I don’t know how many of you were listening to Amazing Radio on Sunday afternoon. If you were, and you happened to catch the second half of Bethan Elfyn’s show, you may have also noticed the part where Beth took a break and some weird guy started talking about Dutch indie music. Well, I was that weird guy. In case you missed it and would like to hear it for yourself, you can listen again on the Bethan Elfyn Show page on amazingradio.co.uk (I start talking just before the 96 minute mark).
On the show, I covered some Dutch indie bands and one of my favorite Dutch labels. I only had time to talk about two bands, but if any of you remember our Dutch Week we had here a few years ago, you probably also remember that there are far more than two good Dutch bands. So, I promised I would write a post to highlight some of the other artists who, sadly, had to be left out of the final broadcast.
The first track I played was “Destroyers of Worlds” by The Sugarettes. Some of you may remember The Sugarettes from Dutch Week, at the time, they were pushing their first LP on Subroutine Records call Love and Other Perversities (a good album, which I still own, and one you should pick up). Earlier this year (March, I believe) The Sugarettes released a new LP, Destroyers of Worlds, which I’ve been listening to constantly for a couple of months now. If I were to pass judgment on it (which I will), I would say it’s a more mature work than Other Perversities was. They’ve really got the girl-fronted nerd rock thing down, and it’s working out nicely for them—kind of like if The Coathangers formed a Blondie tribute band. And if this sort of nerdy indie rock is your thing, you’ll definitely want to check out the various other projects The Sugarettes are involved with. Joep van Son has a few of them. We covered the boy-girl indie rock of The Very Sexuals a few years ago, but Joep is also a member of Nikoo a noise pop ensemble. He has also recently launched Waste No Fun, a collaborative indie pop project with Sydney-based illustrator Bas van Genugten, releasing a free lo-fi single every six weeks, which also offers limited edition prints of the artwork. The Sugarettes’ lead singer Mariska Louman also has a shoegaze-inspired band of her own called Iskaa and the Red Cars, who just recently released their first EP.
And while we’re on the subject of Subroutine Records, they have recently released the first LP from noise rockers Space Siren. When I first heard Space Siren a couple of years ago, they had only ever released a seven inch, and that several years before I heard them. I just assumed that they had disbanded. I never expected to see an LP from them, nor did I expect it to be so well-worth the wait. The band’s debut LP, Mr Wagner, Please Give Us A Call, is on the noisier side of the Subroutine spectrum, certainly more so than The Sugarettes, but it’s far from being noise for the sake of noise. There is almost a sort of shimmering violence with a glamorous tinge about the ten tracks that make up Mr. Wagner, which is apparent in the video for the single “Oh My God, Someone Killed Kelly”, for instance. It’s sort of a shoegaze ethos with a post-riot grrrl attitude (think My Bloody Valentine covers “I Think I’m Paranoid” by Garbage).
Of course, it’s an unfortunate reality of the guest appearance business that you never have as much time as you want (or even need), especially if you’re as prone to enthusiasm as I am. (Seriously, I’ve written 600 words so far, and only really talked about two bands.) And one of the most heartbreaking cuts I had to make was an entire label, namely Snowstar Records. For those who prefer the softer side of DIY, Snowstar is a great place to look (though not always—you’ll also find things like the mid-’90s inspired indie rock of Lost Bear). We covered the lo-fi electronic folk of The Secret Love Parade a couple of years ago. Since then, in February, the girls released their second LP on Snowstar, Mary Looking Ready, which builds promisingly on their previous work, achieving a fuller and more singular sound than ever before while still maintaining the relaxed, almost conversational feel of their self-titled debut LP.
Also on Snowstar, you’ll find the frighteningly prolific and equally talented I Am Oak, who seems to have a new single or album out every time I check the label’s Bandcamp page. Usually, turning out music at such a pace would send up red flags all over the place, but there’s something about I Am Oak that keeps me coming back for more. Maybe it’s the melodies and sparse textures. Or it could be the harmonies and haunting vocals. Very rarely do you see someone do so much with so little. Here is a the first I Am Oak track I ever heard, “Gold and Porcelain”, which you can find on this free Snowstar compilation:
Which brings us to Kim Janssen of The Black Atlantic, whose most recent solo record, a beautiful folk concept album called Ancient Crime, which draws on the character and ethos of the northwest of England, was released on Snowstar Records in March of this year. And, speaking of The Black Atlantic, I have to come clean and admit that they released a new EP on Beep! Beep! Records early this year which I have failed to review here or even make sufficient public mention of. Which should not, in any way, be considered a reflection of the EP itself, which is, in fact, absolutely gorgeous. If you were listening to the Bethan Elfyn Show when we played the title track “Darkling, I Listen”, you have, most likely, already figured this out. If you missed it, head over to amazingtunes.com or to the band’s website. You can listen to the whole thing there and it’s well worth your undivided attention. The five tracks on Darkling, I Listen fit together so seamlessly, they function best as a single piece of music, featuring all of the lush harmonies that were the hallmark of the band’s Reverence For Fallen Trees, Geert and company also make fine use of the sort dramatic, subito dynamic changes that characterize the longer form choral works of Arvo Pärt, for instance, and which jar the listener to beautiful and hypnotic effect.
I should probably start wrapping this up. Congratulations if you’ve managed to read this far. You actually have an attention span, which is an increasingly rare thing. (You’re practically a collector’s item!). There’s plenty more to cover, but I’ve already kept you too long. If you’re curious, go back and read some of those old Dutch Week posts. There are a whole lot of other tips and leads in there that I didn’t even bother to rehash in this post (as much as I would have liked to). But as it stands, I’ve already given you about a day’s-worth of music to check out, and that’s enough for one night.
Don’t judge, but we’re back at Subroutine for this one. Vox Von Braun reminds me a of a less folky Blitzen Trapper in their sound (until the guitar riffs)–they’ve got that unidentifiable perfect balance, where everything just works. I’m picky about sound, and they’ve found the spot where the music moves (it’s going somewhere, thank goodness), it isn’t too heavy or too dark, and it isn’t poppy twee, it’s just good freaking rock’n’roll. Way to go, guys, I’ll jam to you in my car anytime. If I can get your album, that is. 
I told you it was coming, didn’t I? And Bearsuits is one word. How to describe them? I don’t know, what would you expect from a band with such a name? Probably that’s what you’ll get. They’re from Utrecht, Netherlands and they’re on the Badmintone record label but I’m pretty sure they’re singing/growling/yelling in German. To be quite honest, I probably wouldn’t listen to this music, you know, every day, but it’s still fun electronic indie-pop that I would dance around to. As they describe themselves, “in a deep forest somewhere in germany, three boys in bearsuits are playing music for the animals that live there, sometimes they come out of the forest to play their music for humans.” Um, will you play for me, boys? Check out their myspace: 
The Sugarettes. This is another one from the Very Sexuals family. I have been loving this music all week, but have avoided talking about it because I didn’t want Dutch Week to turn into some kind of Partridge Family orgy. But we may as well go out with one incestuous bang. Their debut Love and Other Perversities was the sexiest album of the year according to Incendiary Magazine and I am not going to argue with them. Filled with boy-girl vocals (which you know I love), hand claps, youthful exuberance, and maybe a prostitute and a porn star or two, this is one album that is immediately addicting. 
NEONBELLE. We’ve been slipping it into the conversation all week, so I won’t say much about it here.This is even more from Pien Feith of, you guessed it, the Very Sexuals. Originally conceived as part of the In A Cabin With project, the trio found their sessions to be so fruitful that they will continue to work together as NEONBELLE in the future. Picture something like Feist meets Regina Spektor with Emilie Simon’s propensity for electronics and found sounds and a dash of John Adams (the composer, not the president) thrown in for good measure. Download the album at 
Hit Me TV. Singer Jaap, of Hit Me TV probably could have fronted any number of hair bands back in the 80s, were he more than 10 years old at the time (which I am fairly certain he wasn’t). Think the drive of the Killers’ Hot Fuss with less synth, more funky guitar work, and freaking powerful vocals. Maybe something of a cross between early Killers and Scissor Sisters, with more than a dash of danceable 80s power pop. If you’re a freak like me, may even be able to hear a bit of the Rumble Strips here and there. (I am seriously weird, though.) I freaking love this. 
Hospital Bombers. The name sounds ominous, I know, but I have it on good authority that Hospital Bombers are the best band in the Netherlands at the moment. Since I live way over here in Not the Netherlands, I will have to take his word for it. The quality of the music would seem to support his opinion. They have a seriously tight sound often reminiscent of the garage rock of the late 60s complete with Hammond B3, or like the Doors but faster and sober and with a girl. I like girls. I also like Hospital Bombers (five words you should never utter at an airport). Check out “The Devil’s Music” and “Neighbourhood”. 
Skipper. Still more from Subroutine (can you tell we really, really, REALLY like them?) It’s very Phil Spector (without the crazy wigs and, presumably, murder conviction) with, yet again that vintage 60s aesthetic, at times reminiscent of the Beach Boys, see “Wasted”. Overall, there is a pervading and not at all unwelcome sweetness running through the five tracks posted on Myspace. It’s kind of trippy and really cool. 
The Indie Handbook 