Interview with Spiders: 60s nostalgia and volcanic blues rock

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Today we are going to have a chat with the lovely Swedish band Spiders, discovered by chance during the Graveyard gig a couple of weeks ago. Lots of influences, tumbling music and a bit of 60s nostalgia will lead you to one of the most explosive blues bands in the current underground scene.

Hi guys, thank you so much for taking some time to answer my questions. Why don’t you introduce yourself and state your onstage weapon of choice?

Spiders are John Hoyles – choice of weapon: Guitar, Ann-Sofie Hoyles on screaming Vocals and bluesy Harmonica, Matteo Gambacorta on frantic Bass and Ricard Harryson on volcanic Drums.  Spiders are from Gothenburg Sweden and have been  rocking since 2010.

You are touring at the moment: England (loved your show in Bristol), Austria, Netherlands…How is the road treating you?

Thanks, glad you liked the show. We have been over whelmed with the positive response we have got at the shows. Most people haven’t heard us before but they seem to be liking us. We are supporting Graveyard and they have been great hosts looking after us on the road. We are having a blast!

 I bet a lot of things are going on at the moment; do you have any interesting/embarrassing anecdote about a gig to share with us?

We’ve dodged all the bullets so far…

 You were born in 2010, released EPs and singles around the world, the line-up changed (the previous drummer is Axel Sjöberg from Graveyard) and you came back to the Studios to record the new album. How do you think you’ve grown as a band so far?

We have become tighter as a band playing after playing over 100 gigs and also we have found our own sound and stage presence. We have all played in other bands before, and it always takes awhile before one gets to know each other musically and we all feel that Spiders is the best band we have played in.

 Could you tell us something more about your new release, Flash Point? How has the reaction been like to the album so far?

We had loads of songs and decided to record in our home town gothenburg at Welfare studios.  We wanted our debut album to be raw and have a live feel to it, with out to many overdubs. We were looking for a kind of warm, clean and basic sound, with out sounding to retro. Letting the songs speak for themselves. We are overwhelmed and very happy that the album was so well received, both by reviewers, listeners and music lovers – the people who matters the most.

 The 70s and 60s influence is all over the full length, making it quite explosive bluesy rock. Which is the aspect you prefer about this genre? Which is the key feature that you must have, as a band?

We all listen to a lot of different music from a broad period of time – both new and old stuff, but the music that first stuck was from the 60s and 70s and has been our main influence and has just come to us naturally. One main feature as a band is powerful riffs, good vocals also a stable rhythm section.

Question for Ann-Sofie: any female vocalist that influenced you as an artist? The 60s and 70s saw a lot of strong characters rising in the music scene.

Tina Turner is my favorite female singer. She has an incredible voice and a great stage presence, she’s terrific!

The first album what made you think: “Oh yeah, that’s what I want to do for the rest of my life”?

Ricard: The Jam – In the City

Matteo: Motorpsycho – demon Box

John: Black Sabbath – S/T

Ann-Sofie: Stooges – Raw Power

Let’s dream a bit: if you could support any band in any era, who would it be?

50s: Little Richard

60s: Shocking Blue

70s: MC5

80s: Guns’n’Roses

90: Bellrays

00s: The Jim Jones Revue

Are there any appointments in your agenda for beginning of 2013?

Working on new songs for our upcoming album. Play as much as we can, hopefully some festivals. We’re touring Europe this spring, which will be a blast!

Review: Spiders

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Listen to me, Blues lovers all over the world. I smell some finger-licking and white-hot blues rock from Sweden. Not only homeland of Graveyard’s gloom, but also the territory of Spiders’ piquant blues. Spiders is a Gothenburg-based band featuring Ann-Sofie Hoyles, John Hoyles, Matteo Gambacorta and Ricard Harryson.

The band embraces the 70s legacy of burning riffs, snappy vocals and a stable rhythm section, like some other hard rock bands have already done before (Nitroville, for example). The fiery passion of Sly and the Family Stone, the emotional flow of Janis Joplin and the electrifying drive, all of which now hard-rock trademarks, are the magic sparkle in the formula of Spiders’ début Flash Point. Whether you are in the mood for a bluesy pseudo-ballad (Above the Sky), or a dazzling dancefloor-number (Weekend Nights), with this album you’ll find the right track to your liking. Hoyles’ vocals go from Joan Jett’s sharp and rough to melodic interludes (Hard to Keep True), driven by blazing guitar solos and steady upbeat bass lines, rolling into the deep Thin Lizzy-like field (Rule of the Game).

The guitar blazes into its own solos, playing a leading role into the 60s re-enactment (Fraction), drawing from some Led Zeppelin-y heavy-blues (Stended, Love Me). Boogie-esque drum-beats, tambourine and maracas (Hang Man) make it really hard not to take your shoes off and dance along, in this brief yet fascinating time-warp. Like in a modern condensed Woodstock, rock and roll flashes electric lights all over the plays, in a fast-paced roller-coaster.

Despite being old-fashioned, Flash Point is still unique and offbeat, especially thanks to the passion and the love for “those days” that it transmits to its listeners. Is anybody ready to take their shoes off and kick that dance-floor with us?

Cover Album
Flash Point
Similar Artist: Nitroville, Janis Joplin, Thin Lizzy, Jefferson Airplane
Rating:

Tracklist

01. Weekend Nights
02. Hang Man
03. Love Me
04. Loss & Trouble
05. Fraction
06. Above The Sky
07. Rules Of The Game
08. Hard To Keep True
09. Stendec

Graveyard + Spiders + Baron Greenback @ The Fleece

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The Fleece is officially my favourite Bristol venue, as it condenses such a variety of acts, especially underground and breakthrough. However, most of them end up becoming the Next Big Thing – just take a look at the “gig hall of fame” on the counter (Editors, Muse, Franz Ferdinand, Supergrass, The Dandy Warhols).

Last Sunday it was a bluesy night, and its protagonists were the Swedish mustachioed band Graveyard. The stoner-y blues a là Bad Seeds, the Leonard Cohen-esque dusty approach and the general wooziness created an explosive mixture, which blues lovers will simply get addicted to. To support them, the stoner-y Baron Greenback and the 60s blues-y rock and roll Spiders. I am not going to spend too many words on the first act, as my stoner metal knowledge is quite rusty; luckily for me, the 60s-infused acid blues rock is my area of expertise. Therefore, Spiders got me from the first riff. Female-fronted Swedish band, mixing hard rock and blues rock, electric riffs and boogie bass guitar – really hard to stay still during their set (see Weekend Nights). Ann-Sofie Hoyles’ stage presence reminds me of Grace Slick meeting Janis Joplin, after a couple of drinks with Sly Stone, jumping around, playing tambourine, harmonica and maracas (Hang Man). Alongside the female-fronted lot of Nitroville’s rock and roll and Kill for Eden’s pop-rocky melodies, this four-piece from Gothenburg had energy, vibe and a new album entitled Flash Point out now via Crusher Records. Write it down on your Christmas list.

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The main act itself was dusty and rough, blending in the emotional tension of the Muddy Waters’ blues ballads, and the garage blues anger. Forget Black Keys’ radio-friendly tunes, here we are talking about screaming and tapping, a vortex of flaming electric riffs and a pinch of fuzz now and then. Starting from the anthem Hisingen Blues you feel trapped in this retro bubbles, which leads you to ZZ Top’s early crunchy rock with Goliath, Swedish bits in Buying Truth (Tack & Förlåt)and the heartbreaking Hendrix-like ballads Slow Motion Countdown and Uncomfortably Numb. It may be the atmosphere they created onstage, it may well be the alchemy between the group members, but all of a sudden I feel pushed back to the roots of blues, when slaves were singing on the edge of a river, tear-jerking stories about their life. After the trends of 80s synth, 90s delay and 2000s dreaminess, a bit of gritty blues was all I was asking for.