Noto solo ora, non sei il primo italiano/europeo a chiederselo, gli americani preferiscono "Mary" come me, e visto che la maggior parte delle copie sta finendo in mano loro non mi pento certo della scelta fatta
Qualche recensione, prima di lasciar morire il topic:
Vermillion Sands: s/t 7" (Rijapov)
Sapete quando vi capitano sotto mano dei dischi, e all’improvviso vi rendete conto che quella che tenete tra le dita è roba che scotta?
Ecco, i Vermillion Sands sarebbero capaci di provocarvi ustioni gravi. Bastano davvero pochi secondi del loro singolone killer Mary per capire che questi ragazzi di Treviso hanno tirato su un sound che in Italia non si sente da decenni. Così, smaltita la botta, vi metterete a ballare forsennatamente sul loro garage sporco e puro, e benedirete la Rijapov per aver pubblicato un 7” così. Sarà la voce di Anna che dondola selvaggia e strafottente a metà tra Janis Joplin e lo swing delle girl band 60’s, sarà che anche gli altri membri del gruppo ci sanno fare e attaccano con lo skotch il rock ‘n roll di una volta a dei ritornelli micidiali, delle linee di basso che ti vibrano dentro e una batteria che pesta duro, o ancora sarà lo zampino dei Mojomatics che aiuta a far quadrare il tutto. Sarà quello che vi pare, ma una volta che poggerete questo eccellente sette pollici sul vostro giradischi non troverete più una buona ragione per toglierlo.
Nur Al Habash/Vitaminic
Vermillion Sands: Mary - 7" - Rijapov
Che dire, è una piacevolissima sorpresa questo singolo dei Vermillion Sands, ovvero Anna alla chitarra e voce più membri dei Mojomatics e dei Movie Star Junkies a completare la line-up. Mary è una garage pop song per giornate uggiose, praticamente perfetta in tutti i suoi elementi. Wake me when i die e Would you kindly direct me to hell (un plauso solo per i titoli) completano un tris vincente: macchiata di fuzz la prima, pennelata di lapsteel la seconda, entrambe le canzoni filtrano con il formato country sotto l'imperturbabile guida canora di Anna, che nel frattempo si appresta a ricevere, l'attestato di Holly Golightly italiana. (8).
Fabio Polvani/BLOW UP ottobre 2008
Vermillion Sands s/t 7" (Rijapov)
Dall'Inside Outside Studio di Treviso arriva bello fresco questo 45 giri con tre pezzi di scanzonato garage folk, dal sapore retrò ma dal tiro molto attuale.
La cantante e chitarrista Anna muove il suo timbro sornione e indolente tra batteria e lapsteel (di Davmatic e Mojomatt, per l'occasione), Wurlitzer (di Nene dei Movie Star Junkies) e sintetizzatori (di Be Invisible Now): i pezzi sono essenziali e trascinanti, con il singolo lancio "Mary" che ha già fatto drizzare le antenne a qualche importante etichetta americana (meglio comunque dirlo sotto voce). Molto buone anche "Wake Me When I Die", con un giro alla Lee Hazlewood tipo "These Boots Are Made For Walking" e la conclusiva cover "Would You Kindly Direct Me To Hell?" di Dorothy Parker.
Insomma, progetto molto chiaccherato e di rosee aspettative: mi dispiace solo di non essere riuscito ad accaparrarmi l'edizione limitata del 45 giri in vinile rosso, ma magari ci riuscirete voi a qualche loro concerto. Se il garage è il vostro pane quotidiano fate anche un salto sul sito della Rijapov Records, etichetta bresciana molto attenta che ha stampato questo disco
Mario Panzeri/Rockit
Vermillion Sands - Mary 7″
The Vermillion Sands 7″ has been a favourite around 7/10/12 HQ for the last few weeks, and I’ve been trying (unsuccessfully) to articulate what I like about it, other than the fact that it sounds exactly like the kind of record I like, and exactly the kind of record that you might like as well. Both of the songs on the b-side make me salivate over the kind of alternate-universe, “what-if” scenario of country music taking the path of stripped down garage shakers instead of the slick, pandering road it took. The A-Side “Mary” is easily one of my favourite songs of the year, a song that is so palatable and fun that I can’t help but leave it on repeat. Like this to the point that I went through the effort to do my own vinyl rip. Essential 7″ here, and I predict it being on a bunch of year end “best-of 2008″ lists.
(7/10/12)
Vermillion Sands "Mary" 7"
Super-cool little record from Rijapov that I didn't see coming at all. Vermillion Sands is a lass by the name of Anna on lead guitar and vocals, who does a good job of being the Italian version of Holly Golightly. She's accompanied by Nene from Movie Star Junkies (who are a surprisingly great Italo-garage band in their own right) on bass/piano and gets a helping hand from both Mojomatics as well. The title cut is sharp garage-pop with an edge, semi-tough fuzz guitar offsetting her vocals, a really great hook with some slight keyboard touches and someone called Be Invisible Now throwing in some weird sound effects here and there. Killer song. B-Side references the blend of country and rock'n'roll Holly utilizes so sublimely, "Wake Me When I Die" is light-hearted lamenting with an infectious chorus and "Would You Kindly Direct me To Hell?" is homespun C&W twang with a woman's touch. Really stellar stuff here, especially for a Holly G. fan like me, as it's so strikingly similar. It sidles up perfectly to what she was doing around 'God Don't Like It' and 'Desperate Little Town' LPs, when she was collaborating heavily with Dan Melchior. Very well done, highly recommended if you're into this sort of thing.
(RK/Terminal Boredom)
Vermillion Sands 7" EP
(Rijapov)
Freewheelin' folk-garage strum with strong, multi-tracked female vocals. They're from Italy, I think, gauging from singer Anna's accent, but their grasp on this particularly American style of music is full, and the results are very satisfying. "Mary" is the strongest cut here, kind of bringing the same sort of reckless, playful vibes that the RTFO Bandwagon single did – big barnstorming riff, and a swinging, lackadaisical gait about the rhythm section. "Wake Me When I Die" inches towards another tradition – the girl group, as realized by thee Headcoatees, and Holly Golightly manages to shadow all three tracks here in the same instinctive ways. Excellent work, can't stop listening to it.
(Still Single/Dusted Magazine)
Vermillion Sands - Mary 7"
Vermillion Sands may be from Treviso, Italy, but that doesn't stop the quartet from churning out solid American-styled garage meets country-rock'n'roll. Fronted by the Italian version of Holly Golightly, Vermillion Sands' single "Mary" is a catchy as hell garage-pop number with a killer hook, swinging bassline, weird electronic manipulations, and a tough fuzzed-out guitar set off by the snarly infectious vocals of lead guitarist Anna. The edgy single has had me hooked by the balls from the opening line of "Oh rainy days well I can't stand you any more…" Sorta like another "Mary" that I know.
The country-rock'n'roll b-side "Wake Me When I Die" reveals more of the Golightly and Johnny Cash Americana influence with a twangy guitar and trudging rhythm section. The 7" is out now via Italian imprint RIJAPOV records.
(Friction NYC)
VERMILLION SANDS MARY 7" | Rijapov
Was machen eigentlich Matt und Dav von den MOJOMATICS, wenn sie nicht auf Tour sind? Na, sie helfen ihren Freunden respektive Freundinnen, etwa Anna und Nene von VERMILLION SANDS. Die kommen aus Treviso in Italien und sind sowohl musikalisch wie geografisch nicht weit von den Mojos entfernt: Für mich klingen die vier Songs auf dieser süßen, roten Vinylscheibe wie eine etwas langsamere, verschmustere Version der MOJOMATICS mit der kleinen Schwester von Holly Golightly an Mikrofon und Leadgitarre. Einfach hübsch! Wie wäre es mit einer gemeinsamen Tour? ( 8) (Joachim Hiller/Ox-Fanzine#79)
Ovviamente, per ora, meno amore nei confronti di Alderman Swindell
Alderman Swindell - Loved Me Back 7″
Londoner Alderman Swindell has a sweet innocence to his songs, which evoke every movie about high-schoolers in the 1950’s that were made in the 1980’s. You know the scene in those movies where all the teenagers are in the gym doing “the swim” and “the twist”, and everything seems so “in place”? That is this 7″, filled with nice singing, simple melodies and that “everything in its right place” quality. Instantly likable.
(7/10/12)
Alderman Swindell "Loved Me Back" 7"
Alderman Swindell is one chap from London playing all instruments and home-recording. Sounds like he's using a laptop/ProTools and not keeping it real with a shitty 4-track or tape deck. Pretty fucking slick is what I'm saying. Mostly acoustic guitar (multiple tracks worth), bongos/tambourine percussion and some slight drums, keyboard/piano, handclaps, multi-tracked vocals and smooth back-ups. Very poppily twee, but blandly so, even Beatlesesque at times, and not in a good way (if there even is a good way to sound Beatlesesque)...think So Cow, but without the child-like charm and not as crafty a songwriter. Pretty rote stuff, no surprises. Well, the song "Restraining Order" borrows liberally from "Tequila", that's surprising (unintentionally so, I assume). Kind of an odd release from Rijapov, not sure what Gigi was thinking here. Maybe he was hypnotized by Alderman's movie-star good looks, proudly on display on the back cover. Who knows.
(RK/Terminal Boredom)
Alderman Swindell - Loved Me Back 7”EP (Rijapov)
Unassuming, lightweight acoustic pop, traversing a narrow path between early rock and twee pop. Not really catchy enough for the latter or swingin’ enough for the former. Eh.
(Still Single/Dusted Magazine)
ALDERMAN SWINDELL - LOVED ME BACK 7" | Rijapov
Aldermann Swindell ist ein Mittzwanziger Londoner Singer und Songwriter. Er mag die schönen Dinge des Lebens: billigen Rotwein aus Tetrapaks, jungen Damen die Tür aufhalten und dabei in der eigenen Kotze ausrutschen etwa. Ein sensibles Gemüt eben. Und Alderman hat sich von einigen Freunden Instrumente und ein Portastudio geborgt, sich in die Dachkammer verzogen, und dort ein Demobändchen eingespielt. Drei dieser zauberhaften Liedchen hat das Rijapov-Label auf Vinyl gepresst. Und so können wir nun endlich auch diese lässigen, von akustischen Gitarren, Rhodes-E-Piano und Mambo-Percussion getragenen Stimmungsaufheller genießen. Aus "Loved me back" scheint mindestens so viel Sonne wie aus "Concrete and clay", und die B-Seiten-Stücke swingen nicht minder. Charmanter Einstand, junger Mann, bitte mehr! ( 8)
(Gereon Helmer/Ox-Fanzine#79)
