Recorded in April 1996 at Double Noise Studios Tilburg, The Netherlands, with Chris de Cock and Hans Timmermans. Mixes by Chris with Acrostichon. Released as a promo tape in 1996 only, rare recordings. Remastered by Eddy Lite with Abbey Road RS135 Brilliance Pack and IzoTope RX1 suite for restoration, editting and cleaning. End master with Abbey Road Suite, this one is now suitable for vinyl and iPod ready...
"Give Peaks a chance, if you think your music needs to sound as LOUD as possible, you're not doing it Rite!" Eddy Lite
Tilburg Metal, the best. Hell Jawel!
Acrostichon is still alive and well although the lads and gal are not the most 'stable ensemble' ever to walk among the strong army of Dutch Metal Acts... They do however released another #vinyl release in recent times and that is one hell of a stable war ensemble...
Ook The Travoltas lijken weer Grease in hun haartjes te gaan doen! Voor zover ze dat nog hebben natuurlijk! (:D)
Wanneer ik terug kijk op de tijd dat ik de wereld ging verkennen als
journalist, en semi-profi cultuurslurpert besloot te worden, wordt ik
altijd héél blij. Tuurlijk, leuk om je eigen hersenspinseltjes terug te
lezen maar hoe leuk is dít dan?
"Word on the street is something's going to happen in 2014.." ~The Travoltas
*Zap to 1996...*
Ik betrok zo vaak als ik kon de artiesten waar ik over ging schrijven
bij het uiteindelijke artikel. Werd wel eens een wenkbrauw bij
opgetrokken maar dan weerlegde ik altijd voor de critici dat als je al
bij voorbaat aan de oprechtheid van een journalist gaat twijfelen dat je
dan beter niets kan lezen want je zou maar eens beïnvloed kunnen worden
in je mening!
Affijn, zo oprecht als ik dat kon - en met het
betrekken van artiesten bij het artikel wat ik over ze ging schrijven
was er echt wel een lijn, het is niet dat ik me woorden in de mond liet
leggen - probeerde ik dan altijd een indruk te schetsen. Geen mening,
een indruk. En als ik dan mijn persoonlijke mening gaf, dan zette ik dat
er ook expliciet bij.
Op een hier specifiek bepaalde leuke
middag bij de Muziek Kanten Winkel waar we de POPnCast™ schreven lag er
een verzoek voor me aangaande een artikel over The Travoltas. Het was
1996, eigenlijk was het toen ook crisis, en we hadden teveel tijd, veel
idealen en zagen mogelijkheden. Tilburg ontplofte bijna van het talent
maar we hadden geen cent te makken, (zie low-budget stencil kwaliteit)
maar je kon onze scene alvast niet van straat hangen betichten.
The Travoltas waren nog helemaal nergens in 1996. Ze hadden een sterke
en fanatieke supportersaanhang in Killburg en omstreken maar er moest
geld bij en hoe briljant ze ook al waren, het moest allemaal nog
beginnen. Omdat ik zag wat er stond te gebeuren, ja, dat klinkt wel heel
hooghartig maar dat is het dus niet, stelde ik voor om de bandleden
zo'n fijn tiener *Tina™* tijdschrift questionnaire in te laten vullen...
What a great day this has been. Yep, this has been one of my better
days and it was the weather, it was the events and it was the love I
humbly received from quite some people.
Something that has been
quite remarkable for me personally and which I am so happy to share
with all my music loving friends is the event in which I found an old
love back.
You can picture this quite figuratively since I have
never ever met Kelly Breznik in real life. Nevertheless my love for
Kelly was quite real. Not in the way you love your mother or schoolgirl
sweetheart but Kelly spoke to me in a way no-one ever did. She really
thoughed me with her voice and that love only grew. Kelly was a stunning
singer in the Van Halen team of producers shaped set of albums under
the name Private Life. Talking 1988 and 1990 here, Bon Jovi and all the
other 'poodle rockers' were the rave and I happened to be in the perfect
age and situation in my life to fall for many of the albums that came
out in those days.
Out of all the albums that I bought in
those years only a few survived the test of time. In the sense that some
I do have a giggle on when I accidentally play them, for good old times
reviving with friends for instance, but only a handful still have that
same effect on me as they did back in the day when I bought them and
played the grooves out of them.
Yep, those Private Life albums
are among those albums. And in particular because of the chills I got
and still get when I hear Kelly sing. Those albums are quite hard to
find these days so I even shared them on my website some years ago.
Making them sound a little more like the albums that come out these days
but not overdoing it.
I have always been wondering what ever
happened to the sweet Kelly (nowadays going by the name Kelly Macleod)
that was comforting me with her angel-like voice and helping making my
worries go away whenever I played those lovely, intense and yet gorgeous
catchy albums. I never could track Kelly back, until today. By chance
or perhaps not, I came across an outfit called The Sweet Potatoes and
there she was, the Kelly I have always loved for her sweet, sweet voice
that is like no other.
Kelly grew older of course through the
years and her hard rocking vocal duties from the Private Life years made
way for passionate Country Americana Gospel music that is again making
me feel special. Special in the way that I can enjoy the beauty of music
this way. Music from the heart, music for the heart. Have a listen and
see if you get it what I'm saying here...
Here's to Kelly and The Sweet Potatoes, come join in and be amazed of just how personal and up close music can be.
to Kelly, love to the spirit that gave me a piece of Kelly back. The
part of her that sings like an angel. That gave chills back in the late
eighties and now all over again.
]
just mentioned to me that Lilly Allen released a new single and that it
does sound lovely to his sensitive ears. For him and me it's a second
nature to listen to audio in a more scrutinizing way and sometimes
that's keeping one from just feeling the joy of the sounds that reach
your brain.
For many years I
worked in the music industry and today I'm working for me and my ideals.
I can luckily switch modes so it's not that I'm always listening with
my brain but quite often just with my heart as well. I love music, to
state the obvious. But, it couldn't be much of a surprise to anyone
reading this, modern consumer directed music is suffering for years now
by compression method antics that squashes music to one big pulp. In the
last say 5 years music has become more and more annoying to the ears of
many, simply because all of the different record labels and artists
wanting to be heard (which is quite understandable) and for years the
tactics of sounding louder as your neighbor worked.
Not
anymore, I for one don't even buy certain albums any more just because
they sound like a complete disaster. It's been so far pushed to the
limits, sound wise in loudness levels, that it becomes almost unbearable
to listen to. For years I protested this method and shared my thoughts
and examples of how it all could've sounded. [eddylite.blogspot.com]
It's great to hear some artists and labels and/or management executives
that want to go back. Take it all a notch down and let the listener,
the buying audience, decide just how LOUD they want their music to
sound.
See, once the engineers that create your music decide
that it should go as loud as it possibly can, you can't turn it around
anymore. You could listen on a lower volume level but it would only
sound flat and lifeless. Oddly enough, just exactly the opposite of what
the engineers had in mind. When engineers create your music with
dynamics (in short, not that LOUD but with jumps and wells where it is
in fact a bit more quiet) you can play it just as loud as you want. In
that scenario, it sounds lovely when you use it as a musical background
but you can also crank up that dial and it still sounds lovely...
Thanks to Lily and Company for taking this first baby step, yes, it can
still get better than this, and along with her a few other artists that
surprised me at least with albums that don't push the limits of
loudness but simply let it all breath a little...
And ofcourse, as always, a big thank you to Ian Shepherd. Go say hi to him if you love music and agree here.
P.S. "Go, Lily, Go Lily..."
(this is a repost from facebook earlier today.)
Read what Ian Shepherd from www.productionadvice.co.uk says about this great day for music...
01 - Walker [00:00]
02 - Mosh is Back [02:16]
03 - Reprobate [06:33]
04 - Praise of Pain [10:13]
Running time: 13"34' (approx)
WALKER was a Dutch, Tilburg based outfit that was actually in fact Crustacean (http://www.metal-archives.com/bands/C...)
with two members switching instruments. Just for fun, and I would be
amazed if more than 100 people heard this excellent demotape back in the
day. (sadly I must add, it's awesome in my book.)
Walker
consisted of brutal Brabant Metal Heads Joris on drums, Tom on Bass,
Mikk on Guitars and Norbert handling the verbal humiliation. (Y)
Recorded
at the infamous but oh, so, excellent Double Noise Studio in Tilburg,
The Netherlands. Chris de Cock engineered his ass off and Hans 'Buddha
Building' Timmermans produced this massive glorious turd like no one
ever could match.
(Personal addition, I think this sounds better
than any of the last 3 ~ 3 and a half Holy Moses albums and I am a big
fan of Sabina Classen and her Posse!)
References you ask?
How about #Holy Moses (DE), #Warpath (DE) and #Slayer (DUH!) yo?
#Carnivore? Hell yeahs!
Sound? Excellent!
This
is taken from a pristine copy of the demotape. No dolby NR was used in
production which is a pity but then again, lots of things can go wrong
with that system too. Not a bad copy at all.
Transfer and Mastering was done by Eddy Lite @ hoerejong MultiMedia Design for Hipper than Hell Records on Movember 12th 2013.
HELL JAWEL! Now, blast that plaster off the ceiling dudes! (and dudettes!)
Talking about pleasure, either given or taken, I love drums. Sadly you can't put headphones in them, oh well, you can but what's the point right?! But, I really would like to practice but alas, it's quite an expensive hobby so it's not been in the cards yet.
But I also love to hear and watch drummers and I love drum solos very much too. (Unless the drummer is really, really terrible...)
A very nice bonus is always the joy of hearing and seeing a woman do the banging. Why is it that so few known recognized artists are female I wonder. Why is that?
In 1996 I had the pleasure to attend a tour of the brutal dudes from Fear Factory and they had two support acts. One was Manhole (later better known as Tura Satana and My Ruin with the bad ass sweety Tairrie B. handling the mike.) The second band on the bill was Drain from Stockholm Sweden. Due to confusion because there had been a US band with the same name, the all girl doom rockers were later on stylized as Drain STH.
I had the total pleasure of being invited back stage and I first was invited by the guitar player from Manhole L.A. to come see Tairrie backstage and say hello. It was the cutest thing because when the door to the dressing room opened Tairrie stood there all freshly showered and smelling like roses in her perfectly white bathrobe. After some inspiring and warm words had been shared I asked Tairrie if she wanted to sign my CDs. One was the debut Manhole album and the other her first solo album 'Power of a Woman'. She blushed and she gasped for air or so it seems, whispering "Dude! You got one?! I thought I'd burned them all!" She wrote to me on that legendary album (One of the first true Female Gangsta-Rap albums in history if I remember correctly) that I was 'DJ Eddy Lite, DJ Supreme' and that I was down with the Tairrie right from the start. Awe. (and she was rite!)
After some quality time in the venue Noorderligt in Tilburg, The Netherlands, the bands were eager to go into the city and party. I heard the question where to go and so I proposed to go to the legendary (yes, yes) Extase Café in the historical center of the city. And thus a half hour later Fear Factory and following (yes, yes, is sneer) entered Café Extase. After a few beers I saw Burton C. Bell and Tairrie almost flying hand in hand through the emergency exit door in the back of the part of the Café where the DJ-booth and dancefloor are. Once someone opens this door there is an alarm light (luckily without siren) going off and so the DJ and bouncer rushed and looked what happened and then closed the door behind Tairrie and Burton. Aren't they lovely people, those Tilburgers?! Tairrie and Burton probably made sweet, sweet love that night. I believe they dated for some time too.
Because I spent some money on beers (ofcourse I did!) and because the women and following of the Drain STH clan offered me more I got a little tipsy there. I did find singer Maria Sjöholm a bit scary to look at and she didn't say a word that nite but she married Tony Iommi later on so I guess I was rite and wrong at the same time. Now, ever since I had heard and seen Martina Axén from Drain STH (best all female band ever I MUST add!) drum, I had fallen in love with that gorgeous and mighty talented woman. Intelligent too, because she had me seen smoking one doobie earlier and she said that it mushes your brain. Direct talk, love it! But one or two beers too many, and the unthinkable stupidity came over me and oh, god, there it was... Didn't happen before and it probably will never ever happen again, but I asked Martina to marry me! Right there on the spot. *poof* Mushed brain!
I've talked a few times to Martina on various places in cyberspace after the event and she's been really cool. She moved to the USA and played in some bands there. Not the biggest names but quite lovely music. But, the thing is, although it had been quite idiotic of me to propose to her that way, I did have the best intentions. I wanted Martina to conquer the world and be a big star. I wished her nothing but the best.
I lost track of her some time ago. Where are you miss Axén? And how you're doing, are you happy?
Faerie-Lectro from Antwerp, Belgium. "Our music wants to be a reflection of the subconcious, the wondrous world of dreams, shadows and desires."
Raya Schaduwjaagster :
music, lyrics, vocals, dancing, percussion, wild ideas
Sophie Drakenvleugels :
music, lyrics, vocals, dancing, percussion, mixing
1. Keep Your Eye On The Path
2. Shadowhuntress
3. Predator
4. What You Should Do
5. Violet Fire
6. Special Design
7. No Life In Here
8. Silent Noise
9. Euphoria
10. Craving Creatures
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