Showing posts with label Neil Jarvis. Show all posts
Showing posts with label Neil Jarvis. Show all posts

Saturday, January 15, 2022

Revolution Rock: The 2021 Interviews & Show # 917

This year on Revolution Rock, the program featured eleven different interviews. Eight were audio based interviews that aired on the show and three were done through email specifically for this website. On this episode we featured highlights (or clips) from each of the audio interviews and music from each of the artists that were interviewed, whether it was for the radio program or for this website. Below you will find some info about these interviews plus the playlist and download/streaming links to the episode.

An Interview with Richard Hell (February 2021): 


In February 2021, as part of Revolution Rock’s annual theme month programming we spoke with New York punk icon Richard Hell. Known as one of the originators and pioneers during the early days of New York punk, Hell quit the music world in 1984 to focus on writing, only reappearing a few times on some music projects. Having co-founded Television, being one of the original members of The Heartbreakers (featuring Johnny Thunders and Jerry Nolan of The New York Dolls), Hell formed Richard Hell & The Voidoids in 1976 and released their debut album, Blank Generation in 1977. Hell’s look and aesthetic would go on as a template for punk music that would influence others, most notably The Sex Pistols, who in turn would influence their own music scene. The Voidoids first album is seen as a classic, with its title track still sounding as vital and thought provoking today. In 1982, he released the often misunderstood Destiny Street. The album has a long history, which Richard goes into detail about in the interview. It was reissued in 2021 as Destiny Street Complete via Omnivore Recordings. The set contains four versions of the album, along with a few outtakes. The original 1982 version remastered, the 2009 Destiny Street Repaired version, a newly remixed version of Destiny Street and a collection of demos that show early and different versions of the songs that would make up this album. Destiny Street Complete re-establishes the great moments of Destiny Street for everyone to hear. Richard Hell is an author, poet, musician and actor. In this interview Richard Hell covers the time period making Destiny Street, parts of his writing career and influences, along with his songwriting process in the Voidoids and more.

Listen to the full interview here:

Find the original post here.

An Interview with Patrick Flegel (of Cindy Lee/Women) & Michael Wallace (of Preoccupations/Women) (February 2021):

As part of a special program focusing on the 10th anniversary of Calgary band Women’s second and final album Public Strain we spoke with vocalist, guitarist and songwriter Patrick Flegel and drummer Michael Wallace. Recorded in the span of ten months in the dead of winter in Calgary by Chad VanGaalen, Public Strain explored more post punk sounds, often darker and more jarring, but at the same time there is something strangely beautiful that permeates this record. The album received widespread critical acclaim, eventually being long listed on the nominees for the Polaris Prize in 2011. Women toured heavily from 2008-2009. They also toured in support of Public Strain, but that tour was cut short in October 2010. Following a show that occurred in October 2010 in Victoria BC, Women stopped playing as a band. The band members went their separate ways. Bassist Matthew Flegel and drummer Michael Wallace went on to form the band Viet Cong (before changing their name to Preoccupations), guitarist/vocalist Patrick Flegel would continue creating music eventually creating music as Cindy Lee and Christopher Reimer joined the band The Dodos as their touring guitarist while collaborating and creating music until he passed away in his sleep unexpectedly in 2012. In these exclusive interviews Patrick talks about creating the music with Women for Public Strain, his influences as well as recording and performing as Cindy Lee. Michael Wallace, gives his own account of the sessions, recording with Chad VanGaalen and the moments leading up to the album, joining the band Women, Preoccupatons beginnings as well as plans for their next album. 

Listen to the full interviews here:


Find the original post here.

An Interview with Chad VanGaalen (March 2021):

Chad VanGaalen released World’s Most Stressed Out Gardner in 2021 on Sub Pop and Flemish Eye Records. The music that he creates while it is sometimes folk, sometimes psychedelic, sometimes indie rock, sometimes strange, is really its own thing. The universe in which the songs of Chad VanGaalen belong is a strange, wonderful, kind of messed up, cosmic place at times. As we enter these worlds we find ourselves absorbed by the sounds and stories that he produces. World’s Most Stressed Out Gardener is eclectic and offers more variety musically than ever before on one of his albums, but still has the same feel of the best of Chad VanGaalen’s work. In the interview Chad discusses how the album was created and altered when he came up with the song “Samurai Sword” just before the album was set to be printed, working on songs and recording. He also discusses his time recording Women’s Public Strain and working with members of the band on their first two albums, buying stuff of Kijiji, gardening and more.

Listen to the full interview here:


Find the original post here.

An Interview with Chris Murdoch (April 2021):

Halifax musician, DJ and writer Chris Murdoch released the full-length debut album Collapse with his band Souvenir in April of 2021. This followed 2020, Beating into Dust EP. In 2020, we also spoke with Chris for this website through email to discuss his music history playing in bands and Black Dots: An Afropunk Primer. Black Dots is an eight-page essay is somewhere in between a zine and pamphlet that also includes exclusive illustrations done by graphic designer/musician Raymond Biesinger. Inside over the course of 2800 words, Chris Murdoch covers his own experiences being a musician and attending shows in Halifax along with information about when Black first met punk in the UK and US. It was released through the Pentagon Black label in Montreal and over $3000 was donated to Black Lives Matter Solidarity Fund Nova Scotia from its sales. Souvenir is a band out of Halifax, Nova Scotia featuring bassist/vocalist Lachie MacDonald (Tom Fun Orchestra, Great Plains, Dyscontrol), guitarist/vocalist Dave Banoub (Jon Hynes) and Chris Murdoch on drums/vocals (Word On The Street, Weekend Dads, Outtacontroller). Produced by Charles Austin (Outtacontroller, Future Girls) out of Ocean Floor Studios in Halifax, Collapse is the debut full-length album from Souvenir. With all three members contributing vocals and songs, Collapse features nine songs and album cover artwork by illustrator Raymond Biesinger. In the interview Chris talks about the recording and writing process that the band went through to create Collapse, politics in punk and more. 

 Listen to the full interview here:

Find the original post here.

An Interview with Paul Jacobs (May 2021):

Montreal musician Paul Jacobs latest release Pink Dogs On The Green Grass was released via Blow The Fuse Records in 2021. With just thirteen tracks, this album follows 2020’s outtakes/demo collection Portrait of George (Demo & Songs I Forgot About) and 2018’s EASY. Already having several albums in his discography (and two releases as part of post punk group Pottery), Pink Dogs On The Green Grass shows Paul Jacobs branching out by finding a new way of approaching his music. Musically, references have been made to Cass McCombs, Kurt Vile, early Beck, but you can also hear the influence of 60s psychedelia and bands such as The Byrds and Lou Reed. Lyrically, Jacobs words are at times surreal. They are sometimes about different characters or observations and often take on cryptic meanings. While some have said that the lyrics reveal unwanted moments that stick with you, Pink Dogs On The Green Grass is much more than that. In the interview Paul talks about recording his new album, illustrating the videos for this album, who Bobby is from Pottery’s Bobby’s Motel album, David Lynch and more. 

Listen to the full interview here:


Find the original post here.

An Interview with Mark Arm & Steve Turner of Mudhoney (August 2021):

Every Good Boy Deserves Fudge is the second full-length album from Seattle’s Mudhoney. An expanded 30th anniversary edition was released by Sub Pop in 2021 featuring demos, outtakes and non-album tracks. Originally released on July 26th, 1991, the album shipped 50,000 copies when it was originally released. Just a few months later, Nirvana’s Nevermind would be released and the whole musical landscape would change. Prior to being recorded, Mudhoney recorded five tracks with producer Jack Endino (who also produced their Superfuzz Bigmuff EP and the Mudhoney album) in a 24-track studio. Unhappy with the results, guitarist Steve Turner pushed for a change of direction. Liking the results of Conrad Uno’s 8-track recording studio called Egg Studios on the Thrillsphere album by Tacoma, Washington’s Girl Trouble, the band decided to record a selection of punk covers with Uno to see what it would sound like recording there. Several of these songs came out on singles or on compilation albums, but not all of them. In spring of 1991, Mudhoney began recording Every Good Boy Deserves Fudge. On this album Mudhoney switches their focus embracing 60s garage influences such as The Sonics, Lollipop Shoppe, Neil Young, Spacemen 3, post hardcore, 80s hardcore and the sounds of bands such as Zounds and Hawkwind. In the interview Mark Arm & Steve Turner of Mudhoney talk about making the 1991 album, being in an unaired TV pilot for Fox, the influence of The Wipers, fuzz pedals and more. 

Listen to the full interview here:

Find the original post here.

An Interview with Matt Ellis (May 2021):

Hamilton musician Matt Ellis has played in many different bands such as The Vapids, Flesh Rag and PlasticHeads. Usually on guitar, Matt recorded a series of Ramones inspired EPs in 2020 at his home where he played all of the instrumentation. All of the proceeds from these releases went towards different non-profit organizations in Toronto and Hamilton. Following a remix, the addition of real drums provided by Jimmy Vapid of The Vapids, Curtis Tone from PlasticHeads and two new tracks, Full Moon Fever was released on vinyl at the end of February 2021 on Surfin Ki Records. With an obvious Ramones influence, the songs that make up Full Moon Fever pull from the Dee Dee Ramone penned catalogue of Ramones tracks with a dash of The Spits, DBOY and Seattle band HEAD. At 18 tracks, none of the songs on Full Moon Fever go past the two-minute mark. Running through themes of isolation, frustration, boredom and escapism, Full Moon Fever delves into a manic dynamic of punk rock and suburban paranoia. Ellis released an album with another band called Anxious Pleasers on cassette that featured members of Hamilton band TV Freaks. In January 2021, he released a new digital single titled Everything Sucks. Matt Ellis did an exclusive Q&A for this website covering his music influences/history, the making of Full Moon Fever, guitars and his favourite Ramones albums. 

Read the full interview/post here.

An Interview with Shawn McDonald (June 2021):

London, Ontario musician Shawn McDonald has been involved in numerous rock bands over the years. In 2021, he made several albums from his discography with different bands he’s been in available digitally for the first time. One of his earlier bands, Grassy Knoll & The Magic Bullit released the album Hollandays digitally. It was a lost, previously unreleased album. In addition to this album he made other albums from this band available through Bandcamp and other streaming services. In 2018, 2 was released by the band Baby Giant. Baby Giant is made up of musicians Shawn McDonald and Tim McDonald. The band started out around 2017 to record a collection of reworked/reimagined songs in commemoration of an earlier band that the McDonald’s had been in called Grassy Knoll & The Magic Bullit (that album is called Grassy Magic). Being in numerous bands such as The Fine Print, Dragsville, Hurricane & Able and many others Shawn McDonald really showcases his songwriting abilities on 2, both on his own and in collaboration with Tim McDonald. The album was recorded by Tim McDonald (credited as King Woobs). Shawn McDonald did a Q&A for this website covering the writing of several songs in Grassy Knoll & The Magic Bullit, some of the bands he has played/recorded with and what he is currently working on. 

Read the full interview/post here.

An Interview with Neil Jarvis (July 2021):

Perhaps best known as being in the Manchester band Sprinters, Get The Band Back Together is the third solo album released by Neil Jarvis. Prior to this Sprinters released two excellent albums, 2017’s Sprinters and 2019’s Struck Gold. Neil’s earlier solo albums were recorded the same way as this one was, on a 4-track cassette recorder. Weekends (2012) and Halloween Summer (2014) featured lo-fi, psych/surf influenced sounds that were sometimes experimental. Get The Band Back Together is more acoustic based, but it still features the sometimes haunting nostalgic feeling that is present throughout all of Neil’s songs. Recorded on a 4-track cassette recorder during lockdown in April 2020-June 2021, Get The Back Band Together takes Jarvis’ earlier tried and true method of recording/writing songs, but adds a sense of maturity and poignancy that sets this collection of songs apart from both Sprinters and his earlier work. Neil Did a Q&A for this website where he covers recording and releasing an album during the pandemic, the influence of musician David Berman and some of his earlier solo releases. 

Read the full interview/post here.

An Interview with The Garrys (October 2021): 

Get Thee To A Nunnery is the fourth full-length album by Saskatoon’s The Garrys. This three-piece sister trio features Erica Maier (guitar/vocals), Julie Maier (bass/vocals) and Lenore Maier (drums/vocals). They first started appearing on underground music radar with 2017’s Surf Manitou, which brought their prairie inspired surf dynamics and combined them with folk-like tales of Manitou Beach, SK, a family vacation spot that the Maier’s visited when younger. In 2020, The Garrys released their score to the 1922 silent film Haxan:Witchcraft Through The Ages, which was performed and recorded live as the film played in a theatre. They describe their music as “dreamy blood harmony surf rock doom-wop on morphine.” Get Thee To A Nunnery has been getting critical acclaim appearing on Bandcamp Daily, other sites and charting on the Earshot Top 50 Album Charts across campus radio in Canada. Revolution Rock spoke with Erica, Julie and Lenore Maier of The Garrys. In the interview they discuss their formation, recording/writing songs for Get Thee To A Nunnery, working with Dallas Good as producer, doing the live soundtrack to Haxan:Witchcraft Through The Ages and more.

Listen to the full interview here:

Find the original post here.

Show 917: The 2021 Interviews Playlist:

1. Richard Hell - Kid With The Replaceable Head  (Remastered) (Destiny Street Complete - Omnivore Recordings - 2021)

RICHARD HELL INTERVIEW CLIP

2. Richard Hell - Ignore That Door (Remixed)  (Destiny Street Complete - Omnivore Recordings - 2021)
3. Women - Narrow With The Hall (Public Strain - Flemish Eye - 2010/2020)

PATRICK FLEGEL (OF CINDY LEE/WOMEN) INTERVIEW CLIP

4. Cindy Lee - Love Remains (Cat O’Nine Tails - CCQSK Records - 2020)
5. Women - Everyone Is So In Love With You (Rarities 2007-2010 - Flemish Eye - 2020)

MICHAEL WALLACE (OF PREOCCUPATIONS/WOMEN) INTERVIEW CLIP

6. Preoccupations - Monotony (Preoccupations - Jagjaguwar/Flemish Eye - 2006)
7. Chad VanGaalen - Starlight (World's Most Stressed Out Gardener - Sub Pop/Flemish Eye - 2021)

CHAD VANGAALEN INTERVIEW CLIP

8. Souvenir - Ransom (Collapse - 2021)

CHRIS MURDOCH (OF SOUVENIR) INTERVIEW CLIP

9. Souvenir - Holding Pattern (Collapse - 2021)
10. Paul Jacobs - Half Rich Longer (Pink Dogs On The Green Grass - Blow The Fuse Records - 2021)

PAUL JACOBS INTERVIEW CLIP

11. Paul Jacobs - The Telephone (Revisited) (Story About Anything EP - 2018)
12. Mudhoney - Into The Drink (Every Good Boy Deserves Fudge (30th Anniversary Edition) - Sub Pop - 2021)

MARK ARM & STEVE TURNER (OF MUDHONEY) INTERVIEW CLIP


13. Matt Ellis - Flowers In The Moonlight (Full Moon Fever - Surfing Ki Records - 2021)
14. Grassy Knoll & The Magic Bullit - A-Jam (Hollandays - 2021)
15. Baby Giant - Japan (2 - 2018)
16. Neil Jarvis - Get The Band Back Together (Get The Band Back Together - On The Grind Records - 2021)
17. The Garrys - Devil’s Dip (Get Thee To A Nunnery - Grey Records - 2021)

ERICA, JULIE & LENORE MAIER (OF THE GARRYS) INTERVIEW CLIP

18. The Garrys - In The Dawn (Get Thee To A Nunnery - Grey Records - 2021)

To hear this program, visit CJAM's schedule page for Revolution Rock and click the January 15 file to download/stream the episode.

Saturday, July 31, 2021

Get The Band Back Together: An interview with Neil Jarvis & Show # 893


Get The Band Back Together
is an album by Neil Jarvis. Perhaps best known as being in the Manchester band Sprinters, this album is the third solo album under the Neil Jarvis name. Prior to this Sprinters released two excellent albums, 2017’s Sprinters and 2019’s Struck Gold. Neil’s earlier solo albums were recorded the same way as this one was, on a 4-track cassette recorder. Weekends (2012) and Halloween Summer (2014) featured lo-fi, psych/surf influenced sounds that were sometimes experimental. Get The Band Back Together is more acoustic based, but it still features the sometimes haunting nostalgic feeling that is present throughout all of Neil’s songs.

“Spring, Again” starts off Get The Band Back Together. It is very much a soundscape recording as it features the sounds of someone walking outside and unlocking or locking doors before entering a fenced in area. Acoustic guitar fades in with dusty lax rhythms. The title track blends acoustic guitar, fuzzy electric guitar and looming, ethereal synthesizers. With lyrics such as “And I know you’ll never be the same/And I know we’ll never be the same,” they express a feeling that many people can relate to. The song shows a complexity and duality of two different feelings. One of the joy of a reunion and the other of how that even when this does happen, things just won’t be the same. In the opening moments of Get The Band Back Together, Neil Jarvis shows the listener how he is a master of his craft. “Green & Blue” brings forth acoustic guitars mixed with psych inspired surf riffs. The song features a more introspective mood. Without the drums, Neil’s voice with its reverb effect produces a melancholic feeling, one that is also positive looking towards something new and unexpected.

“Old House” features just an acoustic and vocal track. The reverb on Jarvis’ vocal this time adds more depth to the track. Although it has been compared to Daniel Johnston, the track feels different than Johnston. With lyrics such as “I’ll be here with you/Through the seasons/And through/In this old house,” and “The sun keeps on shining on us/And as sure as the rain keeps on falling on us,” Jarvis creates a character driven song that gives character to an old house as the main character in the song stays there with the house displaying a sense of isolation and togetherness. “Yosemite” features a drum machine and layered distorted psychedelic guitars. Lyrics such as “California/Your burning/Thought I’d warn ya/Don’t disappear” pop up through the haze of guitars and float back down again in this atmospheric track that adds more musical currents to Get The Band Back Together’s aural aesthetics.

“Song For David Berman” is a track influenced by Berman’s music and is directly influenced by the song “People” from Berman’s band Silver Jews. Featuring acoustic guitar and synthesizers that add character in the background, the song with lyrics such as “They say that you shouldn’t crest too soon/They say that you shouldn’t peak too soon,” contemplates the death of Berman by putting it in a larger context. The lyrics are repetitive and effective as they provide a deeper poignancy. “Near Miss” brings more ambiance to the dynamics of Get The Back Together. The reverb and echo present in this song seem to recall a Kurt Vile influence. You can really feel it on this song with its sparse open space sounds that provides the intimacy of seeing an acoustic musician at a small club, minus the people. “Jingle” is a short instrumental piece featuring acoustic guitars and cinematic sounding synthesizer. “Courage” features harmonica. In a more folk-like setting, Jarvis applies the harmonica to his nostalgic melodies in this song that call for bravery in difficult times.

“Time” ends Get The Band Back Together. This track tackles the “time is on our side” cliché, showing the opposite as it puts a spin on it calling for change before you regret it. In this subtle arrangement, Neil Jarvis wraps up Get The Band Back Together. Recorded on a 4-track cassette recorder during lockdown in April 2020-June 2021, Get The Back Band Together takes Jarvis’ earlier tried and true method of recording/writing songs, but adds a sense of maturity and poignancy that sets this collection of songs apart from both Sprinters and his earlier work. 

Grab a cassette/digital copy of Get The Band Back Together on the Neil Jarvis Bandcamp page:  


Continue reading for an interview that Revolution Rock did with Manchester musician Neil Jarvis:

RR: Let’s Get The Band Back Together was written during lockdown and recorded to 4-track like your first few solo albums. How did it feel to return to this recording method after using the standard band/studio approach for the most recent Sprinters albums?

NJ: It was fun. Recording in a studio can be very long winded and you really need to be patient with it. The last 2 Sprinters albums took a long time to record. Recording at home is a much easier process and you can write a song and have it finished the same day. I much prefer it organic that way and having more control of the sound

RR: What inspired the songs on this album. Were they written prior to the lockdown or during and do you think any of them might appear with Sprinters during live shows in the future?

NJ: All the songs were written in lockdown. I recorded an acoustic version of "Teenage Riot" by Sonic Youth during the start of COVID and really liked the vibe. I think I decided at that point I wanted to make an acoustic record. It is definitely a pandemic album as cliche as that sounds. Pretty much all the songs are inspired/galvanized by it in some way. I doubt Sprinters will be playing any of the songs from it though. But I would like to play some solo shows at some point.

RR: Last time we spoke you said that your solo stuff was a bit more experimental than the Sprinters material. Do you feel that is true of Let’s Get The Band Back Together?

NJ: Not really for this album. Once I decided I wanted to make an acoustic record, I was aiming to make something more sophisticated. In my head at the time I was thinking I wanted to make something like "Sea Change" by Beck. It didn’t really turn out like that in the end though.

RR: Having released your last solo record in 2014, what are the most significant changes in the process of writing and recording the songs on Get the Band Back Together, compared to Halloween Summer?


NJ: I’ve definitely learned not to think too much about the songwriting process. I was very precious about it for a while and would often not finish songs because I didn’t think they were good enough. I’ve learned to persevere and finish stuff. As this was just me on the album it was very much a loner thing; recording in my spare room at home. Half of Halloween Summer was a band playing together so I guess that was different. Some of these songs seemed to come really quick too. I would start them with lyrics in mind and they would come together very fast. None of the songs were work in progress songs that I wrote and worked on over time - like a lot of the Sprinters songs.

RR: I wanted to ask about a few of the songs on Let’s Get The Band Back Together, “Let’s Get The Band Back Together,” “A Song For David Berman” and “Green & Blue.” What inspired these tracks?

NJ: With "Get The Band Back Together" I had had the title in my head for a few months and at first wanted to write a Jeff Tweedy-esq kind of tongue in cheek track about getting an old band back together, and make it kind of funny. When I actually sat down to write it, it was around the time of the vaccines being rolled out, and it ended becoming something else entirely and more of sentiment of it’s time to return back to normality. But it’ll probably never be the same.

"Green & Blue" is about getting through the last summer. We have an allotment behind our house and that saved us during the first major lockdown. We spent most of our time there in summer. It was at the time when you couldn’t leave your garden. The green and blue is a metaphor for that but also finding new unexpected freedoms.

"Song For David Berman," is really a eulogy to David. The lyrics reference the Silver Jews song "People." 

‘‘People send people up to the moon
When they return, well, there isn't much
People be careful not to crest too soon’’

His death really stayed with me and I had the idea from hammering Silver Jews and the Purple Mountains record for weeks. The song is a twist on "People" and I think that’s really what tragically happened to David.

RR: Follow up to the previous question: What did David Berman's music mean to you? What stood out about his songs/poetry, and has it inspired your own song writing?

NJ: I always loved Silver Jews. I’m a huge Pavement fan, and that’s where the link came, but David’s lyrics really stood out to me. I was actually blown away by his final music he did with Woods, "Purple Mountains." It was my favourite record of that year and when he passed I was in total shock. The song "All My Happiness Is Gone" is really something else. His lyrics directly inspired "Song For David Berman." 

RR: You mentioned that the album’s cover is from the last live gig you were at before the pandemic. What do you remember of that gig and do you remember taking this photo at all?

NJ: I think the photograph was taken by accident on my old film camera. I had accidentally clicked when I was putting it away (it’s an old point and shoot camera) The show I think was the last Sprinters show we did in Manchester in March 2020, which also ended up bring the last live show I went to. The rest of the tour was cancelled. When I decided to go with the album title, I found the picture and thought it fit nicely.

RR: How do you think the process of writing/performing/recording with Sprinters will change now that you have created this new album entirely as a solo artist? Are there experiences from this creative process you will be applying to the next sessions with Sprinters?

NJ: I actually scrapped the third Sprinters album and started again. I realized it sounded too much like the first 2 records and wanted to do something different. I’ve been - trying - to write on a synthesizer and trying to work a new sound whilst also keeping it within a Sprinters style. It would be good to return to tape for this next album as it sounds so much better. But maybe not on the 4-track, but on a reel-to-reel or 8-track. 4-track recording definitely had its limitations. But I think none of us want to spend 12 months recording a new album (like we did on the first 2) we want to get it done fast next time.

Show 893 Playlist (Originally Aired On July 31st, 2021)(Neil Jarvis, The Wipers, Protomartyr):

1.  Dumb - Pizza Slice 
2.  Real Sickies - Give and Take 
3.  OBGMS - Outsah 
4.  Jesse Fellows - (The) Fly
5.  Heavy Manners - Flamin' First (2021 Fresh Mix)
6.  Torres - Last Forever 
7.  Torres - Hug From A Dinosaur
8.  Alan Vega - Nothing Left 
9.  Neil Jarvis - Get The Band Back Together 
10. Neil Jarvis - Green & Blue 
11. Neil Jarvis - Song For David Berman 
12. La Luz - Watching Cartoons 
13. Mario & Maria - What I Like 
14. Daniel Romano's Outfit - Nocturne Child 
15. The Descendents - Like The Way I Know 
16. Dead Fibres - Secret Handshake 
17. Fitness - Theme II 
18. Ryley Walker - Striking Down Your Big Premier 
19. The Lee Harvey Oswalds - Not You, The Blonde 
20. The Wipers - Window Shop For Love
21. The Wipers - Mystery (4-Track Demo) 
22. Mannequin Pussy - Perfect 
23. Worry - Acapulco, 2 AM
24. Anxious Pleasers - What Do You Care About 
25. Amyl & The Sniffers - Guided By Angels 
26. The Armed - An Iteration
27. Metz - Sugar Pill 
28. Greys - Minus Time 
29. Protomarytr - Born To Be Wine 
30. Protomarytr - Too Many Jewels

Saturday, December 07, 2019

Sprinters Struck Gold: An Interview with Neil Jarvis & Show # 804


Sprinters are an indie rock band from Manchester. Fronted by songwriter Neil Jarvis, the band features Neil Jarvis (guitar/vocals), Jason Hughes (guitar), Jon Hodson (bass) and Sam Almond on drums/vocals. The band put out their debut full-length Sprinters in 2017 on Icecapades Records and a mini album prior to that called Float Along in 2015 released through On The Grind Records. Prior to performing as Sprinters, Jarvis simply released music as Neil Jarvis. Two lo-fi and sometimes experimental releases emerged from this time period, Weekends in 2012 and Halloween Summer in 2014. They were both recorded to 4-track tape. Sprinters doesn’t lose any of the nostalgic melodies that Jarvis has been known for, they only enhance them. Struck Gold is second full-length album from Sprinters and was recorded by Sam Almond at Abbey Mill Studios in Chorley, Lancashire. It was released in November 2019 via Meritorio Records. On Struck Gold, the band pulls in the same elements of surf, dream pop and indie guitar pop while also adding a new rock edge and layers of shoegaze to the mix.

The opening track, “Struck Gold” sets the tone. A short instrumental that drifts like clouds that break at dawn, it contains the same melancholic feeling that is omnipresent in Jarvis’ songs, but one that is more upbeat and promising. “3’s & 4’s” comes in seamlessly as the second track on Struck Gold. With its unraveling guitar leads and percussive rhythm that has a biting jangle, this song floats in between surf and dream pop. When the chorus hits Jarvis sings “It is what it is/There’s no escaping it” and the listener gets hooked within this beautiful, yet sad tale about trying to understand and accept an awful situation that is juxtaposed with more upbeat pop musical elements. “Missing” is more brash. The song is raw sounding, featuring distorted, jangly guitar leads that fester with a blistering intensity in between the unconventional, driving drumbeats that lock in with the deep bass grooves. When the reverb layered vocals combine with these musical elements, it also ventures into shoegaze territory. Lyrically, the song addresses an absence, a void of feeling that can exist even if you seem present. “The Light” is a ballad that revels in melancholy and glitters with its pop wonders.

“Ending” is another of the gems on Struck Gold. Clocking in at about four and a half minutes, the song flickers and drones with an edge not present in previous Sprinters recordings. Elements of shoegaze can be found here, but also guitar pop and primal drums that combine with the melodic bass and vocals. As the song drones in the chorus, the listener descends with the melody that lingers poignantly with the words “Far out/We’re going way down”. Around the 2:20 mark the band brings in a coda that builds with guitar distortion, psychedelic guitar lead lines that drone sharply and an unwavering bass and drum groove before fading out. “Demolition” has a more upbeat, lax groove. As the drums and bass float, guitar intertwines as hazy vocals hover over it all. The atmosphere here completely surrounds the listener as the words “We can’t go back to how it was”, “In the haze of a dream/We couldn't see the night through the blinds” and the repetitive chorus “It’s happening/It’s happening again” grabs hold. “It’s Gone” is raucous guitar pop. Surf guitar finds its way throughout the steady, calming drum grooves and mellow bass lines as lyrically Jarvis weaves a tale of innocence and desire. “Scream 2” is a reworking of an instrumental track from Neil Jarvis’ Halloween Summer. Here more noise is brought to the fore as the band really plays in the pocket.

“Virtue” brings down the pace a bit as it questions certain morals that people are supposed to have as the words in the chorus “You’re just virtue signalling/They said it” creates a haunting effect. “Undone” is a song with a shoegaze haze and has guitar pop that blends with acoustic guitar. Lyrically, it seems to entwine itself around a situation that involves a missed connection that was never fully realized the way that it could have been. A shorter, more experimental version of the album’s opening track ends Struck Gold that sounds as if it were recorded on a 4-track tape machine and slowed down. Throughout Struck Gold, Sprinters combine a certain melancholy that is often juxtaposed with more upbeat poppy and indie rock oriented music. This creates an album that is contemplative and one that also lingers with hidden lyrical and musical layers. On Struck Gold, Sprinters avoid a dull sophomore slump. They dig deeper on this record with a cohesiveness that creates an incandescent, lasting effect.

Listen to Revolution Rock's interview with Neil Jarvis (of Sprinters) here:




Show 804 (Originally Aired On December 7th, 2019)(Neil Jarvis of Sprinters Interview, Tom Waits 70th Birthday, Marshmallow Overcoat, John Lennon):

1. Marshmallow Overcoat - Groovy Little Trip
2. John Lennon - I Found Out
3. The Beatles - And Your Bird Can Sing
4. Psychic Void - Denim Daddy
5. Trophy Knife - Headspace Saver
6. The Constant Supervision - Wiggly Jiggly
7. Sprinters - It's Gone

NEIL JARVIS (OF SPRINTERS) INTERVIEW


8. Sprinters - Ending
9. Neil Jarvis - Shred Met
10. Shotgun Jimmie - Ablutions
11. Bill Callahan - Shepherd's Welcome
12. Tom Waits - Intro
13. Tom Waits - Whistlin's Past the Graveyard
14. Tom Waits - Chicago
15. Tom Waits - Big in Japan
16. Tom Waits - Goin' Out West
17. Tom Waits - Rain Dogs
18. Meltones - Surfing Natasha
19. Run Coyote - The Chase
20. Bobby Tenderloin Universe - I Need a Lickin'
21. Bloodshot Bill - Stumble
22. Leonard Cohen - Puppets
23. U.S. Girls - 28 Days
24. Nov3l - Natural
25. Pop Group - Words Disobey Me
26. Motorists - Instant Replay
27. Tom Waits - Underground

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 7.

Show 803 was a repeat of an episode of the program that originally aired last November. It featured an alternate version of Bob Dylan's Blood On The Tracks compiled by selections from More Blood More Tracks Bootleg Series box set. You can download/stream this episode here and find the playlist here.