocals, Stacy Sutherland, lead guitar and Roky Erickson, rhythm guitar and lead vocals. On this particular occasion too they were also joined by the Conqueroo - and, collectively, are the owners of some pretty long jam-outs that are peppered throughout. These in particular are not gonna be everyone's cup of tea that's for sure but, regardless, I'd still say that most of the selections are - at least some of the time anyway - shot thru' with enough of that spunky spirit and loose hypno-groove wail the Elevators so expertly captured, so as to save them from being all too plain, or from being more in sync with some of that later in the decade blues rock droning which, unless sourced from origins of a more inspirational seam, can result in total dullardsville. Although, and it has to be said, not everything here equates to A1 prime Elevators class, for example Dylan's 'Baby Blue', a delicious, stunningly worked-up interpretation when it appeared later on "Easter Everywhere" is, unfortunately, here reduced (almost) to a mere competent instrumental version they've called 'Jam # 4: (It's All Over Now) Baby Blue Jam'. The sound of a flute, organ and at least two guitars completely jar somewhat and also appear to be slightly out of tune with each other which, in itself, might not be that big a deal but nonetheless but here it's enough to cause me to wince at least twice, or even thrice. Here and there, however, Stacy and others can be heard shining thru', although it was apparently on this gig that Sutherland, flying high on 1000 mics of LSD, flipped out mid-gig in an angels versus demons mind-battle that at one point turned the audience into a bunch of evil wolves ... so it's a wonder that he could still play in any coherent manner at all given that state of mind.
Moreover, the likes of 'Roller Coaster', 'Kingdom Of Heaven' and 'Reverberation (Doubt)' are all superfine, high class renderings with all the band members playing really well, and seeming to be totally focused on the music and right there in the zone. Same can almost be said for 'Levitation' and 'She Lives In A Time Of Her Own' despite one or two passages in the former where it seems that Roky has temporarily lost the place but, thankfully, he gets it back together and, on the latter where the vocals are all too sparse, yet group hardly falters at all. Similarly, 'Don't Fall Down' would probably fit into this compartment too.

All in all then, this rates as a pretty splendid package even if it does pit such visually alluring qualities as offered by the box and it's contents against the aural presentation of what, in reality, isn't one their absolute best shows. Those shortcomings aside, however, this is still a thoroughly exciting, tremendously appealing documentation; a precious, if imperfect snapshot of one of this incredible group's most legendary performances from that all-too brief time toward the end of the original incarnation. For this alone we should be thankful such a thing even exists, and for it then to be brought to us in such a fabulous deluxe way as this we can only offer our praise to the designers, producers and manufacturers and say amen!

Review made by Lenny Helsing/2014
© Copyright

Wednesday, November 19, 2014

Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, Faces . . . by Glyn Johns (2014) review

Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, Faces . . . by Glyn Johns (Blue Rider Press, 2014)

               I see this book as being part of a family of titles about and/or by key figures of 1960s and ‘70s pop and rock, who were not official members of any of the groundbreaking acts. So I’m thinking about Jac Holzman’s book about his Elektra label, Julian Dawson’s biography of Nicky Hopkins, Tony Visconti’s autobiography, Robert Greenfield’s bio of Ahmet Ertegun, etc.  Put in that context, Johns’s autobiography neither soars above nor lingers behind the others in terms of writing quality and level of potential interest to readers; it’s right in the middle of the pack.
               Johns’s place as a significant person in the world of what we now call classic rock, is unquestionable. As an engineer/producer he has to be seen at the very highest tier in the realm of ‘60s and ‘70s studio craftsmen. The fact that he twiddled knobs on albums made by The Rolling Stones, Beatles, and Led Zeppelin alone grants him such credibility. But that’s just the beginning of his formidable work. To read through the book’s selected discography of albums he worked on, is to be astounded by just how many seminal records there are on which Johns had his able hands.
               There’s nothing extraordinary about Johns’s writing in the book, but then it flows easily enough and comes across in a conversational tone that makes it a fluid read. His tone throughout is muted, such that one person might find his style tactfully understated while another could say it’s flat and boring. There’s no question the book could have used some more pep; but then the people, music, and circumstances Johns writes about are heady enough so that the anecdotes themselves carry enough weight to keep the book interesting even when all the episodes are revealed in such a subdued manner.
               In sum, I’ve read much more engaging books on pop and rock history, but then I’ve suffered through others that were far worse. Johns’s work in the studio is noteworthy to the point where his tales of record-making with all the various acts will be of interest to anyone who cares about this music, even if the book could have been written in a more lively way.

Review made by Brian Greene/2014
© Copyright

Monday, November 17, 2014

Native North America Volume 1: Aboriginal Folk, Rock, and Country 1966-85 (2014) review

Native North America Volume 1: "Aboriginal Folk, Rock, and Country 1966-85" (Light in the Attic, 2014)

This is a revelation. A collection of two decades of music made within the aboriginal scene across Canada and the northern United States, all of it extremely rare. I’ll write about the music in the next segment but the booklet deserves an overview of its own. It’s 60 pages and includes a brief biography of each artist represented, so that we got a mini history of this entire grassroots movement as we read the personal stories and musical histories of the acts. Also in the booklet are a wealth of band photos, and song lyrics.
As for the music, of the 34 tracks some of the songs are more interesting than good but all of them are at least interesting and some are of extraordinary quality. The most predominant style is a blend of outsider folk and country rock, but there’s a wide range of approaches including some soft rock, Nuggets-y garage, an odd type of surf sound, some tribal feels, and others. Lyrically there’s a lot of storytelling and a good amount of protest sentiment, as the artists tell the tales of and stand up for their people.  The music is as cosmic as it is topical. As I listen along I’m put in mind of other artists ranging from Link Wray to Neil Young and Crazy Horse.
For me personally, getting introduced to this music is on a par with the experience of picking up my first Tropicalia compilation and starting to learn about the songs and people behind that movement.  Part of me wishes the label would have contained the tracks to the very best selections, in which case we’d have one CD or a double-LP of consistently outstanding songs; but another other part knows that with so much of this music in existence and so much of it previously unknown by most of us, the compilation needed to be of this length.

Review made by Brian Greene/2014
© Copyright

Tatiana Kartomten interview

If you’re into Ty Segall than you’ve likely noticed the eye exploding awesomeness that graced the covers of the Ty Segall Band’s Slaughterhouse and Fuzz’s self-titled albums, what you might not know is that they’re done by the same person.  Tatiana Kartomten has been making some serious waves in the rock art community lately, devastating the competition with some of the sickest covers I’ve ever seen in my life!  The new Chad And The Meatbodies album cover is just ridiculous.  Kartomten seems to be able to channel the OCD nature of hallucinogenic psychedelia onto the page like few other people on the planet.  Her lysergic symmetry and frantic eye for detail both define her style, drawing your eye into ever tightening spirals until your standing smack-dead against the picture in a stunned stupor.  Kartomten’s also somewhat of an anomaly.  In an industry overrun vying for attention, Kartomten seemingly just sauntered into her current position, providing covers for some of the heaviest hitters in the independent scene out there right now.  If you haven’t checked out her stuff before, you’re in for a real treat.  This is unarguably psychedelic artwork, and I don’t know how often you really get to say that.  The twisted demonic, monkey like figure that graces the eye-sizzling Fuzz cover is as perfect an image conjured from the depths of the human mind as I’ve ever seen in a museum or fine art exhibit.  Kartomten’ imagery and use of color, or lack thereof depending, are both hypnotizing and intoxicating leaving the viewer in a disarmed state of euphoria, a little more open to the strange experiences they might be confronted with throughout the day.  I’m not going to get into trying to draw a lot of parallels or waste a lot of time talking about her stuff, I’ll let the following images speak for themselves.  Just keep in mind that I’ve included plenty of links in case you feel the overwhelming urge to pick up prints at anytime reading this and remember what Kuato says, “Open your mind!  Open your mind!!  Open your mind!!!”
Look at some pretty pictures: 
instagram @taticompton for recent images

How old are you and where are you originally from?

I’m twenty six, from the Bay Area.

What was the local music scene like where you grew up?  Did you see a lot of shows or get very involved?  Do you feel like it played a large or pivotal role in getting you interested in or working in the graphic design/illustration fields?

I don’t really know, I was a loner and just listened to CDs on repeat.  I only started going to shows that I enjoyed after high school.

What about your home when you were a child?  Were either of your parents or any of your close relatives artists or musicians or just extremely interested in art/music?

My dad introduced me to some of my favorite musical artists when I was a kid: Leonard Cohen, Nick Drake, and Black Sabbath.  He has amazing drawings he did when he was young and is a great guitar player and a very creative person.  My mom was a makeup artist.

What do you consider your first real exposure to art to be?

Travelling through Europe on trains when I was a kid with my dad.

How did you originally get into art?  Was there a moment, or maybe a particular image that you saw, where you thought, “Yeah I can do that; in fact, I’m going to do that”?

I’ve always drawn and created things since I was little, I don’t think of art as a separate entity from us.  I draw so I don’t crazy.

Can you tell us about some of your major artistic influences?  I’ve seen articles where you cited R. Crumb who’s obviously an extremely influential artist that people are finally catching on to all these years later.  How big of a role does his work play in your art and who are some of the other major influences?

Music has always had the biggest influence on me.  I admire Robert Crumb because he’s always been doing his thing-always had his style/, like he’s just doing it for himself and would always be doing it, no matter if people liked it or not.  To be honest I don’t really have influences that I can point out, because if they have influenced me, it’s become something personal and in turn their role is lost because it becomes my role.  Like I said though, just listening to music has huge influences on me, same with mushrooms and marijuana.

Do psychoactive or hallucinogenic drugs play a large or important role in the conception or creation processes for your art?  I don’t mean this in a negative respect at all, people have been tapping into the altered states that drugs create for the purposes of creating art for thousand of years and it’s intrinsically linked to certain types of art, psychedelic music and imagery being the major ones, and I’m always curious about their usage and application when it comes to the art that I personally enjoy and consume?

They play a large part in my perception, which in turn affects what I create.  I don’t take them to tap into states for creating art.  I take them to tap into the inner and outer life force.

When did you decide that you were actually going to start working in the graphic design/Lowbrow medium and what brought that decision about for you?

I never did decide.

What was your first professional job in the rock art or ”Lowbrow” medium?  Was that a fun thing for you, or was it more of a difficult nerve wracking proposition for you at that point?

It was when Ty asked me to do the Slaughterhouse cover, it was super fun and I was very flattered.

Are you self-taught, or do you have a formal education in art?

Self-taught, mostly through traveling.  I was a misfit in school, couldn’t wait to get away.

Do you do a lot of preliminary layouts and thumbnails, or do you just get an idea in your head and then try to get it down on paper as quickly as you can to preserve the integrity of that image’s translation brain to page?

I guess it depends on what I’m doing, but usually there’s a lot of sketching going on beforehand, unless I get lucky.  

What mediums do you prefer when you’re doing your illustrations?  Are you a pen and pencil type of person or do you employ anything else when you’re doing your layouts and stuff?  I was reading a piece about some of your work a while back and you were talking about using a type of colored pencil that evades me right now.  A lot of people do their colors on the computer these days which I would assume cuts down on the time involved quite a bit.  How much is a computer involved, or not involved for that matter, for your work?

The computer only gets involved when I scan in it and the colors may get fiddled with on the other end, but I keep it pretty simple, I don’t even own a ruler.  I just use a pencil and .005 micron pen, maybe some pound store paints.

Can you walk us through the typical creation process for a piece of art?  Are there any specials tricks that you use to conjure images up or anything like that?  How long does it usually take for you to do a full color piece?

Takes a long time.  I usually do a sketch until I get everything in that needs to be, let it sit, come back to it until I’m confident, or indifferent, enough to put ink on it and then it’s just a matter of putting in the time.  The images are just in my brain, but they usually come from feeling feelings.

I hear the term Lowbrow Art attached to the illustrative and graphic design fields that happen to operate inside the confines of the music industry or display certain types of imagery but I don’t necessarily agree with or appreciate the idea that term can conjure to mind.  How do you feel about the term and how would you label or describe the type of art that you make?

I’ve never heard that term to be honest.  It’s all just linguistic semantics to me, which I find boring.  Labeling stuff is boring too, it’s much more fun to do something and not care what it’s called or who calls what, what.  I don’t even like the term art.  In the art world, or music world, or fashion world people do a lot of talking, labeling and putting things in boxes, it’s not for me.  I like worlds where words don’t mean much, easy action.

As well as your Lowbrow art I know you also make what I would consider to be fine art prints as well.  Do you do a lot of outsider/psychedelic art or do you just kind of work on that kind of stuff between commissions and paying jobs?  Actually, do you even accept commissions?  I know that both the Slaughterhouse and Fuzz album covers kind of came out of nowhere for you and you hadn’t done a lot of work in the industry before that and I don’t know how involved you are in the graphic design/illustration fields or if you just work with bands that you feel like you want to at this point? 

Dunno, I just do stuff for my friends.  I’ve done, and do, commissions.  I’m pretty indifferent towards it, if you wanna get in touch, get in touch.  Obviously, I love my friends so it’s different.

If you do accept commissions, what’s the best way for interested parties to get in touch with you?

You’ve done two covers for Ty Segall’s bands in the past, Slaughterhouse and Fuzz, and I know that you did the mind bending cover art for the upcoming Chad And The Meatbodies LP on In The Red Records.  It just so happens that I think that The Ty Segall Band and Fuzz are like Ty on steroids and those albums have been on non-stop rotation since their release at my home.  Who are some of your personal favorite bands that you’ve had a chance to work with so far?

Fuzz rules, and Culture Kids too.  I would love to do something for Sleep.

Do you have a lot of work lined up?  I love your stuff and I’m always stoked to see it, so I’m curious to hear what all you have lined up in those regards.

I’m doing tattoos now and working on embroidery pieces and I’ll always be drawing.

Where’s the best place for interested readers to pick up copies of your stuff?  I know you’ve got an Etsy page and I’ve looked through your Facebook page as well but with shipping rates the way they are I try and provide our readers with as many possible options for picking stuff up as I can!  I know I’d already have several of your pieces hanging in the living room if it wasn’t so crazy in fact…

Yea Etsy’s the best unless you live in London.

Are there any major plans or goals that you’re looking to accomplish in the last of 2014 or 2015?

Find somewhere to live more in nature and hang out with more animals.

Thank you so much for taking the time to talk to me about your artwork.  I’ve been absolutely entranced with your stuff ever since I saw the cover to Slaughterhouse.  There’s this incredible usage of negative space and colors that I thought it was done on scratchboard at first!  I’m really stoked to see what you do in the future as you continue to evolve as an artist and I’d like to open the floor up to you for a moment here.  Is there anything that I could have possibly missed or that you might just want to take this opportunity to talk to me or the readers about at this point?

Long Live Psychedelics!!!

Interview made by Roman Rathert/2014
© Copyright

Sunday, November 16, 2014

Cobracalia - Cobracalia (2014) review

Cobracalia “Cobracalia” (SlowBurn Records, 2014)

Born from the ashes of Arizona’s legendary freak folk psychedelicists Black Sun Ensemble, Cobracalia (named after a track from BSE’s debut album) reunites several BSE members with friends and extended family musicians for this debut. Moving beyond the ruminative, navel-gazing instrumentals BSE was famous for (although the atmospheric, keyboard-driven ‘Total Internal Reflection’ and ‘Lotus’ are here to remind us), Cobracalia is into a more percussive-heavy, drum-circle vibe (half the eight musicians are credited with various forms of percussion, including dumbek, congas, djembe, zills, and various acoustic and electronic percussives courtesy multi-instrumentalist Scott Kerr).
               BSE’s Eastern-leaning sensibilities are still felt in opener ‘Dandyloin’, which sounds like something you might hear filling the air at a Moroccan souk, while the swirling, Middle Eastern-flavoured ‘Arabic Satori’ reworks the BSE classic, originally released on Starlight (Camera Obscura, 2003). Dance (particularly belly dancing) is a key component of much of Cobracalia’s musical palette, with Fonda Insley’s belly dancing ensemble often accompanying live performances, so you certainly won’t be shortchanged when it comes to the tribal, almost hallucinatory rhythmic pulse that permeates the album. And Eric Johnson (not the Texas guitarist) and Michael Henderson add the occasional inflammatory guitar workouts to keep Cobracalia’s toes in the more traditional Western rock idiom.
               Elsewhere, we have flautist Joe Furno’s funky, butt-shaking ‘Wrong Again’ (one of the album’s few vocal tracks), Jillian LaCroix-Martin’s sinewy violin serpentining through ‘Queen of The Night’ and the transcendental closer ‘Gas Giant’, and Eric Johnson’s ‘Tijuana Mama’, a fitting and lovingly-executed tribute to BSE’s late leader/guitarist Jesus Acedo, who died last March. Johnson captures Acedo’s fluid guitar lines (worthy of a Santana or Satriani) without falling into copycat, fan boy adoration. A fitting tribute to, and expansion of the exotic, dreamy, other-worldly musical soundscapes engineered by Black Sun Ensemble, Cobracalia [the band] is an exciting project in its own right and Cobracalia [the album] is certainly worthy of your attention, earning a respectable position next to your BSE albums in your personal psychedelic music library.

Review made by Jeff Penczak/2014
© Copyright

Friday, November 14, 2014

The Flight Reaction - The Flight Reaction (2014) review & interview

The Flight Reaction "The Flight Reaction" (13 O’Clock Records, 2014)

Not only is this debut long-player a rather magnificent achievement by one of the best groups that Sweden has produced in a very long time, it's also groovier, heavier and altogether more mystical and psychedelic sounding (in that teenage rock'n'roll way) from start to finish than almost anything else you'll have heard anywhere in this here modern world. From the point of view of discerning garage hounds and learned psych heads out there I know that's a somewhat loaded statement, but in my humble opinion it’s also a one hundred per cent truism. Of course with a lineage that stretches through names such as the Maggots, the Guiljoteens and all the way back to the Wylde Mammoths and Crimson Shadows, not forgetting guitarist / vocalist Måns Månsson's deeply-abiding passion for stellar-sounding 45s and 33s from the golden age, it’s obvious there has to be something special cooking in the pot, but this honestly goes way beyond, and certainly where my expectations were concerned anyway.
What the brain hears as this set is spinning away is a deeply refreshing, thoroughly captivating aural treat that all sharp-eared sonic soundheads out there are gonna love, especially so since The Flight Reaction have taken the time and prepared well and have utilised the recording studio facilities to their utmost advantage in which they’ve been truly inspired to create a tremendous display of seriously psychedelic sounds, the results being that those who dig for their envelope to be pushed and pulled will be thusly rewarded, and will therefore find much here to laud and praise, and to get genuinely excited about. Accordingly, this will hopefully transfer into wanting to share that profound experience with others.
Opening the first side is the strident, alluringly tripped-out acid-punk scorcher 'Falling Through Color' in which we are warmly welcomed into the party and given a potent taste of what’s to come. Each subsequent number then takes the listener further into a world where the language consists of a volley of lysergic lyrical reflections which are audibly enhanced by a diffuse array of instruments, many of which are brought forth into view via a series of jagged shapes, and shards and fragments of brittle jangle (‘Take Your Time’) and / or trebly bursts of ear-piercing fuzz (the storming ‘Running Out Of Mind’, a song with the all-out potential to be an amazing universally-got single smash), both are powerful ultra-sonic blasts that can remain whirling around inside the recipient’s mind long after they’ve entered in. Elsewhere the contrasting aura is one of sweet calm, with altogether more soothing tones rising to the fore; one of the strangest, yet ultimately strongest emanations of this particular persuasion is the beautiful ‘Love Will See Us Through’ which rings out its cross-fertilisation of original 1967 UK and US flower-psych scenes with absolute aplomb, sitar further reinforcing the a la mode eastern-style flourish and comes resplendent with full-blown kisses to the sky atmospherics.
Much ebb and flow is to be found throughout as each groove slides and bubbles, tracing and trailing like The Pink Floyd's UfO light-show spectacle before exploding in a joyous welter of sing-a-long choruses, intriguingly hollow-sounding drum rattles, the rumbling static of bass buzz, treated vocals; everything bursting forth into vibrant colour as hitherto unknown vistas break unexpectedly into a kaleidoscopic haze that serves as your field of aural vision. Yeah, sometimes it's just like that! Believe me! There’s also that gloriously captured moment of an altogether superior interpretation of their earlier single ‘Mourning Light’ - also issued on Texas label 13 O'clock Records which, in a way, is the perfect announcement of that post-peak calming glow and the beginning of the long slow descent towards ... morning … and the stark realisation that, already, another day has begun.
This, I feel, is a record which can, and will, easily stand the test of time and, in fact, will doubtless be recalled in the years and decades to come by newer generations of psychedelic music lovers as one of the very best, and most highly authenticated statements of this nature since the days when The Chocolate Watch Band, Electric Prunes, West Coast Pop Art Experimental Band, The 13th Floor Elevators, The Seeds, and The Golden Dawn… all released their cache of lysergia-dominated wonderment upon the world! It's really quite an astonishing trip all told, one that appreciators of this type of mind expanding music really ought to hear. Are you listening? So if you can, or if you know someone who should, then my only advice is to acquire a copy of this album right now while it's still young, fresh, clean and pure and hear what all the fuss is about. Albums like this one don't happen by all that often so don't pass up an opportunity to hear The Flight Reaction’s thrill-ride debut opus if you know what's good for you.

Interview with Mans Mansson of Sweden’s happening garage psychedelic group The Flight Reaction 

So can you tell me a little about how the actual formation of The Flight Reaction came about?

After The Giljoteens and The Maggots split up we decided to form a new band with the intention to play whatever we want and that is moody and psychedelic garage punkadelia with lots of emphasis on melody, and whatever happens in that direction. We rehearsed without a bass player for a while before meeting Aron, who then played guitar in a band called Les Artyfacts (playing "french" beat/mod psych/freakbeat). He never played bass before but to us the attitude, looks and the taste in music is more important and the step from guitar to bass isn't very long.

The sound that the group has had since your first 7" releases on Copas Disques two or three years back has already hinted at a more psychedelic, as opposed to garage beat feel it's true, but here (on the group's debut self-titled longplayer) and while still not losing sight of the garage side of things, you have truly embraced a wholly vintage style psychedelic feel to many of the selections would you agree?

Absolutely! It's an album and had to be thought out as an album, rather than just a buncha songs slapped together like a 'garage comp'. Flow, dynamics and all the stuff you don't need to think about as much when recording singles. We wanted to record something that has a similar vibe as the classic psych albums... 1 + 1 = 3 and all that... When I record a single I'm happy with eight - twelve channels but here we had something like fifty(!!!) channels in some of the most extreme songs (a lot of it doubled and tripled choirs, instruments and so on of course) all mixed in mono of course. A total mess, but deliberate. We like working with recordings where we have to "fix things" and so on. Too perfect isn't any fun on our planet. Fucked up is fun.

How does the initial songwriting pattern emerge for you guys, is it a case of one person does the lyrics on his own and one does the music, or is it perhaps an equal collaborative exercise between you all as suggested by the sleeve credits ... or is each composition very different in scope and origin as to render any such patterns non-applicable? Please discuss!

It differs... Usually someone in the band has a more or less rough idea that we play around with til we have something resembling a song/arrangement. The melody is always intertwined with the music but the actual words may come later. It's mostly I and Sebastian who come up with songs but Aron is on the rise as well. He contributed the last song (Your Smile) to the album and has a coupla new ones we're working on. I wouldn't say it's as equal as the sleeve credits suggest, but then again NO song comes totally finished, so there is definitely contributions from everyone. I don't know how to play drums for instance, so I can't tell Mats how he should do it.

Tell me about the songs 'Love Will See Us Through', and 'Eight Hours Ago', where the inspiration comes from and what they mean to you to have created such thought-provoking pieces?

'Love Will See Us Through'... I don't really know actually... a LOT was going through my mind when writing it... or writing... I don't know. It just came to me. I wanted to write a song with just one chord through the verses and suddenly I was playing it with the melody there. I really wanted to roll the acid Pretty Things, Stones and Elevators into one with it. I have no idea how much sense that makes. Lyrically it's about going through the hardships of life together with the one you love and realizing what a journey it is. It may also be about the higher state that love has the ability to take us to. How it may open our eyes to the wonders of the world beyond the facade that makes up society.

'Eight Hours Ago'... well, eight hours is the approximate time it takes to go through an acid trip. It may of course linger on a bit longer than that but the eventual life changing experience will happen within that time span. The lyrics are, more or less, a series of philosophical "questions" without any judgement or such... Like all psychedelia it touches the way we percieve "reality" through a filter... and how to try and go beyond that and see the world for what it really is, without any attached "morals" or "norms" or "ideas". Does it matter if you're mad or if you're sane? Who decides which is what? Who's rules should one live by? What is "sane"? Etc ad infinitum. Or maybe it's just a buncha silly words. Who knows?

Were there particular groups or records you guys were listening to prior to the birthing of this LP project. I hear the likes of The Golden Dawn and other Texas 60s groups too such as The Remaining Few and a few more obvious names... while certain garage groups with an adventurous ear are also sometimes brought to mind in a lot of these sounds? But I'd like to hear from you what names are special to The Flight Reaction?

I had a lot of SF Sorrow in my head... not really the song structures or anything like that, but the idea of the record. I mean we haven't made a concept album like Sorrow or another huge fave in the genre, Mandrake Memorial - Puzzle... but there's the idea of just not giving a f**k if you can play the songs live or not and just go mad with instruments, overdubs etc. Wreckless studio psych! The Elevators are always there as well... but we've never tried to sound like them simply because it's impossible. The influence is more on a philosophical and ideological level... and we don't try to sound like anyone else at all really. Stones - Satanic is also a big influence (as you may already have guessed from our cover of 'Citadel') It was my fave LP when I was a kid and it still brings joy to my life. Mad and hedonistic... the love for Tages runs deep as well... which makes me think of The Deep... Beacon Street Union are popular in our band, and The Freeborne did a splendid LP where they just let everything go. Of course the Electric Prunes - Underground... When it comes down to more "unknown" or "unsuccessful" bands that's an inspiration... The Mystic Tide... Lemon Fog... The Dovers ...some Swedish psych like The Outsiders, The Shakers, The Bootwigs... well just a LOT of great music. You know... it's more about "sound" than actual bands who only released a coupla 45's.  

What can you see as the hope both for you, and for The Flight Reaction as a whole, for the journey and success of this, your first LP record?

I don't know. Ride the wave and realize that nothing lasts.

Are you happy that it's on the Texas-based 13 O'Clock label and being on such a small independent do you think it can get across to the many who (I think personally) should really try to go out of their way to hear this? What are the advantages of being with 13 O'Clock?

Yay! Happy! Brian is a great guy and he works hard with the label. The first pressing of the album is sold out already... so a second press is in the pipeline now, not even a month after the first was out. We don't know about how to make people hear music or not... We just made an album that we really wanted to make. We had no thoughts beyond that and we've been happily surprised by the positive reactions. Brian didn't even have distro in Europe when we set out to record it.

It looks like that quite a lot of people are buying it. Also - and this is important stuff haha! - Brian / 13 O'Clock shares the obsession to details... sleeve, printing, label designs, extra inserts etc... 13 O'Clock releases look cleaner and more "sixties" than many others. Of course it's also a beautiful thing to release our stuff on an Austin label.

The extra-curricular sounds we hear and overall spacey (but not progressive rock) atmosphere throughout gives the whole thing a truly individual and inspirational air ... Without giving away all your secrets how did the group go about capturing some of this mysterious aura. And how much of it was down to such as the extra players, engineer Stefan Brandstorm and locations such as Longbridge State Hospital, Dustward Studios and The Living Room? Also can you elaborate as to what these names are: are they just that, or are they already established recording facilities? Or perhaps they are your own rehearsal space / garage / studio that you've put a name to. I'm curious here that's all?

Taking the inspiration from the Elevators and record/mix everything more or less backwards and upside down haha."Too much" bleeding and leakage between channels to create unexpected background sounds in "the room"... do "too much" of everything... Like all backing vocals are doubled and tripled, the mellotron is on three channels - sometimes it's just one and sometimes all three. We did NOT try to record "exactly like in the sixties" at all though... Just like no one recorded "exactly like in the sixties" back in the sixties either. They threw themselves over every new opportunity, every new technical advance, new effects etc. What we love in most psychedelia/freakbeat etc is the freedom in the sounds and the experimentation and the absence of rules! We tried to work like that. It's the end result that counts. Mastering is also really important and that was made at an old studio where there are great old compressors etc. Extra players contributed a lot to the whole. They all played stuff that we came up with, more or less, but it's still other unique musical voices in the songs and it adds extra dimensions. We deliberately had more guest musicians than there are members of the group. Now we may have to bring in someone more into the band when we play live! 

The facilities: Longbridge State Hospital is where we rehearse. It's a big bad room with stone walls, perfect for recording our music. It's located in the basement of an old mental hospital and the building is stunning. Hermann Goring was an  intern there in the 20's cause of his morphine addiction and generally being completely insane, which was of course proven beyond doubt and reason a few years later... If the walls could speak... they'd probably babble a buncha mad gibberish! Dustward is an established studio. We recorded backing tracks, keyboards, some vocals at a coupla facilities and then we transferred it all in the studio and did overdubs and mixing there. Stefan is great. A good ear for details, a studio full of incredible equipment (one of George Harrison's Vox amps, used on Revolver, is standing there for example. Being used!) and generally a great guy with a knack for experimentation and going outside the box. The Living Room is where I live. "The livingroom... the living... room... ?"

There's also a wealth of fascinating guitar sounds emanating from Sebastian Braun and yourself Mans, they can range in tone from delicately crisp porcelain jangle and nervorama tremelo, and on to wicked bursts of brain-frying needle-thin fuzz attack. What guitars and amps and effects units do you guys favour? And how did Mats Bigrell achieve that real understated, almost muted at times, drum kit sound; highly unusual and never found on any modern group's recordings. I love this sound!

We really wanna use the guitars to make all these different sounds. It's just such an orchestral instrument! All that stuff you can do with it! You can find all the colors of the rainbow in an electric guitar and then some. I play a '62 Fender Jazzmaster thru a '65 Fender DeLuxe amp. For me it doesn't get better than that. For a coupla things(feedback lead in Eight Hours most prominently) I've used my semi acoustic Gretsch and as much fuzz as I could handle. I have a '66 Tonebender that I always use for recording, but Stefan also has a few great fuzz boxes at the Dustward studio... and we also used a Vox guitar with built in fuzz/tremolo for a coupla solos + effects. I also really like my old Electro-Harmonix Small Stone phase shifter... it's from the early 70's and one of the most extreme effects units ever built. There are tape delays and so on everywhere as well. On the last song I play through an old Fender Leslie cabinet. Sebastian is playing a Guild semi acoustic through an old Fender Twin that's been remodeled from 100W to 50W (100W is ridiculous) and he's using an old Colorsound fuzz and liberal splashes of delay echo. The drum sound! Hehe it's a result of a mistake or two... the recording levels were a bit low on the drums so there's been quite a lot of work with that. But the messy recording is also a deliberate strategy. The biggest influence on how to record is of course the way The Elevators did it. LOTS of bleeding between channels... all backing tracks recorded live in the same room. The drums 'sing' together with bass and guitars, making the sound more alive and integrated and all together may even create a 'third sound'!

Mats also has a unique and cool swinging playing style that I've never really heard from anyone else (these days) probably because the garage/beat style is in his core. The drum kit is a 1960 Gretsch, which of course also matters. The old jazz kits are so damn loud and reverberating in themselves. They were built before "mic'ing up" so they were supposed to be loud instead of muted, like new drum kits are. 

If anyone wants to know how to make a bass sound good (if you don't already know it): use flat wound strings.

A while before the album came out we were already fortunate enough to hear the likes of the glorious 'Mourning Light' that you put out as a single, but with so many other tracks with great potential - obvious titles include both side openers, and, incidentally, both sheer tearaway acid-punkers 'Falling Through Color' and 'Running Out Of Mind', will we see more of these turning up on 7" or will you now turn your minds to the writing of new material?

I'd say new material is the focus. We thought it was cool to re-record ‘Mourning Light’ for the album in a slightly different way than the more 'garagey' single version. We all dig different mixes/versions of songs, but it won't turn into a habit.

Review & interview made by Lenny Helsing/2014
© Copyright

Charles Degeyter interview

Sometimes you just see something and are instantly hooked, that was the case when I saw Charles Degeyter’s designs for his Desertfest 2014 poster.  There’s something about his work that’s otherworldly, hyper-detailed and ultra-textured, yet not cartoony or utilizing over the top colors like so many Lowbrow artists rely on to catch your eyes these days.  Dealing mostly with nature and the themes and designs therein, there’s something about Degeyter’s work that feels like he’s harnessing the power and majesty of nature itself and channeling it directly into hand drawn, designed and screen printed posters to provide concert goers with a one-of-a-kind memento of the evening in a tightly capped cardboard tube.  With designs popping up all over the place on my radar and evocative images never ceasing to snag my attention, I knew that Degeyter was going to be the next artist I talked to, all I had to do was wait for him to finish up his amazing Desertfest posters…  Now that the storm has blown over and Desertfest has come and gone, Charles has thankfully taken time to talk with us lucky folks about his background, history, and evolution as an artist as well as giving us a glimpse behind the curtain and discussing his creative as well as printing processes.  You seriously have to read on, I almost didn’t believe him when he told me how old he was, and considering the people that he’s already worked with in the short time he’s been working in the industry, I would say that Degeyter’s got one hell of a bright future in front of him.  So, relax, kick back with a cup of coffee, and take in some eye candy, ‘cause things are about to get psychedelic baby!

Look at some pretty pictures:   

Now, just for the record, how old are you and where are you originally from?  I have to admit I almost didn’t believe you when you originally told me how old you were!

Most people are surprised when I tell them my age.  I’ll just blame it on the beard, ha-ha!  I’m nineteen years old and from Bruges, a very old, medieval and beautiful city in Belgium where I still live today.

What was the local music scene like where you grew up?  Did you see a lot of shows or get very involved in that scene, or anything?  Do you feel like that scene played a large or pivotal role in your exposure to or interest in working in the rock art or ‘Lowbrow’ graphic design and illustration field?

If you were to ask me this question in ten to twenty years, I’d reply that it’s all relative to the phase I’m in at the moment, you see?  I’m still growing up!  So, I’ll answer this question in the present time.  It would be a little bit weird to talk about growing up and getting into the “music scene’ when I only started getting into the “music scene” two or three years ago.  To be honest, there isn’t that much of a local music scene here in Bruges.  There’re some cool local bands that I support and a cool local radio show with all psychedelic/stoner/70’s rock, but those are just a handful of people; very good friends though.  You’ll find more of a music scene in other big cities in Belgium.  They have cool small venues such as The Pit’s in Kortrijk and Magasin4 in Brussels.  I’m trying to discover as much local bands as possible though, I like to support young blood like myself, but Heartbreaktunes, the booking promoter I do a lot of posters for, organize a lot of great shows all over Belgium.  Shows like Radio Moscow, Elder, John Garcia, Dead Meadow; the more established psychedelic/stoner bands.  So, I try to check out as many concerts as I’m able to!

What about your home when you were growing up?  Were either your parents or any of your close relatives artists or musicians or maybe just extremely interested in either of those things?

A lot of my family is very artistic in some kind of way or another.  Both of my grandfathers, my dad, my uncle and a nephew are architects, so creativity is kind of a family thing.  My brother is a musician and graphic designer/illustrator, and my mom’s very interested in art.  I learned a lot from them.  Especially very fundamental things, such as color use, proportion, perception of beauty…  All those things come kind of naturally to me, while to most people, they do not.  My parents have a good eye for aesthetics and art.  I love having conversations about certain artists, or going to exhibitions with them.  I’m very grateful for the education they gave me when it comes to art and design!

What do you consider your first real exposure to art?

Nature.  Nature and biology have interested me since I was a little kid.  To me, there’s nothing more beautiful than trees, frogs, creepy crawlers, etcetera.  Nature is pure art.  My very first drawings were images of jellyfish!  I’ve loved nature documentaries since I was a little kiddo, and I still love them today, especially the BBC documentaries with David Attenborough!  Art moves people with beauty, and I think nature was one of the first things to really do that to me. That’s also why I incorporate a lot of natural elements in my posters.  But my first real exposure to art must’ve been my mom taking me to exhibitions of Miro and Matisse and such when I was around seven or eight.  I wasn’t a big fan of art exhibitions at that time.  I found them a tad boring.  Now, I realize how important this was to me and what a big influence it had on me.

How did you originally get into art to begin with?  Was there a moment, or maybe a moment where you saw an image and thought to yourself, “Yeah, I can do that” and just went from there?  Or is your ‘Lowbrow’ work more of just a logical extension of a natural need to express yourself and create things whenever you have that opportunity?

I don’t believe anyone gets into “art” from one day to the next, and if they do they must be very shitty at it, ha-ha.  For me, it started when I did my first jellyfish drawing when I was a little kid and I’m still continuing today.  It’s had its ups and downs, but I’m glad I finally found a specific direction that I love and that satisfies me, but above all, motivates me to draw more.  It’s like you said, “a natural need to express myself” and a motivation to get better and better at it.  I believe posters are the ideal medium.  I get a lot of freedom working on them, but it’s always a challenge to integrate a band’s atmosphere or other certain aspects into it.  That’s what I like about it.  The only fundamental thing that’s changed since my first drawings are the techniques and mediums I use.  I really got into screen printing ‘cause I collected prints from shows I went to.  After a while, I thought to myself, ‘Screen printed posters are so fucking sick!  I want to learn how to make my own prints”.  So, I gave it a go.

Can you tell us about who some the major artistic influences on your work are?  I know you’re also involved in designing skateboards, and as a kid that grew up in the 80’s I know how large a role that skate imagery and board art played in my life and I was curious to hear how influenced you were by that kind of thing?  Most of the people that I talk to who are into psychedelic imagery levitate to a large extent to guys like Ed Roth, Dirty Donnie and R. Crumb.

I didn’t really grow up with skateboarding.  I never skated myself, but some of my best friends did.  I love the atmosphere around skateboarding, seeing young skaters shred pools.  My buddy Roy Denys, a passionate skater, told me that he was starting his very own brand called Frantic Skateboards and I immediately replied I was up to designing some boards!  Skate imagery didn’t really influence my work, though.  As I mentioned before, my main artistic influence is Mother Nature.  I get a lot of inspiration from nature; life cycles, interesting animals and plants, death…  I lived in a house in the middle of a forest for years in my youth and nature was my playground.  I’m also a big fan of natural history prints, like the ones in 17th-19th century biology books.  The print I did for the band Red Fang was inspired by such drawings of blood coral.  Around the age of eight I discovered a series of early 19th century books on my Grandma’s book shelves.  They were home to some of the coolest animal drawings I have ever seen!  I was blown away by it!  Whales looking like dragons and such.  She gave them to me when I was a little it older, one of the best presents I ever got.  Of course, I’m also influenced by great poster artists such as Alan Forbes, Aaron Horkey, Emek, and poster artists from the ‘psychedelic’ music scene of the 60s and 70s such as Lee Conklin, Stanley Mouse, Rick Griffin, and Alton Kelly.  Art-nouveau’s also something I really like.  When it comes to art-nouveau posters, I’m a big fan of Mucha and Toulouse Lautrec.  I’d like to design some more posters with art-nouveau elements.

Do psychoactive or hallucinogenic drugs play a large or important role in the conception or illustration processes for your artwork?  I don’t mean that in a negative respect in the least, by the way.  People have been tapping into the mind altering mind states that drugs produce for the purposes of creating art for thousands of years and I’m simply curious about its usage and application when it comes to the art that I personally enjoy and consume.

Ha-ha, although I tried a couple of them, I don’t think it would work well in combination with drawing.  I think my concentration is at its peak when I’m working on a drawing or designing imagery for a poster.  When I’m working on a design for more than an hour straight in high concentration, you evidently get into a weird state of mind.  You lose track of everything around you except the lines you’re drawing.  It’s an ultra-focused state of mind.  I think hallucinogens might reduce my productivity, but I haven’t really tried it out while drawing, so who am I to say!?!  Maybe they’d reduce my productivity, but enhance my creativity…

When did you decide that you were actually going to make a go at working in the graphic design/illustration field and what brought that decision about for you?

Well, it’s never been my intention to make a living of the work I do.  I study industrial design, so that will definitely become my main source for making a living, but I became aware that I would never be able to fully express myself through industrial design.  At a certain moment in time, my nephew asked me to draw flyers for a small, filthy, cultish punk venue called The Pit’s.  I did a couple of those, but at that time I was also collecting some screen printed posters.  That’s why I pushed myself to make the leap to screen printed posters.  I really don’t consider designing posters and illustration as “work” though.  I love it with all my heart.  The day it becomes “work” is the day I’d probably reconsider why I’m doing it or head in a different direction.

What was your first “professional” job in the rock art/’Lowbrow’ art medium?  Was that a fun, pleasurable experience for you or more of a nerve-wracking, difficult proposition at the time?

I’ve never really had a “professional” job in the rock art medium, I don’t think.  I do some commission work sometimes, but I never do work for bands or people that I don’t feel a connection with.  I don’t really consider it a job, quite the contrary.

Are you self-taught when it comes to art or do you have any sort of formal education or background in the subject?

I think my main education, or background, in art comes from the environment I grew up in.  My artistic family definitely reflected their passion for art onto me.  But as for technique, I’m mostly self-taught.  I never took art lessons or anything like that, I learn a lot from looking at other posters/art, and try new techniques I see in them.  I have a good friend Maarten de With, AKA stonebridge99, who’s also a local poster designer.  He taught me a lot about screen-printing itself and I occasionally print in his cellar!  He has a lot more experience in the screen-printing field than me.  Whenever I have a question, I know I can discuss it with him.  I’m lucky to know somebody like him.

Do you do a lot of preliminary layouts where you’ll do a bunch of thumbnails or roughs and really work out the design of the image, or do you just get an image in your head and then get to work on it as quickly as you can so you can most accurately translate that image from your mind to the paper? 

Usually, I do a couple of small sketches but not too many; two to three max.  I like to start as quickly as possible.  I’d start with a rough sketch and then add details, change some things here and there, add things or omit other things.  The finished piece never looks like the image I had in mind before I started working on it.  I like the inspiration of the moment, I’m not afraid to take a different path during the creation if it means I get better results.  The only thing that stays the same, more or less, is the composition and imagery.  Techniques, colors, patterns and such, are all decided at the moment.  I think it’s very important for artists to take risks in order to reinvent themselves.

What mediums do you prefer when you’re doing your illustrations?  Are you a pen and pencil kind of guy, or do you like to mix it up?  How much, or little, is the computer involved in your work?  A lot of people these days do their layout by hand and then color on the computer and I was curious how you approach that angle of things?

I like to draw with pencils, but pens lend themselves better to screen-printing as every layer you print only contains one color, no gray-scale.  But yeah, I’m your typical pen and pencil kid.  I don’t see myself drawing entire images on a Wacom tablet or anything like that.  I like the analog technique of screen-printing, and that’s why I like to do as much as possible by hand.  As you mentioned, there is some computer work involved.  The coloring process, the addition of some textures and the rasterization of the images are all done using the computer, but I’d like to experiment with drawing straight onto the foils to lighten the screens, instead of printing my design on the foils.  That way I could skip the computer part.  You also lose some details when using the computer, but it is very useful to quickly change something.  It’s all about experimenting!  Who knows what I’ll try next?

Can you walk us through the typical creation process for a piece of art?  Are there any specials tricks that you use to conjure images up or anything like that?  How long does it usually take for you to do a full color piece?

I keep a database on my computer with images I like, but I also have some beautiful photo books of insects, reptiles and such.  Recently, I did a poster for the doom band Yob, containing the image of a catacomb saint.  This piece was inspired by the book Heavenly Bodies, which I found in London.  I’m always on the lookout for interesting things I can use for my work, and when I stumble upon something as awesome as the catacomb saints, I can’t resist using it for a poster.  However, I’m also always on the lookout for beautiful color combinations as well.  With the Yob poster, I used gold and a kind of turquoise/green.  A color combo I saw in Deyrolle, a beautiful old natural history store in Paris.  Mostly, I reflect on images from my youth, or things that interested me as a child and still interest me today.  I caught a lot of butterflies and frogs when I was a child and their life cycles always interested me; hence the imagery for my Colour Haze poster.  As for creating the drawing, I usually do the font on a different sheet than the drawing.  That way, I can easily position it in Photoshop and I can adjust the proportions.  I also use a lot of textures in my work.  I’m in love with marbled paper which was used for the inner covers of old books.  They’re also very psychedelic.  Now, you can print the marble texture onto the paper, but it doesn’t give you the same feeling when screen-printing the texture, as opposed to the real deal.  I’d love to experiment making my own marbled paper!  Like I mentioned before, I like to experiment a lot by doing something unforeseen.  Recently, I was gumming out the pencil lines on my Desertfest ink drawing.  I was about to wipe off the gum residue, until I noticed it added a very cool texture to the background.  So, I took photos of it instead of scanning it.  That gave me the idea to make natural gradients using gum residue and herbs!  As for the time it takes me to create a print from start to finish, I never really timed it, but I usually work for around three months on one poster.  Not fulltime or anything of course!

I hear the term Lowbrow Art attached to the illustrative and graphic design fields that happen to operate inside the confines of the music industry or display certain types of imagery but I don’t necessarily agree with or appreciate the idea that term can conjure to mind.  How do you feel about the term and how would you label or describe the type of art that you make?

Hmmm, difficult question.  I try to avoid labels, but if I did label my work, I wouldn’t label it as Lowbrow Art.  Lowbrow art is often funny or cartoony in a way, whereas I try to avoid that, or I’m not trying to be ‘in your face’ funny or cartoony.  I like to do that in a subtle manner.  I think people just tend to label things to make a quick differentiation, and there’s nothing wrong with that.  You sometimes see similarities in peoples work and it’s easy to put a stamp on someone’s style in order to make a quick distinction.  But you have to evaluate art artist by artist.  If I had to give a quick description of what I make, I’d say I make posters with a lot of natural and psychedelic influences.  Natural history, meets psychedelics, meets heavy rock.

Do you accept commissions at all?  If so, what’s the best way for interested parties to get a hold of you?

Yes, I definitely accept commissions.  The easiest way is to send me an email at  I’m looking forward to doing more commission work.

In addition to your rock art, I know you’re involved in doing work for skateboards as well.  What all are you involved in at this point?  Do you do a lot of rock art or is it just something that you do when you’re not busy with other stuff?  I know you’re relatively new to the field and I didn’t know if you just worked with bands that interested you or you were looking to really get into the field.

Like you said, I’m very involved in Frantic Skateboards, a skate brand I recently started with some friends at the moment.  We focus on old-school filthy skateboarding fused with rock art.  But I can’t get involved in too many things, you know.  School, Frantic Skateboards and my poster/music work are my main focuses right now.  I have to manage my spare time well, but I’m always thinking what I could do next.  To answer your second question, I started by contacting some bands I really liked.  I asked if I could do a poster for a local show.  Most bands, even the slightly bigger ones, were very cool with this and were psyched with the result.  After I did a couple of posters, things started to roll!  And now here I am, doing an interview for an awesome magazine!

When I was talking with you not long ago at all, you were talking about how you were doing a series of designs for Desertfest which included and incredibly sick Earthless poster that just had me drooling!  What all do you have going on at this point?  Do you have any other stuff coming up that you can share or tell us about?  I love your stuff and I’m stoked to see where you’re headed from here!

Thanks man!  I’ll be doing some commission work first, some shirt designs and maybe some cover artwork for upcoming bands.  As for Frantic Skateboards, I’m currently working on some new graphics involving shitloads of mushrooms, ha-ha!  A friend of mine’s also working on an old masters/Rubens inspired deck design, so I’m really looking forward to releasing those two decks!  Other than that, I’ll be doing some posters here and there.  I’m stoked to see where I’m headed from here too man!  It’s been an unbelievable journey so far…

Who are some of your personal favorite bands that you’ve had a chance to do pieces with, maybe images that you particularly enjoyed doing or bands where you just clicked with their imagery and message?

I really like Radio Moscow, their vibe is amazing; especially live.  I’ve seen them four times and have already done two designs for them.  I’d love to do even more posters for them!  If I could, I’d do a poster for every gig they play in Belgium!  Their music and vibe is amazing live.  I can’t stop shaking my ass when listening to them.  So much talent…  Another piece I really liked doing was the Red Fang/The Shrine/Lord Dying poster.  The Shrine are some of the coolest down to earth guys I’ve ever met, and their music is killer!  I’m also positive Earthless will be in my list of favorite bands after I’ve met them!  Looking forward to hanging with them.  To be honest, all of the bands I’ve done posters for are personal favorites, and I enjoy every piece I’m doing as much, if not more, than the previous one.  Each print is different and leads its own life.

We’ve talked a lot about your art and your process, and I know that you just started a Facebook page for your stuff the other day.  Is there any way for people to purchase your stuff?  I always try and provide our readers with a chance to pick up some of the sweet art that we get to show off when we talk to artists like yourself, ha-ha!

I just got my Etsy web shop up, so people can order their poster there and you can keep an eye for upcoming posters and appearances at my Facebook page.  Thanks for the support man!

Do you have any major plans or goals that you’re looking to accomplish in the last of 2014 or in 2015?

My plans are to experiment a lot using different techniques and developing my own style further.  I also want to make a lot more designs and I’d love to do a series of posters for Desertfest again, that was one of the coolest experiences I’ve had so far!  One of my major goals is to make my own workspace in which I can experiment and screen-print on my own, but I don’t really like to plan ahead.  I’ll see what crosses my path and make the best out of it.

Thank you so much for taking the time to talk to me.  It was awesome to get an insight into how you work and talk a little bit about your process!  I don’t have anything else to toss at you at this point but as you were so generous with your time I’d like to open the floor up to you at this point.  Is there anything that I could have possibly missed or that you might just want to take this opportunity to talk to me or the readers about?

Thanks for the interview man!  I want to thank you for your interest in small upcoming artists and I’m looking forward to reading more articles from you.  It was my fucking pleasure to talk to the readers about my passion!  I hope I got some of it across to them.

 Interview made by Roman Rathert/2014
© Copyright