On April 22nd, Switzerland’s infamous Reverend Beat-Man will be playing the Garage on Beck with Nicole Izobel Garcia. They are touring the United States to support their new album Baile Bruja Muerto, released on Beat-Man’s label Voodoo Rhythm Records. The two will take their stage dressed as a reverend (Beat-Man) and a nun (Garcia). Not a reverend in the traditional sense, Beat-Man says, “Reverend comes from the German word Revereieren .That means I tell you a story, and I thought that’s pretty cool.” Much of their act is about presenting a striking image and a unique sound— aka Blues-Trash, a term coined by Beat-Man. It’s musical style that mixes the haunting sensations of garage-like-blues with surreal folk music. Garica says, “our voices are so yin and yang, but we are both very dark in our music and performance. If you got to know us you’ll see we are similar because we both have this dark side but are also quite angelic.”
Check out the full article on Reverend Beat-Man and Nicole Izobel Garcia published by Utah Stories.
THE JUNGLE NOISE RECORDINGS
Voodoo Rhythm Records
The Monsters = The Sonics + The Jackets
From the gritty streets of Bern, Switzerland, comes the raw and primitive recordings of The Monsters. Fronted by Beat Zeller, aka Reverend Beat Man—owner of Voodoo Rhythm Records—the band formed in 1986 and made a name for themselves as a wild garage rock–meets–rockabilly outfit. They toured Europe and presented themselves as a force to be reckoned with. The Jungle Noise Recordings was originally recorded in 1994 and was the first album that saw The Monsters use an electric bass rather than an upright. The album was recorded at home instead of a studio so that the record could better boast the raw elements of The Monsters’ sound. It was originally released as 10” record via the underground German label Jungle Noise. After The Jungle Noise Recordings came out, The Monsters conducted a lengthy tour that saw them established in the Europe’s rock n’ roll scene. Giving this compilation a thorough listen some 20ish years later, I can see why.
Dig the full album review published @ SLUG Magazine!!