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Twang Wolf Sessions

by Sunday Kids

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    There is also some extra's like:

    A teaser (film) of 'Goin' Home', artwork and a bunch of other stuff...

    Love,

    Sunday Kids
    Purchasable with gift card

      €5 EUR  or more

     

1.
Goin' Home 05:43
2.
Buster 03:32
3.
Soul 03:17
4.
5.
6.
7.
Soho 06:34
8.

about

When I first met The Sunday kids I was playing a festival gig with Them Holy Rollers, a band with local fame in which Folkert played bass guitar. They were going under the name of “Spendex devils” back then and they were a rowdy, sloppy mess with some good songs. I took a liking in them right away not in the least sense because they were crazy.

Sander was the craziest of them all. He´d wear track suits and cowboy boots which at that time nobody did. He was loud. He´d say stuff that seemed completely worthless if it wasn´t for the slight chance of maybe using it in a song somewhere. So we listened. Sjoerd, the other guitar player, was a down to earth country boy. Slow paced and not sayin´ much. Come beer mode he´d be the least intelligible of them all. He´d get creative whistling into a beer bottle and having titters for hours, uttering words like “heuuuu”. Folkert was a longtime friend of mine. A charismatic front man with a great voice and a likable man. To me he´s one of the best lyricists that I know writing simple, heartfelt and funny lyrics. The drummer, Michiel, seemed like the only normal person in the band, which, in this case, was a blessing.

When they decided to record at Twang Wolf studio I was just starting out with my business. I had bought a 1974 MCI console and a two-inch 24 track tape recorder without realizing the kind of maintenance these ancient pieces of rock ´n roll history require. At the same time, the band had never been to a studio. They´d never heard of things like “overdubbing” and Sjoerd was amazed by the fact that one could tweak sound with the console without the sound actually being “inside the console like on a tape machine”. To this day I don´t know if he ever got to understand the principle.

If my memory serves me well we started out with a song called Buster. A great honky tonkin´ country ballad about a guy with no talent trying to hit the big time. The fun, confusing thing was that they had all sorts of songs: rough, wild garage songs and neat little acoustic ballads; country and rockabilly. It could´ve turned out to be a weird combination but somehow it seemed to fit. It was just them writing songs using whatever they grew up listening to. We had an “anything goes” attitude during the whole recording process. On one hand we stuck to the simplicity of live performances without doubled guitars or vocals. On the other hand we´d go wild with harpsichords through overdriven tube amps, vocals through tiny transistor practice amps hitting the tape as hard as possible and even recording a diesel engine for the song “Trucker”. Nothing mattered and everything did. There were no rules. No fear of sounding too modern or too old and no such thing as “credible”. It was just us having a great time diving into the heart of what we thought were good tunes. We´d spend the night drinking, listening to Tony Joe White, playing newly penned songs or just trying to distil something useful from Sander´s high-on-life crazy man´s rants.

The problems however were many. The studio was down for maintenance for long periods and at one time I decided to move the studio into a new room in the city. I got kicked out after a week or two for tearing down walls and soon we were back in the old space with a broken tape machine and an unfinished record. Sometimes, after a fix-up, we were able to do some overdubbing and other times we just killed time by trying to shoot a Western movie called “Vigilante” in the many rural areas surrounding the studio. Apart from the maintenance side of things, the band very often just wasn´t good enough to commit to tape. I had to send them back to practice for another two weeks. They did and they stuck with me, for which I´m thankful.

After three years of struggling with the record, we finished it fairly quickly. There was no down time in the studio anymore because all of the equipment had been fully refurbished and the band had become proper musicians after all those hours recording. Michiel had decided to leave the band and Holy Rollers drummer Jan Mars, my old band buddy, had taken his part. They decided on a different band name: “Sunday kids”. They thought it sounded more commercial. I hope it does.

I had the honor of mixing the record which turned out to be as much fun as it was hard work. It was just such a bizarre record; rough, primitive and oozing attitude. The album was mixed fully analog to quarter inch tape without the use of automation or digital effect. Every fader slide had to be done by hand and effects were all tape delays and plate reverbs. Working the old way is a live performance in itself. Obvious, tried-and-true choices rarely seemed to fit. It was a beautiful mess, a three year long patchwork of stream of consciousness noise making that somehow I had to present in a way that would do it justice. But here it is. I love it and I´m proud of it.

Yours faithfully,

Hans Hannemann
Head of Twang Wolf Recording Studio

credits

released January 18, 2013

Folkert Lodewijks, Sander H.M. Meulemans, Sjoerd Dijkstra, Hans Hannemann, Michiel Oude Veldhuis, Marc Hannemann

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all rights reserved

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about

Sunday Kids Amsterdam, The Netherlands

Roll up your sleeves and get ready, for Sunday Kids are back. The second album ‘Sweet One’ (release Oct 16th 2015 on Suburban Recordings) showcases over 60 years of American music history: blues, country, soul, psychedelica and garage combined into a sound that will guarantee sweat on your back, a ring in your ears and a steaming live performance. ... more

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