Black Electric Guitar Images
Sun workhorse Re-imagine superteam psychedelic folk
psychedelic rock of the 1960s had two edges and two different strains. One was heavy and intense acid rock of bands like Buddy Miles' Electric Flag, zombies, and countless other fuzzer out, guitar bands will travel Sonic is mental. The other strain of music period went the way hippies, search and a return to lost innocence and authenticity. Some artists like Jerry Garcia found jug band blues and mountain swing. Others, like Donovan and the British band Pentangle, drawn from the rich tradition of Emerald Isle folk music (which went on mythology Celtic and magical creatures from another world, like fairies and elves, things you see, sometimes in extreme doses LSD, perhaps feeding the curiosity about the music.) This is the strain it has followed workhorse.
http://www.hobbyhorsecafe.com
http://www.myspace.com/hobbyhorsecafe
Given these influences begins with and creates a particular sound. It is organic in the sense that the duo - like Annie and Phil, who play a variety of guitars and other instruments, including harpsichord, organ and percussion of all kinds - Natural Sound like they play in the living room of a cottage in the woods for friends, instead of hearing "of" fans ". His new CD, break in the clouds, captures the essence of psychedelic rock, which is related to another world with mythology, occultism, fantasy and visions altered states (Chemically induced or not). lyrical tale is accompanied by music that is cinematic. The lush instrumentation and voice CD Dark Angel Annie give the listener with works most repeated - A disembodied guitar twang here, an agreement on this point, organ drones that sound like they come from another room in your home. Songs are memorable, including the sweet "Good Morning Moon," surreal "Museum" and my favorite, the mysterious "Melesina."
[Mark Kirby] What are your musical memories before?
[Annie] my first musical memories are of listening to the radio 70 hours. Positively many of these songs. The songs of this period often told stories. Although many of them were a kind of cliché, as they were sincere.
[Phil] My parents and my sisters were playing classical music with varying degrees of competence. When I was six or seven years, my grandmother gave me a transistor radio and I got along with me wherever I went. But even before that, I have my parents listened to recordings of popular songs of Woody Guthrie, Leadbelly and the Weavers. I could not remember a lot of long songs and difficult road before he could read. At the end of 1960, I used to listen to the FM radio of a meter. "Jelly Pudding" was the name of the show, hosted by "Xanadu Michael. "He later played, most fashionable band in San Francisco, England and other psychedelic scenes. These sounds really captured my imagination 10-years!
[Mark Kirby break] in the clouds opens with "Lullaby", a song that has the faint sweet but seriously the spirit of summer '67. The guitar comes with delicate arrangements supported by subtle percussion of tar (a part of Middle Eastern drum) and bass bodies. Annie's voice is delicate, ethereal singing the words that evoke lost innocence: "Snake in the Grass - lion in the tree / My love is good for me / The sun rises behind the eyes closed / Dream of a lullaby. "The full effect of psychedelic classics provided by the sitar, which penetrates the middle of the song, crawling on the listener as mushrooms after a full meal.
"Angus Og" says In the same way musically captures the feeling psychedelic sitar power to play the opening theme song of organs and dishes adorn this simple song about the dream life of a woman and be loved by Angus Og, the Celtic god of love. The lyrics, voice and instrumental texture similar to watercolor opaque veils its simplicity yet rich in its subtle complexity.
What are your individual musical past?
[Annie] I took piano lessons when I was a deaf child. It was not until college that I took a guitar. I did it because my friends have played all the instruments. I learned some chords and a couple of weeks, I from a collection of folk songs, how songs were constructed. I wrote my first song, before that I could not play. It was one of the most satisfying moments of my life.
[Phil] In 1965, he would pretend to play guitar with the Rolling Stones documents using an old tennis racket. My parents found out and bought me a real guitar, and I signed up for guitar lessons. One of my guitar teachers in the beginning was a jazz musician and he taught me to improvise. So each time I was playing my copy of someone in another style.
[Mark Kirby] What were the first group who were part of this guy?
[Annie] My first group was also the first real workhorse. I sang my songs and a friend plays the guitar, played bass. The problem was that I really could not play. We had a concert at a party for his friend. He got stoned before the concert that made it worse. I left there and has never played with or spoke to him.
[Phil] My first group was primary with friends 4. We played "Yo 'I'm Not Your Stepping Stone "(The Monkees)," Snoopy vs. The Red Baron "and songs like that. I played through an amplifier that my father built for me. Our drummer had a snare and a cymbal. Our keyboardist played my little sister Magnus chord organ. We practice a lot and one or two times in a variety of program community. When I was 10 I played in a rock band with some kids were more than 13 years. We had a girl bass player and a Hammond organ with drums and guitars. We played songs like "We Gotta Get Out of this place" and "Little Bit of Soul", not to mention the classic "In the Midnight Hour." I've been to several other groups throughout my teenage years and has played a lot of Bar Mitvahs during this period.
[Mark Kirby] What are your musical and artistic influences?
[] Annie The mentality of many of my songs is influenced by the mystical sound of Sunshine Superman Donovan and registration the evocative sounds of Pink Floyd. Some composers of the singer and I am influenced by Suzanne Vega, Kate Bush and Stevie Nicks. Led Zeppelin has made me more aware of riffs. No nothing like great riff! I studied Middle Eastern percussion and have developed my own style of percussion through these studies. However, all these influences, the truth is that I feel I have little control over how I look and write. I found that acceptance of my own limitations and the natural expression allowed me to be a musician, writer and artist.
[Phil] psychedelic rock of 1960 was my first major influence and obsession. In the 1970s, I discovered John Fahey and had a profound influence on my guitar work. A cousin introduced me to late period John Coltrane and Miles Davis (Bitches Brew, in particular), which opened a new direction. Karl Berger a lasting influence on me throughout my brief stay in Creative Music Studio in Woodstock, New York around 1977. I listened very closely all American music styles, music of most European countries, many of Indian music, and at least some music from any other culture in the world. I steal all ideas and concepts.
[Mark Kirby] How to reach the style of music you play now?
[] Annie is a natural collaboration between Phil and I is a combination of my style of songs and style of play Phil. We both like the dream, the psychedelic sounds of the '60s and recalls the the music sounds like Pink Floyd. Our sound comes from these influences.
[Phil warhorse music] is the sound of me and Annie each doing what best do and love what we do. Given works on the strengths of Annie as a composer, and at the same time allows me the freedom to create music that sounds like I've always felt music should sound.
[Annie] I named the band after the Dada art movement took place during WW1 Dada, Dada is another word for hobbyhorse. Horse Battle is also an obsession. The music is not a hobby for us. All the rest is a hobby. Music is the real thing. Finally, the most important sense workhorse emerged: Defend freedom of imagination. We describe our music psychedelic folk / rock. Sometimes we call it progressive folk / rock. It is complex and poetic.
[Phil] In the early Psychedelic Era, opened a door between the everyday world and the eternal world. It was like a spark very brief but very bright, and sparked many fires still burning today. workhorse of live music in the door between the world and acts as a conductor leading spark
[Mark Kirby worlds] magic evoked in most of the songs on this CD. "Museum" tells of a museum with magical instruments, a that could only exist in that twilight zone. However, consider a place even in a song, helps open mind to other possibilities. Is not this the essence of psychedelic music?
"Melasina" the most dark and strange songs workhorse. The music immediately conjures up images the Red Room of the Black Lodge, the place of evil in another dimension, the issue of Twin Peaks. Musically, this song captures the sense of another world dementia. As in the program Twin Peaks television and underestimated (horrible) movie, violence against women through a familiar, yet the symbolism used to attack innocent bad, weak against strong, and the assault on innocence. The music reflects that. dissonant guitars and keyboards without body sounds like distant thunder and wind, the first cascade note.
The voice sings in a monotone virtual environment into a patchwork of agreements annulled keyboard, guitars that sound like buzzing bees and sounds that evoke the atmosphere of the wide open spaces like the sea: "Your hands felt so familiar / As I stroked her cheek / soon transformed by the rage / I got shot in the background / ... The wind blows the waves / Midnight falls into the sea / I'm swimming against the memories / darken my dreams. "The music of words concise and emotional and visual combine to make a virtual movie in the mind of the listener, as part of good prose.
Its website indicates that you are influenced by myths. myths that culture is drawing? Why and how to apply them in your music?
[Annie] I write songs inspired by the myths from anywhere in the world and throughout history. The stories are timeless. He wrote the song helps me learn about the myth. I let my mind steeped in history. I can extract the essence of a character or event. He wrote the song with living history. I usually write the music first, then stand in history as pieces of a puzzle come together.
[Phil] Many of the songs I write are allegorical and use a lot of alchemical imagery. I am more familiar with classical Greek mythology Roman, Egyptian mythology to be more interest recently. I also studied a lot of world religions and draw from these traditions.
[Mark Kirby] When playing live, only two of you or if you have a larger group?
[] Annie Today, we realize that, as an acoustic duo. The sound is unique and different from our recordings. In the recording is played all instruments ourselves, but overlap in an array. And we played some electric and some instruments noise in our recordings. We intend to form a group in the near future so that we can play as a group or duo.
[Mark Kirby] You spent about a year on the new album? Why so long?
[Annie] The CD formed gradually through experimentation with the recording of your home. We recorded song by song and then realized one day that we had an album. Meanwhile, also designed the site. It was hard work. We had ideas that we wanted to achieve: the price-conscious choice, guest artists, a special section for people who register. I painted all the illustrations for the site. We wanted a break from live performance.
[Phil] Every song has a unique voice, a unique story count and a unique way. Annie never writes the same subject twice, the song or use standard forms. I put the same care measures. Each device is designed for the specific song. Nothing always uses the same combination of instruments, the same reasons, or even the same recording methodology. Therefore, we put a lot of thought into the writing and organization, and experiment a lot with recording techniques. It takes a long time!
[Mark Kirby] The song "Walking Away" is textured to resemble and evoke the image A convoy passes through a desert, which is created by combining the sound of bells ringing Melting under the Framework hum drum and guitar lines made long burning, stretching notes. This mixture of sounds is painterly in its composition. "Pheonixology" is an instrumental interlude. Perhaps Annie and Phil tried to put words and singing this and then realized I really do not need. A simple model Opens xylophone and anchors in song. The bells, organ and bass lines to play together until the end, an ending that promises more. Pregnant pause in the ending song empties into the said Og "Angus" including a mini-suite, a musical journey.
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