Hugs in the Hostel Hallway

My day with Cindy.

Cindy are my favourite band, and so when the San Francisco based group announced their first UK tour I was naturally delighted. A pre gig meet up in Bristol was loosely arranged, but I never could have imagined the way it would ultimately pan out, with the band welcoming me along for the duration of their stay in the City. What follows is an unashamedly misty eyed account of what was a very special day.

It all started calmly enough with an invite to the Mickey Zoggs cafe where the band would be holding a one hour session for Noods Radio, playing the work of fellow Bay Area friends and collaborators. When I arrived I assumed they’d be off out back somewhere so I could grab a coffee and get my shit together, but as soon as I opened the door I was greeted by the hand of drummer Mike Ramos and the welcoming embrace of front person/bandleader Karina Gill. Band introductions and radio session completed, it was soon time for a trip to the city centre for some record shopping, a trip I was delighted to be invited along to.

We walked and we talked. We talked of the differences between living in New York and California. We talked of Bill Evans and the Village Vanguard. We talked of how UK motorists give precisely zero fucks about weary pedestrians. The destination was Wanted Records, a real crate diggers paradise, and I highly recommend a visit if you ever find yourself in Bristol.

After finalising overnight plans there was time for a visit to Rough Trade where the band were immediately recognised by the shop owner who grabbed his camera to capture them holding Cindy albums both old and brand new, before wishing them well for the nights show. I meanwhile, stood quietly off centre drinking it all in and feeling absolutely delighted for them all. With evening time approaching and soundcheck looming it was time to move on, and so more walking, more talking, as we sauntered back through the fine but persistent rain to the nights venue The Crofters Rights.

The soundcheck wasn’t without issue and the band, although hungry and running short on time to recharge before doors open, were fully committed to ensuring everything was as right as it possibly could be. Karina would later explain to me the importance of creating the right environment on stage in order for her to be able to fully immerse herself in the moment.

Cindy is primarily Karina Gill’s project. She carries herself with a gentle energy whilst projecting a powerful aura, and she exerts authority over situations that arise with kindness and compassion. Throughout the day I’m frequently touched by her bandmates commitment to realising her vision. Long standing keyboardist Aaron calm and collected. Bassist Will with his infectious enthusiasm. Guitarist/Viola drone maestro Stanley understated and quite frankly cool as fuck. Finally, drummer/Flowertown collaborator Mike who is effortlessly kind and an absolute gentleman. Soundcheck wrapped up, it was time for food and pre gig preparation.

Aside from some rather grim stories of previous post gig mansplaining, the vibe in the green room was outwardly relaxed, and the band seemed most concerned about making sure they would be ready in time to catch the nights fine support band Pictureframes, who were playing their first gig and would no doubt appreciate the support.

At around 9pm Cindy took the stage. As their set unfolded I became completely immersed. The band creates small worlds of sound which, for the initiated like myself, immediately feel like home. For the uninitiated however, there is work to be done. The songs aren’t always immediate, and require commitment and the full attention of the listener. As Karina put it herself so perfectly on one of those previous long rainy strolls, ‘You kind of have to meet me halfway.’ With that in mind it was fascinating to hear the initial gentle patter from the back of the room gently dissolve as one by one people began to really hear, and really FEEL what they were in the presence of. Records were bought and signed, equipment was gathered up, and then slowly the venue wound down.

Post gig we retreated to a small local pub, where what could have merely served as a footnote could possibly end up providing me with one of the most enduring memories of the entire day. The band, relaxed and at ease, talking movies, sharing stories, with me somehow there at the heart of it all, at once in awe and completely at home.

All that remained after that were hugs in the Hostel hallway, as the band went one way and I another. The following morning I travelled back to the South East, walking a little taller and dreaming a little bigger.

https://cindytheband.bandcamp.com/album/why-not-now

http://www.mtstmtn.com/audio/mtn-44-cindy-why-not-now

https://noodsradio.com/shows/24-cindy

Index For Working Musik – Dragging the Needlework for The Kids at Uphole

Index For Working Musik is a new venture out of London featuring Max Oscarnold (Proper Ornaments/TOY), Nathalie Bruno (DRIFT.) Bobby Voltaire (Proper Ornaments), Joe Loftus (TOY), and Edgar Smith (J.C Flowers.)

Two things had me excited for this new project when it was announced. Firstly, it was the opportunity to have Max Oscarnold’s compositions at the forefront, after finding his captivating lyrics and driving psych grooves the highlight of the last two Proper Ornaments albums. Secondly, it was the fact he was working with Nathalie Bruno, who’s DRIFT. project provided one of the electronic highlights of my 2020. It’s those two contrasting elements that are the push-pull driving dynamic at the heart of this album.

The pre-album singles, as good as they undoubtedly are, don’t really do justice to how diverse and deep this record is. This is serious music for serious times, be it the broken harmonies that rise up against the fractured drums of closer Habanita, or the unsettling double bass scrapes that flow beneath Athletes Of Exile. The increasingly futile “set me free” chants of psych-blues jam Ambiguous Fauna provide yet another highlight, and if one song here shows how hard this band can swing live, it’s this one.

Bruno’s uncompromising bass is a constant highlight, reaching its peak on the dirty electro instrumental Isis Beatles. This track perhaps best captures the overall mood of this album. Psychedelic grooves rendered slate grey by the imposing chaos that surrounds us all, closing in as we fight, fly or freeze.

Repeated plays bear the biggest rewards with this LP, I find myself finding new things to love with each listen. What I first considered an enjoyable side project is now, in my mind at least, elevated to something much higher, much deeper.

Out now via Tough Love Records, another essential release from one of the very best labels out there doing it.

https://indexforworkingmusik.bandcamp.com/album/dragging-the-needlework-for-the-kids-at-uphole

The best music… report 1

Flowertown – Half Yesterday (Mt.St.Mtn/Paisley Shirt Records)

I was first introduced to the wonderful San Francisco indiepop scene by hearing The Reds, Pinks & Purples (Glenn Donaldson) back in 2020. From there I’ve fallen in love with the likes of Cindy, Tony Jay, April Magazine and countless others playing woozy lofi dreampop that is both barely there and everywhere all at the same time. (For further reading on the wider SF scene I heartily recommend a read of this wonderful piece by Mariana Timony, published late last year… https://daily.bandcamp.com/scene-report/san-francisco-indie-pop-list)

Flowertown comprises Karina Gill (Cindy) and Mike Ramos (Tony Jay/April Magazine) and this is their third vinyl release. The title track ‘Half Yesterday’ has just dropped and it’s wonderful. Less tape hiss induced atmospherics on this latest cut, with more clarity in the melodies and some gorgeous keys weaving in and out of the mix.

We live in the strangest, most chaotic of times, and this music gives me another space to exist in, a space where time moves along a little slower, and all those little in between moments that matter so much have room to flourish. I recommend repeated listening, because once it clicks you’re letting yourself into the most beautiful of worlds.

https://paisleyshirtrecords.bandcamp.com/album/half-yesterday

https://flowertownsf.bandcamp.com/album/half-yesterday

XAM Duo – II (Sonic Cathedral)

This is the second album from Yorkshire duo XAM Duo, and they weren’t at all on my radar until my local record shop South made it album of the week. I clicked through and for once the label press release spiel enticed me in rather than completely baffle me as is often the case these days.

This is beautiful meditative electronica (or even Jazztronica if I may?) We start and end with beat driven synth bass enthused tunes, and in between go deeper and deeper inwards with ambient soundscapes that put me in mind of the dreamier end of the Lost In Translation soundtrack. The wonderfully (just about) restrained saxophone that weaves in and out of this album gives me the ‘In A Silent Way’ feels at times, and adds yet another layer to this short but affecting record.

Any time I’ve been starting to feel a bit chaotic these tunes have been pulling me back together, and anything bridging the gap between 90s techno and 70s Miles is an absolute winner in my book.

https://xammusik.bandcamp.com/album/xam-duo-ii

MYTBE – Moody (self released)

Instagram stories from like minded souls can be a fine way to pick up on new music and so it was for me with London based MYTBE. Somebody linked through to her 2021 jam ‘Tied’ and I was hooked. A stunning voice, raw lyrics and a sound that was equal parts introspective acoustic and expansive electronic. (The live version on YouTube remains one of the finest things I’ve seen on there in recent years https://youtu.be/K2t6s6L1t8E.)

‘Moody’ is the latest MYTBE release and this time we are as stripped back as we can get. The purest of vocals that cracks with emotion as the song develops, with a beautifully fragile picked guitar backing, jazzing rather than folking as it unfolds slowly. This isn’t your standard verse/chorus songwriter stuff, this is a song that goes exactly where it feels, and every note pulls you along with it. So good.

Plantman – Days Of The Rocks

Matt Randall, accompanied by a close knit family of fellow Essex based musicians, has been releasing albums as Plantman since around 2010. Beautiful, enchanting collections that have consistently enriched my life since stumbling upon his stunning ‘Whispering Trees’ album in late 2015.

In 2016, I was fortunate enough to catch Plantman live at the Leigh Folk Festival, where the band turned in one of the finest local live performances I’ve ever witnessed. Here’s ‘Slow Design’ from that perfect Sunday afternoon…

My late 2020 was brightened considerably by whispers of a new album, and now in early December here it is. Days Of The Rocks. It might just be his best yet.

This time out Matt is assisted by long standing bandmate Adam Radmall, with support from musical allies Roy Thirlwall/Michelle Bappoo (Melodiegroup), Leighton Jennings (Dark Globes) and recording engineer/studio wizard John Hannon. All of these contributors add their own colour and flavour to the album, whilst never overpower the homespun essence of Matts writing.

Highlight is the wonderful High Hopes, recorded largely at home on 8 track before being ‘tidied up’ at NO studio, where the album was predominantly recorded. The low key drum machine ticking along puts me in mind of those gorgeous early Durutti Column sides, and the sweeping instrumental passages echo peak New Order (think Your Silent Face, but with guitars in place of synths).

This is probably Matts most direct statement to date. Most songs clock in around or under the three minute mark, and not a single second is wasted. 2020 has pulled most of us to the very edge of our being, so when the title track asks us “did you ever feel young…?” it hits me like a train, every single time.

Matt is a gardener by trade, and he always paints this beautifully into his music. Listening to this album I hear the sun rising, winter rain, the budding of spring… it’s all there waiting to be discovered. The album is currently available digitally via Bandcamp, ahead of a full release next year. Dive in folks, you’ll never look back.