Tracklist
1. Intro
2. Monstah
3. Lie Quickly Down
4. Mind March
5. Liar
6. Dead Ol Harp
7. Belly Crawl
8. Bad Train
9. So So Souls
10. Doldrums
11. Abomination
12. Entropy
DURATA: 58:41
Retro Grave è il solo project che vede come mastermind il batterista Jeff "Oly" Olson, il nome non risulterà sconosciuto di sicuro a chi mastica metal da un po' perché si sta parlando del drummer dei mitici doomster Trouble nel loro periodo d'oro.
In effetti è da quelle coordinate sonore che prende vita questa nuova avventura, il vissuto e l'anima dell'album "Again", primo full uscito nel mese di febbraio, sono prettamente retrò, attingono ripetutamente da un background musicale di fine anni Settanta sapientemente miscelato con soluzioni epicheggianti della prima decade ottantiana, ma non si limiterà a questo.
Un lavoro completo che sa essere corposo e massiccio quanto variegato e sognante, c'è tanta carne al fuoco nell'operato di "Oly", fraseggi scuri e grevi sembrano preannunziare una vicina apocalisse, altri tendono a viaggi ampi, espansi in stile space, altri ancora impongono una progressione e dinamicità espressiva che par essere un fiume in piena.
Se non sapessi che il disco è di quest'anno (nel 2009 si poteva trovare solo tramite download) ascoltando "Mind March" come potrei non pensare di esser tornato nel 70'?Il platter possiede movenze feline, è intrigante, si muove di soppiatto per graffiare quando meno uno se l'aspetti ed ecco infatti che vien fuori una heavy "Liar" a darci una sonora sveglia stranamente seguita da una desolante e tombale "Dead Old Harp".
Con "Bad Train" tracce dei Pink Floyd più acidi si fanno vive, la sua particolare atmosfera è di quelle che acide colpiscono rimbalzando per le pareti del cranio senza sosta.
Se continuando l'ascolto è quasi inevitabile parlare di "So So Souls" o di ciò che le succederà visto che sia "Doldrums" che "Abominations" sono due pure perle, è con "Entropy" la canzone più lunga e accattivante del platter che i Retro Grave fanno un centro di portata strabordante.
Non vi erano stati sinora cali o distrazioni ma questi dodici minuti e mezzo racchiusi nell'episodio conclusivo sono l'esaltazione stessa di quanto le nostre orecchie han già potuto godere, dall'incedere umoralmente altalenante, fortemente influenzata dal rock progressivo si slancia trovando in più punti un contatto intimo e sofisticato.
La batteria ha un ruolo preponderante nel suo evolversi sempre maggiormente ricco e diversificato, un punto che sicuramente ha in comune con le altre tracce è l'uso fantastico dell'organo, adorna con i suoi tappeti sconfinati e delinea "Entropy" sino all'ultima nota scandita.
Dal punto di vista prettamente strumentale non si può non notare il lavoro svolto dal drummer sul proprio strumento madre, agile, possiede un continuo sviluppo avvallando soluzioni sia minimali sia di esecuzione ricercata con una naturalezza e tocco degni di chi ha vissuto giorno per giorno dietro le pelli.
"Again" non ha riempitivi, non ha innovazioni, se ne frega letteralmente di ciò che è il nuovo, è un album che guarda indietro facendo rivivere sensazioni che solo i grandi che hanno vissuto quel periodo hanno saputo regalare, Jeff "Oly" Olson era ed è fra questi.
Acquisto caldamente consigliato per chi ama la corrente più classica del doom.
Adem Tepedelen of Decibel Magazine recently conducted an interview with Jeff "Oly" Olson for the latest "Brewtal Truth" column. An excerpt is below.
"Doing the interviews for our Hall of Fame story on Trouble's Psalm 9 [Dec 09 #62], we were intrigued to discover that the band's former drummer, Jeff "Oly" Olson, worked at Allagash Brewing-- makers of fine Belgian-style brews-- in Portland, Maine. Though we didn't get to talk beer at the time, this was a revelation (cheap Trouble reference intended) that required following up. And what better time than the recent release of a new full-length CD, 'Again,' by multi-instrumentalist Olson's (mostly) solo project, Retro Grave." So, what do you do at Allagash? Jeff "Oly" Olson: I'm part of brewery operations. I get the beer to wholesalers and distributors across the U.S. It's a great job. What's your experience/interest in craft beers? Olson: I've always liked good beer, since I went to Germany in 1978. And being on tour with Trouble, we'd always be somewhere cool like Belgium, Holland, Germany or Italy, where beer was taken seriously. Back in the U.S. I got very interested in craft beers, and working [in that industry] was a great job for me to have while I was on different hiatuses from Trouble. I read that you recorded the drums on 'Again' at the Allagash brewery. How did that go? Olson: I had the drum kit set way up high above the tanks in a big concrete area up where we store grain. And I pointed it toward the big wall and cranked it out. On the third track, "Lie Quickly Down," you can hear the compressors [at the brewery] come on. I was gonna take it out, but I thought it was funny having it on there, I kept it. And it fits. The song is about riding around town in your hot rod, so when the compressors kicked on it sounded like an engine. Does Retro Grave sound at all like Trouble? Olson: It has elements of Trouble, but maybe it's a little progressive. Not progressive like Dream Theater; it's more like Pink Floyd-- soundscapes, experimental, orchestral-- but still dark and heavy. There are elements of Can in there-- like Can meets Black Sabbath [laughs]. No way will I ever stop grinding in the doom genre. I love it too much.
Decibel's entire interview with Jeff "Oly" Olson can be found in the May 2010 issue, which will become available at news stands and stores at the end of this week.
Retro Grave is the work of Jeff “Oly” Olson who all doom metal fans will know from the highly influential band "Trouble". The album was originally released as a online download last year but now has finally made its way onto CD with a extra track and a extra musician Michael Leonard Maiewski who adds some strings and vocals. If you were expecting another CD in the same vein as Trouble you will be in for a surprise, this is far removed from the traditional doom and classic rock of that band. However "Again" is still fits very much within the doom genre but with a lot of progressive rock song structures and a more experimental approach not heard before from his previous work.
I would describe "Again" as "thinking mans doom metal" with (as the band's name suggests) a "retro feel". If you didn't grab yourself a copy of the download last year and don't know what to expect from the album, you will be surprised and blown away from the various sounds and influences on this album. It can go from doom metal that is heavy and apocalyptic to music which is haunting and sometimes strange to the very psychedelic. Keeping with the tradition of doom, the album maintains a dark vibe throughout most of the album especially in the moody, ambient "Entropy" which is a epic musical journey into progressive rock but with a very haunting bleak atmosphere.
Being a drummer, Jeff Olson is allowed to stretch himself musically which he does on nearly every track on here. From jazz-tinged drum work to progressive Pink Floydish styled drumming flourishes, the album takes on a lot of experimental leanings. At the other end of the spectrum, you have a track like "Mind March" which has one of the heaviest doom metal riffs you will ever hear but Jeff's vocals adds a very different quality to the music. It has a clear but other-worldly sound about it, very much psychedelic and spacey.
Its a album of contrasting styles and sounds that blend to make one of the most original sounding albums ever released in the genre. There is no filler on the album, its well thought-out from start to finish and sounds very inspired by something very much from another world or galaxy. At times, heavy, strange, weird and wonderful, its a intriguing, well rounded album, check it out.
Surprises are hard to be found in Doom Metal. If you hardly follow the genre you probably are familiar with the musical stereotypes of the genre, you know what to wait from a Doom Metal record: Heaviness, tombstone riffs, apocalyptic melodies, great vocals and flashing lead guitar themes, those are basically the main features of Traditional and Epic Doom Metal which is the main basis in this musical darkness… and yes in every new record you are prepared enough and wait for all those features to be given in an inspired way to satisfy you. Each album could be the best album in the world or the worst ever recording but the stereotypes are almost the same, the music makes the actual difference. But when was the last time that you get SUPROSED by listening a Doom Metal record?
For me it was when I listened to the “Again” debut full length of Retro Grave. The band is the spiritual child of Jeff “Oly” Olson who is for sure familiar to you as the drummer in the golden age of US doomsters Trouble. At first Oly has announced a remake of the classic “Run To The Light” album originally released by Trouble, this would finally happen by Trouble themselves as now Oly is focused on his personal musical journey under the Retro Grave moniker, well it could not have better than this. Are you still wondering why?
In their debut Retro Grave are delivering the greatest Doom Metal I have heard recently. Yes here we got heavy as Hell meanwhile hypnotic Doom Metal, built in progressive structures, blessed by a retro touch but meanwhile enforced by epic riiffs and apocalyptic melodies. The ultimate trademark in here is Jeff’s vocals. Well this crystal clear voice painted by the colors of darkness is just what a fucking Doom Metal record needs.
Retro Grave could be thinking man’s next musical pick as someone would do no justice to their great music, describing it simply as Doom Metal. We got many musical elements and influences in here, we got a river of inspiration, a strange still magnificent atmosphere and –I would write it again- this voice… haunting this musical painting. Hey Doom fans… do not turn your page the basis is ultra fucking Doom Metal but the ship travels much longer for there and I like it. I like it because the music is inspired, it keeps the basic features of good Doom Metal opening wings to darkly purple skies. Yes there is a serious 70s, psychedelic touch in here but it is one of the few times that it is spread in an inspired way through the music.
I got to make a self apology because when I first read about the band I thought that it will be again one of those wannabe 7s “retro” bands that have flooded the market –yes a few of them are great but this is not for your everyday “wanna get back in 1973” band-. Well I was wrong. Retro Grave is much more than this. They got their retro touch but their sound is so unique to fit in the plastic retro box.
For sure one of my favorites for this year. I got to check their EP as well and I will do it for sure. Until then I advise you to give them a try! They deserve it!
If anyone remembers or just checks out the review I made for the Retro Grave E.P. two years ago, he will understand that I’ve been looking forward to this debut album of Retro Grave for about two years now.
Retro Grave is the outfit formed by Jeff Olson (ex Trouble – drums) and this time has also the help of Michael Leonard Maiewski on strings on this first full length album, entitled “Again.” The album features 12 tracks through which tracks Oly is taking the auditors for a music ride through ambient, progressive, doom, stoner rock and in general experimental sounds, with the heavy use of strings and keys Retro Grave offer us an atmospheric trip, that for sure “demands” the auditor’s close listening, over and over again if he is not used to this sounds. If we add to this experimental outcome the voice of Oly that from times to times reminds me the voice of Peter Murphy (Bauhaus) and the unique feeling of Daniel Ash’s project “Tons On Tail” then you have the whole picture of what you are about to listen.
If you want to train your ears a little bit more get this one , right now!!!
Hello. Thank you for having me. Life is going great for me these days. I moved, got married and recruited new members for Retro Grave... I'm pretty excited.
So, let’s first start with the usual stuff : what is the history of Retro Grave so far?
Experimenting with my own version of metal is something that I wanted to do for a long time. I would say that the beginning stages of Retro Grave began during the tragic 2004 Indian Ocean earthquake and tsunami. The tragedy really hit home for me... life is short, so it triggered my writing and desire to record. It took some time, however, to begin seriously recording, because at the time I was still playing with Trouble, but now it seems to be all unfolding.
First news I had back then about the band was that you were leaving Trouble because you were going to be a preacher. So, was it true?
No. I left to attend bible college to study theology, and then I left Trouble the second time to attend Berklee College of Music in Boston to achieve my degree in film scoring. Kerrang Magazine started that preacher rumour a long time ago and it stuck ever since.
Retro Grave is a pretty cool name, a bit weird for us frenchmen ;) : what is its meaning, and why did you choose such a name?
The name Retro Grave means backwards death and that death can easily creep up behind you. My lyricist, Paull Goodchild, and my self seem to write a lot about death, so the name makes sense for us.
What are the musical differences between Retro Grave and Trouble (asides from you being the sole captain in RG of course)?
The differences between Retro Grave and Trouble are the different guitar sounds. The sound of Trouble come from Bruce and Rick's dueling guitar styles and our writing style is more of an orchestrial choice of sound with more than two string players.
Being auto produced was a choice right from the start, or did it simply happened because no label was interested in RG (I can’t believe it could be that!!)?
It doesn't have anything to do with labels. I wanted to create my music without having to wait for a label to make me an offer. I would like to have a label... if anything for tour support. The problem is that a lot of bands are in my same position with the way the industry is today. If I get a fair offer, than fine. However, I'm creating with or without a label because I can press a limited amount of cd's and vinyl to sell at my own website and at live shows while distributing them to various music shops online in the meantime.
On the original EP that was released in 2007, you were handling everything : instruments, singing... I see it is not the same on the Again album, so who is in this full line-up?
Well, Rob Zimmermann was not able to be a part of this record due to distance abroad. I really wanted him to be on it, but it just didn't work out this time around. However, I'm looking forward to work with him on the next album and for live shows. In addition, Mike Schermuly and Michael Leonard Maiewski play guitar and J. Cortes plays bass. Yes, the goal is to have two live bass players and I'm considering the addition of another drummer as well (more on that in the last question).
You’re also known for your music scores for various theatres and dance shows. What are your working methods in this field? And your best memories?
Reading the script comes first and is very similar to film scoring. I read with directors and actors while customizing the score for the show. I use music notation programs and pro-tools for that. My best memories was the opportunity to perform my music as one man band with Borealis Theatre Company in Chicago.
Let’s go on the album now. First thing that struck me was the lots of differences between each songs. How do you work on a song for Retro Grave? What are your musical influences, if any?
I sing into a recorder, than transcribe the music... similar to the way that I write for the theatre company. I also write drum grooves and guitar riffs on pro tools. Moreover, I write with Paull Goodchild (my lyricist). I do have musical influences as well. I get this question a lot, so I try to answer it differently each time, because there are so many influences. For this interview, some of those people are Oliver Messian, György Sándor Ligeti, Wino, Goatsnake and Today is the Day.
‘Abomination’ has a strong Ange feeling, the keyboards part sounds like written by Francis Décamps himself. It also has this old Genesis/King Crimson vibe, but heavier. How did you came with this idea that seems to come out straight of the 70’s?
Thank you for that compliment. I bought a lot of imported rock albums in the 70's so those results were influential.
On the other hand, a song like ‘Doldrums’ sounds damn dark and oppressive, bordering on Drone. How do you decide the mood of a song, what are your writing methods?
I title the song and create the mood from there... I then find out where it needs to go on the recording. Sometimes, the song gets rejected and saved for later. The Again album rejected eight songs, for example.
The album seems to me also very late 60’s influenced Psychedelism, Acid Rock, British Blues Boom...Yet, it’s still at heart plain old spiritual Doom. How would you define your music yourself, but not genre speaking?
For me it's like trippy, ear candy, dynamic doom. Is that a genre?
I haven’t read the lyrics, so what are the thematics that Retro Grave deals with? Is there some Christian themes, like in the early days of Trouble? Could you go a bit in deep on each song, please?
Retro Grave deals with different unexpected deaths, evil characters, love, eulogies,
science, art, religion, cults, politics, mediocrity, and the occasional punch line or joke.
You were supposed at a time to re-record the ‘Run To The Light’ album from Trouble, on which you weren’t playing. Last news I had, you finally won’t do it. However, what were your reasons to try such a task?
I did record some of the keyboard parts on that record when I was in school and played some of the tracks with Trouble live on drums. I'm thinking of still re-recording 'Run To The Light', but I'm not saying until it's done because I'm not sure how long it will take, especially with guest stars on it. I did, however, record all the drum tracks already.
You’ll be part of the 10th edition of the well known Maryland Stoner Hands Of Doom Festival. How this came on, and what will you bring as part of your live show? Will you be only singing, or also drumming?
I was asked about playing shows during my last interview and I had mentioned that I was interested in playing some festivals dedicated to stoner/doom/rock. Within a couple of weeks of the interview, I was invited to play at the tenth anniversary Stoner Hands of Doom (SHOD X). The show is not until September, so I'm still planning and rehearsing for the event. I will be singing and drumming, although I'm thinking of adding another drummer to the live show to play along side me. That should be interesting.
1. Most people would have first heard about you in your role as drummer for Trouble, but what was your musical upbringing before that?
Well, I toured with Drum and Bugle Corps as a teenager and listened to all genres of music. My first instruments were piano, trumpet, guitar and lastly to percussion. I like playing drums but I also enjoy the opportunity to play brass sometimes. For example, it was fun to play french horn for the rendition of Ride the Sky on Trouble's last record.
2. How did Trouble get together? Where did you all meet?
We met through an ad that Rick placed in a newspaper, The Illinois Entertainer, back in 1979 in Chicago.
3. I remember when I first heard Trouble in around 83. A friend had a live tape. The band sounded so fresh compared to a lot of other Metal bands that were around at the time. Did you know the band would become such a worldwide influence?
We didn't jam with the intent to influence people, but we knew we were good.
4. You left and re-joined Trouble 3 times if I remember right. What the reasons behind all that?
I left the first time to pursue an education. I first attended bible college, which is were the rumor started about me leaving to become a preacher. That wasn't the case. I studied theology for a bit then I was asked to come back and work on Run To The Light playing keys, but I decided to leave once again because I was accepted to Berklee College of Music. I returned to the band after graduation when both Dennis and Barry didn't work out. I left the third time because the band was suffering from internal band and label problems so I had to choose between steady work at home or a band with a risky future.
5. I also read somewhere that you learn piano first and then the trumpet. How did go from that to playing the drums?
I started playing trumpet in drum and bugle corps, but I decided to changed instruments when I heard the incredible sounds of percussion on the drum line.
6. I also found out that you graduated from Berklee College of music in 92 and got a degree in film scoring. Was that something you always wanted to do?
I chose film scoring so that I could be equipped to write any kind of music and the degree formally trained me in arranging and composition. I didn't want to sit in a cubicle in LA, however, but rather to use those skills for a theater company that I worked for in Chicago.. that was fun and would do it again if I was commissioned to do so.
7 .You also have done some teaching. How did that come together?
Well, I made a living at it when the band wasn't on tour and I enjoyed that too. I helped my own craft as well because as I instructed people, my own skills were being developed.
8. I know you have some work with other bands as well. What has been the highlight of those ventures?
I liked meeting new people and exploring the talents of others. I'm still into doing that.
9. The debut Retro Grave came out last year. What was the reaction like to that?
It was a good reaction. I got a lot of good feedback from people during the last Trouble tour. I was selling the EP during that tour and people responded nicely to it but, on the other hand, some people are also interested in hearing Retro Grave with the new line up (the EP was a solo effort).
10. You got some other guys in to complete the line-up. How did you meet them?
I placed an ad on my website because I was curious to hear some fresh talent that might be a good fit for me. They sent in press kits and my manager narrowed down several for me to listen to. I would have liked to have jammed with others, but location was a factor for me. However, I did choose a string player from Holland (Rob Zimmermann) but the rest are from the New England area. Mike Schermuly is the youngest in the band and will bring something fresh and youthful to the group while J. Cortes is around my age and brings many years of experience to the band. I like his Peruvian background that will bring exciting bilingual vocals to the new record.
11. Tell us about the new album that is coming out. It must be getting close to a release date.
This album is a collage type album. All the songs are recorded differently in different places with different amps and instruments. If this album were a beer style, it would be a Belgian Lambic. That's because the Belgian Lambic takes a year to mature and develop all kinds of interesting character.
12. What is the long term plans of the retro grave? Tours on the horizon?
Lots of recording and development of the band which will hopefully bring some festival opportunities for us dedicated to stoner doom and hard rock festivals. I loved playing at Roadburn this year so that festival is something that I would like to do again. Also, I had the chance to speak to some bands that I played with on the last Trouble tour like Blood of The Sun and Danava and we were already talking about jamming together with Retro Grave. So yes, I would like to do a tour, but without a label that will probably be tricky.
13. You got married recently. Congrats for that. Thats not really a question just thought i throw that one in there!
Thank you!
14. What was your main influences in music growing up?
There are far too many to mention for rock music from the 60's and 70's, but ELP, Black Sabbath and Pink Floyd are probably by biggest influences. I also like jazz and modern orchestral music.
15. How do you see the Metal scene these days,so much has changed since the early 80's. Has it progressed in your view?
Music always progresses and that makes it interesting. There was an article in the New York Times called "Heady Metal" that revealed two branches with one starting with the slower groove and psychedelic influences like Trouble and the other camp being the speed and thrash influences of Metallica and Anthrax. Then, the article went on to list the evolutions of both branches showing blast beets to drone doom. It shows that heavy metal is an art form. It's not just Rock and Roll.
