Pink Floyd – “Meddle” (1971)

Based on what you hear on classic rock radio, you could be forgiven for thinking that Pink Floyd only released two albums, Dark Side of the Moon and The Wall.  OK, maybe sometimes you’ll also get a song from Wish Your Were Here, specifically one of the songs not called “Shine On You Crazy Diamond”.  There were a few great songs on A Momentary Lapse of Reason, though I couldn’t tell you how long it’s been since I heard either one of them.  Meanwhile I can’t seem to go more than an hour without the radio giving me “Comfortably Numb”, “Another Brick In the Wall (Part II)”, or “Time”.  All of which are great songs.  Tremendous songs, quite frankly.  But what about poor Animals?  It’s like that album never even existed.  Where’s the love for “Pigs (Three Different Ones)”?  As for anything recorded prior to A Dark Side of the Moon, it may as well have been recorded by a completely different band named Pink Floyd given how widely it’s ignored. (♠)


Which brings me to Meddle.  I’m spinning this for the first time in, I don’t know, probably 30+ years.  And frankly I’d forgotten how excellent it is.  “One of These Days” is truly one of Pink Floyd’s best songs, and if “Fearless” had been on Led Zeppelin IV, which came out the same year as Meddle, it would be played on classic rock radio daily (though I’m not sure Zep could have pulled off the “You’ll Never Walk Alone” sample at the end).

Not sure why Meddle is so overlooked.  Sure, “Seaums” is weird, and the entire B side is given over to a single 23+ minute track.  But there are still some truly great songs here.

(♠)  Floyd fans, I’m not dismissing these works.  On the contrary.  I’m just pointing out that they basically don’t exist as far as most people are concerned, but that in fact they’re worthy of being played just as much as their more popular brethren.  So please, no hate mail.

Lenny & Squiggy – “Lenny and the Squigtones” (1979)

lennysquiggy1Two girls grew up in the Bronx, only four months in age separating them.  I don’t know if their paths ever crossed, the Bronx and New York City as a whole being a massive place and teeming with people when they were growing up in the 1940s and 50s, but there’s a decent chance that at the very least they were in the same place at the same time at some point.  On a bus or a subway, in a store or a movie theater… or maybe just passing one another on the sidewalk.  Both girls were named Carole, and both spelled it with an “e”, the extra letter something that one of them always mentioned when telling someone her name to ensure her name was spelled correctly.  The Bronx hadn’t fallen into the arson-ravaged squalor that would overtake it in the 1970s, but parts of it were still pretty rough and poor.  One of the girls grew up and became an actress, and later a director, won some awards and even has a star on the Hollywood Walk of Fame.  The other went to work for a sugar company, met a guy, got married, and later became a hair stylist and managed an entire region’s worth of hair salons.  She also had a kid who, in his 40s, started a vinyl blog.


My mom and Penny Marshall had something else in common, besides both being girls named Carole who were born in the Bronx in the mid-1940s (“Penny” is actually Marshall’s middle name).  They looked a lot a like.  A LOT.  Plus of course there was that Bronx accent, and they had pretty much the same hairstyle.  So when Penny Marshall’s show Laverne & Shirley became a big hit in the late 1970s/early 1980s some of my mom’s friends just started calling her Laverne.  Needless to say I always had a certain attachment to that show, a show that also spawned another significant acting career, that of Michael McKean who played the goofy neighbor Lenny and later became recognizable to rock fans everywhere as lead singer and rhythm guitarist David St. Hubbins of the band Spinal Tap.  McKean and I have an odd connection in that we both attended Carnegie Mellon University (though he graduated from there, while I did not).  McKean and his Laverne & Shirley partner-in-crime David Lander (a.k.a. Squiggy) put out an album in 1979 as their show personalities Lenny & Squiggy (♠), an album that also included Christopher Guest, who later joined McKean in Spinal Tap as Nigel Tufnel.  Oh, and did I mention I saw McKean perform live with Spinal Tap as part of the Break Like the Wind Tour in the early 1990s?  It all comes full circle.

Lenny and the Squigtones is a live performance, a blend of music and comedy done entirely in character.  Musically it’s early-style rock ‘n’ roll with a bit of rockabilly thrown in for good measure, and “King of the Cars” could be a lost Beach Boys classic.  The lyrics are funny and at times absurd, but what’s notable is how good the band sounds.  I get it, it’s a comedy record to some extent, but these guys know what they’re doing much in the same vein as the Blues Brothers (the keyboardist on this album is none other than Murph Dunne, who played keys for said Blues Brothers).  The show is recorded in front of a live audience and the sound quality is surprisingly good.  My guess is it will be more enjoyable if you actually remember the characters from Laverne & Shirley, but if you’re down with some goofiness you’ll probably find yourself smiling from time to time.

As far as I can tell this was never re-released, and given that it’s a bit of a period piece that isn’t a surprise.  Some copies come with a fold-out poster – mine includes a stick on the front noting this.  So if you pick one up, looking inside to see if you’re getting the poster as well.

(♠)  The pair actually came up with and performed as Lenny & Squiggy prior to being cast in Laverne & Shirley.

Hank & Tank – “Last Call For Hank & Tank”

hanktankHank & Tank are Henrik Björnsson (Hank) and Þorgeir Guðmundsson (Tank).  Þorgeir is a filmmaker, while Henrik is probably better known for his other band Singapore Sling.  It’s been a decade since the duo’s debut, 2009s Songs For The Birds, but fortunately for us Hank and Tank are back together again and putting out some great music.

Last Call For Hank & Tank opens with “Drive On”, a simple, dark, David Lynch-esque song that somehow takes some very basic playing and turns it into something rich, sonically dense, and mysterious, a brooding soundtrack to an early dusk drive in the middle of nowhere with nothing else to do except drive on.  The addition of the simmering Keren Ann’s vocals to “Same Old Song” only serves to make things even more sombre, the interplay between her and Henrik calling to mind a lost relationship, one that both parties know had to end but miss none the less.

Musically the compositions remain methodical and chewy like liquified caramel with elements of slow psych and surf, a structure that means even the slightest guitar flourish can radically change the mood for a moment.  The vocals take on a languid, almost Western style, their matter-of-factness even when singing about hitting rock bottom (“See The Stars”) creating a mood of resignation, as if the world could treat the singer in no other way.  “I Wanna” is the one time things burst forth, the faster pace and distorted vocals more reminiscent of Singapore Sling.

You can listen to Last Call For Hank & Tank on Bandcamp HERE, and it looks like they still have copies of the limited edition (of 200) vinyl available there as well.  Hopefully these two will be playing Iceland Airwaves this year… but we’ll just have to wait and see.

Foreign Monkeys – “Return” (2019)

There are plenty of bands that only put out one album.  Foreign Monkeys appeared to be one of those bands.  After releasing π (aka ) in 2009 they played some shows here and there, but for all intents and purposes disappeared.  Their Facebook page went radio silent in late 2012 after the release of the single “Zoology” and it was another four-and-a-half years until we heard from them there again, when the band revealed a new banner that showed a brand new album… and then promptly disappeared for another 13 months.  But eventually we got the long-awaited follow-up to , the nine-song Return.


We picked up  at Iceland Airwaves in 2009 and I fell in love with it right away, especially “Los”.  There was a lo-fi-ness to the vocals but a strong structure to the music that appealed to me.  The album had a certain familiarity; while elements reminded me of other bands, taken as a whole Foreign Monkeys were doing something entirely their own.  Mostly rock with just a touch of hip hop for flavor, the songs were built around a straight-forward rhythm section with guitars and vocals combining to provide nuance.  For years I was bummed that we’d never seen them live, and as more and more Airwaves went by I’d pretty much given up hope that we’d ever get the chance again, let alone hear any new music from them.

But earlier this year Return came out in a limited edition vinyl pressing of 300 copies, so I immediately reached to to my vinyl pushers friends at Reykjavik’s Lucky Records and asked them to put aside a copy when it became available.  Because postage from Iceland has become insane I had to wait a few months until I had enough other items on hold to make it worth sending a box across the Atlantic. (♠)  But it was well worth the wait.

I caught up with guitarist and singer Gísli Stefánsson and had the opportunity to ask him some questions about Foreign Monkeys and their new album.

When  came out in 2009 it felt like the perfect sonic mix for the time – a hard rock base, lo-fi vocals, and maybe just a hint of hip hop for good measure.  How did that album come about?

We need to go all the way back to early 2005 when we were starting out. We wrote the first numbers “Bibi Song” and “Love Song” to be eligible for the Music Experiments (the young people’s Battle of the Bands in Iceland). Me and Víðir Heiðdal the drummer had taken part in the competition in early 2005 in another band and we had taken it pretty seriously. We didn’t make it to the final and got kind of a bad critique: “Great band but very boring”. We where devastated so it was really an escape when we got the offer to play in Foreign Monkeys. We then went to the Music Experiments in 2006 with Foreign Monkeys with no hopes of getting anything out of the competition. We only wanted to have fun.

Then we won the competition, quite unexpectedly, and were really forced into writing new music together, which hadn’t been on the agenda. We had no plan after the Music Experiments.  We wrote the rest of the drums, bass and guitars of in 2006 and early 2007 but then everything went sideways for a while. Our singer back then, Bjarki, parted with the band. When we think back we could have handled that differently. There where some things we could have done better and others we thought we had control over but really didn’t, but anyway we made a decision and decided to stick with it. At one point we almost quit but in the end we hired another guitarist, Leifur Björnsson, and me and Bogi Ágúst the bass player took up the singing. Bjarki ended up singing one song on Pí, “Los”. The lyrics in the title track, Return, on the new album tells that story in a way.

The main influences on that album were Queens of the Stone Age, The Eighties Matchbox B-line Disaster, Deftones, and Faith No More.

Ten years is a long time between the band’s first and second albums.  What were you guys doing in the years between and Return? What got you back together to record again?

We actually started writing and laying down the Return tracks in 2011 and then released “Zoology” which was supposed to be the first single of the new album. It worked pretty good. It got some attention on the radio and when we put on a show we had a good feeling about the new stuff. Then Leifur decided to quit the band and focus on other music he was working on. He felt he wasn’t able to contribute enough as he didn’t live in the same town as the rest of us and it was understandable. Then life took over a little bit and the spark we had faded away. I had few kids and all of us finished education and started our working carriers. We met a few times and “rehersed” to try to get it rolling again but the spark wasn’t there, not yet at least.

Then in early 2018 we decided to give it another try. We went straight into the studio this time and finished the album. We did not set any other goal other then to finish it. When it was done we found the spark again, played few shows where we saw lots of familiar faces as well as some new ones, and that felt really good.

Return is certainly recognizable as a Foreign Monkeys album, but it’s far from just being Part 2.  Musically it rocks harder, moving into metal territory at times, and the vocals, while still lo-fi, are much cleaner. What were the factors that helped shape the band’s current sound?

On  we had a producer, Magnús Øder of Benny Crespo’s Gang. Then we actually had some money to do the album as it was easier to raise funds when you had just won the Music Experiments. The new album we recorded ourselves in various locations, mostly with my studio gear. Then I mixed the album so it is as much of a Foreign Monkeys sounding album as possible.  We also made some changes regarding how we had produced the vocals. I skipped the screaming I had done a lot of on the first album and sang more melodies while Bogi carried out more of the main vocals, which forced him to sing more melodies as well.

was only available on CD, but this time around for Return you put out a limited edition vinyl release. Does the rapidly increasing popularity in vinyl offer opportunities for independent bands to generate more interest in their music?

In a market as small as Iceland that has moved away from the traditional CD releases to internet streaming of music it helps. Generally people like not only to listen to but also to “handle” the music, so to speak. There is always some information included in the artwork that hasn’t really found any good place in the streaming side of the industry in my opinion. It also becomes a process to listen to the vinyl. You might make a good cup of coffee or pour a flavorful IPA in a glass, put the album on and read through the artwork while you listen to the A side. Then you stand up to flip the record and listen to the rest. This is somehow nostalgic and you are treating the music with more respect. This is fashionable as-well. At least that is how I feel and seemingly so do many others as we have almost sold out the release. Our buyers and fans find it cool. Some of them didn’t even own a vinyl player when they bought the album, but have one now.

Any chance we’ll be seeing the Monkeys perform at Airwaves this year?

We have put in an application but most of the local bands won’t be announced until August. Hopefully we will be there. It’s been a long time since we played the festival. We have our fingers crossed.

Any up-and-coming Icelandic bands you’d like to recommend to our readers?

One of my favorites at the moment are Blóðmör. A classic powerful rock n’ roll trio who won the last Music Experiments. They just released an EP and are bringing around the hope that Icelandic rock isn’t only played by dinosaurs like us. Then our friends in Ottoman have released few singles and videos for an upcoming album. Fresh rock n’ roll. Then we like to mention Eldrún. The are bit heavier and darker. The have just released a promising album as well.


Return is not simply a continuation of , though there are clear similarities in some of the riff structures and, to an extent, the vocals.  It certainly isn’t a stretch to recognize this as being the same band.  Stylistically it’s contemporary, just as  was a decade ago.  Right from the opening fuzz of “Won’t Confess”, I’m hooked, a song that changes directions multiple times, announcing that this isn’t 2009s Foreign Monkeys.  While the vocals remain filtered through layers of sandpaper and cheap booze, the slower lyrical pace of tracks like “Overrun” make it easier to understand the words and follow the thread.  These are more mature Monkeys, more real, more honest in their sound.

“Omene” is probably the most familiar sounding track, one that would have been perfectly at home on , but that’s mostly due to the chorus – the rest of the song is a bit gloomier and heavier than its predecessors.  There are blues rock elements creeping into songs like “Hurricanes and Twisters”, while the fast tempo of “No Mistakes” borders on metal – there’s something on Return for just about everyone’s tastes.  The guys definitely still know how to rock.

You can still order vinyl copies of Return from the band on their website HERE.  It’s limited to 300 copies, and I don’t believe it’s available on CD – so if you want a physical copy, you’d better get on it.  You can also stream it on Spotify HERE.  As for me, I’m hoping the guys will get selected for Airwaves, because if they’ do you’ll probably find me right up front and center.

(♠)  Normally my packages from Lucky make it here to Seattle in about 7-8 days.  This time it was more like two weeks.  Why?  Well, it got routed through New York.  Queens to be precise.  Why?  There are direct flights from Reykjavik to Seattle daily.  I feel like that’s how prior shipments got here.  C’mon USPS, let’s not make this more difficult than it needs to be.

Terminal Sunglasses – “Wrap Around Cool” (1985 / 2016)

Over the last few years Toronto-based Artoffact Records has been re-releasing some early Canadian punk and new wave albums.  The label had a huge online sale a month or so ago and let’s just say I went a bit nuts – the prices were so low and I had just the right amount of wine in me that I couldn’t help myself.  Twenty minutes and $160 later I had 27 (!) albums ordered, both on vinyl and CD.  Oh, and that included shipping to the US.  So you can see why I may have gone overboard.


One of the records I ordered was the 2016 re-release of Terminal Sunglasses’ 1985 Wrap Around Cool, which appears to have been their only full-length album.  Surf-infused music, snarky lyrics, and ridiculous song titles (“Could That Be People Crossing My Lawn”, “My Cat Got Run Over By A Bus”, “The Coyote Finally Wins”…) come together in something that feels both ridiculous and poignant.  The 80s were, after all, a strange time when Gen Xers were finally old enough to have started their own bands and able to express how sick and tired they were of listening to their parents and grandparents talk about how fantastic the Baby Boomers were.  We weren’t a generation who rebelled against the previous one per se; we were more resigned to our fate in the Brave New World that we were now growing into.  Yes, we complained and talked crap about it.  But we also went to school like we were supposed to and got jobs because we had to pay the rent.

That’s what Wrap Around Cool feels like to me – humor on the surface but biting satire underneath, all of it covering a tamped-down layer of discontent.  And I love it.