ART INTO DUST: Daryll Ann

From BOB 48 1996
Every once in a (blue) moon, a band comes along that you instantly take to your heart and cherish unashamedly. You suddenly find yourself unable to go a single day without playing their music at some point and, for a while, all the other music you usually indulge in doesn't quite sound as great as it should. Such is the price of love. The last time I was this smitten was with The Cerebral Corp, whose only album, "According To" on Alias Records, remains a modern day psychedelic masterpiece.
However, it's now Dutch band Daryll Ann who monopolise my CD player, creating a soundtrack for this particular time in my life. The pure, slightly blurred vocals of Jelle Paulusma are driven along through a unique musical landscape by twin, high-octane guitars, the searing lead guitar of Anne Soldaat breaking away to splatter burning breaks over well thought out but never clichéd arrangements. Both Jelle and Anne write memorable songs that have a lyrical depth that no other modern European band has ever come close to. There's a mark of genius about Daryl Ann that sets them apart from their contemporaries, while you may be familiar with the territory in which they play no-one else really sounds like them. Whether storming through twisty pop songs or seething through torch ballads they have a mark of true individuality. Their first release for Hut records, a Virgin subsidiary came out late in 1994. The "I Could Never Love You" e.p. is a real showcase for the band's many facets. The title track is classic pop, opening with an understated, choppy riff, which suddenly spirals into all manner of warm delights, before finishing off with a buzzing guitar solo. "Friends" falls into space, a lazy love song, dripping with harmonies while "She Is, I'm Not" is the band at their most deadly, a slow and haunting intro prefacing the volcanic entrance of the guitars half way through. "My Last Call" closes the E.P. and is beautiful, with ringing acoustic guitars and violin, from guest Herman Van Haren, that just sweeps you away.

The band's next release was the six track "Come Around" EP. also for Hut, and it's a stone cold classic. The title track and "Doll" are perfect pop, while the two minute instrumental Shamrock is a tour de force of rock riffing.
Taken together, these two releases represent a brilliant album's worth of material.
The actual album that followed, 1995's "Seaborne West", continued on from the class of the e.p.s. It’s a brilliant original release that marked the band as legendary.
In June of 1995 Daryll Ann played a virtually perfect live set at the Garage, in Highbury London as part of a small U.K. tour. They totally lived up to all of my expectations, in terms of sheer strength combined with attention to subtle detail. In a live setting there's a passion running through the band that speaks volumes of their commitment to creativity and belief in their music.

Singer, songwriter and guitarist Jelle Paulusma and songwriter and lead guitarist Anne Soldaat are two of the friendliest blokes you could ever wish to meet and they happily took time from their hectic tour schedule to share with us the philosophy behind and history of the band.
BOB. So, when did you first get into playing?
Jelle: I was about fifteen or sixteen years old, that would be about 1980. Some friends decided that we really wanted to be cool and get loads of girls, that sort of thing. I used to be just a singer in those days. Of course, we weren't very serious and didn't do it because of the love of the music but because of the 'cool' image it represented. We didn't write songs ourselves played the music we liked, stuff by The Ramones, Buzzcocks, The Smiths, The Jam and of course, The Sound, who made a classic with their "From The Lion's Mouth". This was during 'high school' period, when Anne and I knew each other but didn't play together. That came much later,
BOB. Daryll Ann took some time to get going then?Jelle: In 1988 I bought myself a guitar and slowly taught myself to play. I got some help from a book that I bought, with loads of Neil Young's songs in it, I guess was my teacher, probably, also Anne's. By this time, music had become a serious thing with me. I started listening to all kinds of music, Neil Young, of course, and everything that surrounded him, like Springfield, CSNY, and The Byrds. I also loved Husker Du, Firehose, Captain Beefheart. The Chills, Velvet Underground, Beach Boys and Beatles. After playing the guitar for a while I found that I could write songs, one of the first was "Pretty As Everything", which ended up on our first album "Renko", which was released in 1991. Anyway, with my twin brother Cohen I started a band called 'Easy Riders'. We used to spend all weekend playing in the drummer’s bedroom, at his parent's house, and it was just for the love of the music. When it got too late to play, we just got drunk and danced. The only thing that was missing was an additional guitarist. Luckily, we had already known Anne for a long time and thought him a very remarkable guitarist. In fact, because we thought he was much better than we were, we didn't have the guts to ask him to join us. It turned out Anne felt the same way about us, so Ferry, our manager and friend got us together and we found that we were well matched. In 1989 we played our first public performance at a private party and it was there that Daryll Ann was born, in the company of friends. This small moment in history took place in a small town called Ermelo in the Dutch countryside. It's the place where we grew up, got lost in the woods,drunk on the beach and where we got laid. Nowadays, we live in Amsterdam and Utrecht, we've left the countryside behind but we'll probably return there in the future. Anne and I wrote a lot of songs, we practiced and, as a consequence, we supported Buffalo Tom on the Dutch leg of their first European tour. In 1991 we recorded our first E.P., for a small Dutch label called Kelt. It came out on vinyl, in a limited edition of 500 copies and contained four songs, "Decibel", “Time To Come” "Blind" and "Daryll-Ann", the first three songs are also on our first album
BOB. What was the line-up at this point?
Jelle. Myself, Anne, my brother Coen on lead vocals, Jeroem Vos on bass and F Van Der By on drums. We got quite a lot of interest as a result of the e.p. and support slots with Buffalo Tom and The Las so in 1991 we signed a deal with a small label. Basically, we financed the "Renko"album ourselves.

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BOB. What label did that come out on? How do you feel about the album now?
Anne. Renko" was released by a small Dutch label called Solid and distributed in the Netherlands and Belgium by Play It Again Sam. I'm not too pleased with the way it sounds, the production isn't great, nor with the way the songs are performed.
Jelle. After "Renko" was released, we played a lot in Holland, got promising reviews and kept on writing new songs. A single was pulled from the album called "Into The Open". We did all this while studying at University. Anne studied Chemistry, Jerome studied Art, Jerome Kleijn studied beers and ice-cream and I did History. We all graduated, by the way.
BOB So, how did you come to sign with Hut?
Jelle. We had ourselves a bunch of new songs, which we had been playing live in Holland for about a year, and decided to record them. We sent tapes out to several European record companies, making sure that a copy was shipped to the U.K. No interest was shown by anyone but in the summer of 1993, we got a totally unexpected call from Virgin U.K., telling us that they loved it. We did a showcase gig at the Melkweg in Amsterdam and met with David Boyd from Hut. He really liked us and decided to sign us. Only then did any Dutch labels get interested, however, we decided to stick with Hut .Daryll Ann was now a full-time band and, because of thepospect ect of leading a 'really busy' life as a musician, my brother Coen had a difficult choice to make. He decided to quit the band and continue with his studies. We also sacked our drummer, who we thought wasn't really good enough. This was a really difficult period, for the three of us that were left, during which some of us even thought of quitting. We auditioned eighteen different drummers over the next few months. What kept us going was recording our first E.P, "I Could Never Love You", for Hut, this would have been during the summer of 1993.

Coen came and did backing vocals on it and the drums were played brilliantly by a guest called H. Vass. The E.P. as made during a transitional period for the band, during which everyone had to adapt to their new role, and that was very difficult at first. I was the lead singer for the first time, in this band, and Anne had to sing more than he ever had done before. There was also no permanent drummer which was particularly disturbing for Jeroem Vos. Despite these circumstances, we were really pleased with the way the E.P turned out. To me, personally, it's a very moving and emotionally loaded piece of work, which I can't listen to anymore, though we still play the tracks
BOB. There's a certain, almost jubilant, feel to the playing on your next E.P., "Come Around"...
Jelle: I think the spirit on "Come Around" is much more positive than on the previous E.P Both are documents of our changing states of mind, the first one is a bit gloomy and introspective, whereas the other is much more self-confident and positive. It's all part of this band's psychological make-up, whether you like it or not.
BOB. I feel that you play more like a cohesive unit on the "Come Around" E.P. than on the album that followed ("Seaborne West"), somehow it's subtly tighter.
Jelle: That's probably due to the fact that the songs on the E.P. were already well known to us, while the songs on "Seaborne West" were all, relatively, new and took shape in the studio. The way we recorded the both of them was very similar though. Basically we played live and then put some guitar overdubs on top.

BOB. Do you feel that the album is more commercial than the E.P.s?
Jelle: We didn't plan it, 'I just see the album as another step in the evolution of our songwriting. This may sound a bit odd but I don't think that we can control our songwriting like that. I can't say to myself, "O.K., I'm gonna write a song like this or that", it just happens. Honestly, it comes from the heart. There are songwriters who rip off certain parts from other musicians and wholeheartedly admit that, and they have the right to do that. To us that’s nothing to do with creativity and I’m sure that we couldn’t live with the idea of consciously taking something that comes from the heart and maybe the mind of someone else.

Anne. Jelle and I write separately. Up to this moment we haven’t written anything together, words or music and I honestly don’t see how we could. I mean it would be great if we could, but songwriting for me is such an introverted and in a way, ego-centric process. It requires absolute solitude and I have the feeling the same holds true for Jelle. In my case the music comes first then I write the words to fit. It can take me months to write a song it’s a real sruggle.
It takes a lot of effort to produce lyrics that have the right rhythm, make sense and move you emotionally, at the same time. Very often, the lyrics are taken from personal experience but talking about or explaining them makes me feel uneasy. However, I admit that, sometimes, for efficiency's sake, I come up with lyrics that have the right rhythm etc but lack a plot, message, story or any sense at all! We're the proud owners of a four-track recorder so we usually make primitive demos of new songs, overdubbing percussion, vocals, guitars and the occasional organ part, before introducing them to the band. Once we start rehearsing as a band, we'll all come up with suggestions to change and improve the basic arrangement. Most of our songs are acoustic in origin, they were written in that style, and I often think that they sound best when performed in a similar setting.

Jelle: Songwriting isn't something you can control but you can control the way you record. I think that we do a pretty good job and that our recorded sound is really natural and direct. We pay a lot of attention to arrangements. Sometimes we're told that we sound too 'soft' on record. Well, would call it mellow but definitely not soft. We make music for dreamers and consider it a way to escape everyday reality. If certain people don't see that, and keep whining on about our 'softness', then I'm really sorry. This is who we are and this is the music we make, dig or don't.
BOB. What would you say is the difference between you studio and live sound?
Jelle: On "Seaborne West" we've chosen to portray the songs in detail. We enjoy trying different things in the studio and like to add other instruments. It wasn't our intention to try and capture the live spirit of the band, though we might in the future. It's much more fun to make a record that's different from the way you play live, although the slow songs on "Seaborne West", like "Holida Why" and "Liquid" were recorded live in the studio. It's true that on stage our playing is less polished, than on record, but we still love to play live. We try to take risks on stage, sometimes it works, sometimes it doesn't. You should surprise people, and yourself, to keep it interesting. You should never give the audience the idea that they'd have beers better off staying at home and playing the records instead. It has everything to with being down to earth, with showing your emotions on stage. I mainly see American bands with that attitude and it's something I love to see, people going on stage, playing like children and with the idea that it's no big deal being a'rock star'. These bands lack the theatrical element that's so prominent in British music. Can I see some honest emotion please? I don't like Oasis's attitude, they act as if they're totally unmoved, as if they're really cool. I think that bands like Pavement and Sebadoh are really charming on stage. I love the way they play, it gives the music a very high emotional value.

Anne: Maybe we tend to be a little polished, on record, but that's definitely not the case on stage. There's more of a rough edge when we play live.
BOB. How's the press reaction been so far?
Anne: In Holland the press say that we're more popular in the U.K. than at home! I guess in the U.K. they say the opposite...
BOB. So, what does the future hold?
Jelle: We are considering renting some studio equipment and recording on our favourite island, Terschelling, which is in the northern part of the Netherlands. We want to record in a place where we can be left alone, where it's quiet, serene and where we can feel confident and relaxed. We may produce the next album ourselves. Then again, we've always held the same position concerning the future, which is, we'll see!

BOB. That's how things stood with Daryll-Ann last September. Six months later, I caught up with Anne Soldaat to find out the background behind the news that they have been dropped by Hut and when we can expect another album.
Anne: I guess expectations, including our own, were fairly high after the release of "Seaborne West". The reviews were very good but sales were poor and, eventually, Hut got rid of us.
BOB. It must have come as a bit of a blow?
Anne. Yes, all of a sudden, we were back down to earth and feeling all too human, contemplating our lives and future. It came to the point where we had actually ceased to exist as a group. It was a period that I look back on as very black and insecure and I'm still recovering from it. In addition, Jelle was facing severe relational problems but, thank god, that's more or less settled now. Even on the darkest days, Jelle and I were still writing songs and rehearsing but not always in a pleasant or jolly atmosphere!
In January of this year, we moved into an isolated barn, a few miles from Amsterdam, where Frans Hagenaars has his "Sound Enterprise" studio and recorded "Daryll Ann Weeps", our next album. It's probably not a very happy record but it's the best album we've ever made and it's restored our self-confidence. There'll be sixteen songs on the album and it'll be released by "Excelsior", a new label founded and run by Ferry Coen, our friend and manager, and Frans Hagendaars and' it will be distributed by "Play It Again Sam". Hopefully, we'll be able to arrange a licensing deal for the U.K.

My ReviewOf Weeps from BOB 46

You know how you meet a girl and your initial impression is "Oh, she seems nice, pretty eyes, lovely smile, sweet natured and all". After a while spent getting to know her, you think "She really is nice, a bit special maybe", then, when you really get close it's "She's fantastic, beautiful, funny, intelligent and thoughtful" and, finally, it's just sound of her voice that lifts your spirit. Well, I'm a bit like that with Daryl-Ann these days.
I just love them, plain and simple, and, just when I need it most, along comes their new album "... Weeps" to effortlessly lay claim to my heart once more. This is not just a 'great' album, it's one of the most important albums of 1996.
The key to Daryll-Ann is not to be found in the, impossibly lovely, songs nor in the blissful voice of Jelle Paulusma or the genius guitar work of Anne Soldaat. It's the sheer emotional quality of all that they do which makes this band so very special. There's an unquestionable depth and integrity to their music that only the greatest ever achieve.
'...Weeps" was recorded towards the end of a dark period for the band and the creative process seems to have had a cathartic effect on them, burning away negative energy and leaving the band with a positive outlook. Anne Soldaat says that it's their best work yet and I'd readily agree.
The album opens with the full-kilter assault of "Tools R Us", with the rhythm section powering along and Jelle's voice strained to a wail, while the song builds to an almost desperate level before Soldaat swoops down for a solo subtle elegance. Following that it's into the strangely unsettling, breathless and burning, "Always Share", with it's half spoken vocals and left-footed beat. Just as you start to believe that the band have hardened up, they explode into the glorious "A Proper Line", which features their trademark rich vocals, textured melodies and upliftingly warm guitar solo. It's a long album and, during the last third of it, the music slows to a gentle, majestic and dreamlike pace, akin to Nick Drake at his finest.There are no adopted rules governing the arrangement and form of the song's, it all comes from within and gives the band a formidable edge over most of their contemporaries. Lyrically, there is a great deal that touches the soul and sparks the imagination. What more can I say? I love them (and so should you)

part 2

Bob Article 2007
Ahh Daryll Ann. More than just brilliant, melodic, inventive and unique, Daryll Ann were an important and special band in the same way that The Mutton Birds, The Jayhawks, Wilco, Trip Shakespeare, Game Theory/Loud Family and Augie March were and are important and special bands. Built around the superb songwriting of genius lead guitarist Anne Soldaat and honey-voiced singer Jelle Paulsuma they burned brighter and for longer than anyone could have hoped. When Bucketfull last spoke to the band, an unbelievable ten years ago now, they had just been dropped by virgin, helped form their own label Excelsior and released their acknowledged career masterpiece Weeps. And while it is true that Weeps remains their very finest creation, the follow up Happy Traum is a more than worthy follow up, a beautiful relaxed gem that's as laced with warm sunshine as Weeps is chased by majestic storm clouds. The unexpected departure of Soldaat before the next album, the problematical Trailer Tales, did not bode well. The album definitely doesn't work as a Daryll Ann album except on the few tracks when Soldaat and the others play and doesn't quite work as a Jelle solo album, made weak by meandering keyboards and unprepared arrangements. As subsequent live appearances both with full band (Soldaat having returned to the ranks for the following tour)and as a duo with label mates Johan's keyboard player starkly testify Jelle's songs from the album were as good as ever so it was just the record itself that is flawed. Fortunately Trailer Tales was not the bands swansong and with Soldaat back on board the final album Don't Stop is a return to greatness, a blazing, jubilant work full of classic songs and at times brave experimentation in direction and approach that boded well for the future. Alas it was not to be. Matt Dornan, editor of the much lamented Comes With A Smile and a fellow Daryll Ann believer met up with the band in Holland, towards the end of the final tour and returned to tell that all was not well in the Daryll Ann camp. Tensions were high backstage and Soldaat was both withdrawn and incommunicative. Within the week they cancelled the last two dates and announced the band were no more. The sad passing of a great band, we will never see their like again. Except...... Well from the ashes of one great band spring two more. Jelle's band Paulusma with three other members of Daryll Ann on board, have produced a great debut album (far better than Trailer Tales) and are brilliant live. Ann Soldaat's new band Do The Undo shares a bass player with Paulusma and brings in a Daryll Ann associate and a new young keyboard player to complete the line up and from what I've heard so far they are also a combo to be reckoned with. You would think that with Jelle's unmistakable golden blur, that his band would sound the most Daryll Annish and yet Do The Undo also ring with that unmistakable thing that could only be Daryll Ann. It is as if the mother band has birthed two sister bands, who though both different from each other are still so wonderfully recognisable as their mother's daughters.

So since Anne and I had kept in touch for many years after that first interview and on the strength of the great songs I've heard so far from Do The Undo, I thought to get in touch and pick up from where we left off the last time, tie up the Daryll Ann story and get the lowdown on his new venture. So Anne tell us about Happy Traum.

Anne. As I remember Jelle, his brother Coen and myself spent most weekends for about a year and a half in Frans Hagenaars' studio in Weesp where we had recorded Weeps. Jelle and Coen lived in Utrecht and they picked me up by car in Amsterdam. We enjoyed the privilege of putting our ideas directly to tape (no Protools then!) without having to rehearse with a band first. There was no stress no deadline, no restrictions, outside involvements whatsoever. Coen was the sort-of engineer because he knew where to put the microphone cables and so on. We had no real studio-knowledge. So it was a matter of judging by the ears. We were like a small gang cooking songs and ideas. I did the drumming and Jelle and I both did the other instruments. Sunday-evening we left the studio to fulfil our midweek duties, all the while longing for the next weekend to come. Jelle worked for DHL then, Coen was (and is) a post-doc in a academic hospital and I worked as a free-lance sciencewriter/editor. We ended up re-recording 4 or 5 songs with Frans himself, to make those songs sound better than they did.
BOB. What motivated the decision not to involve the rhythm section in the recording?
Anne. Really it was a short-cut to recording an album and an attempt to record the songs just like we had conceived them in our heads. We didn't have to rehearse the songs first. After the album was made we talked things over with Jeroen & Jeroen and started to rehearse the songs for a Dutch tour, so in the end we didn't escape the rehearsing after all!

BOB. How do you feel about the album now?
Anne. I can listen to it without feeling embarrassed. I think it has a nice, mellow flavour to it but because of the way it was recorded -layering tracks, just like, for example, the first Neil Young album- to me it sounds at times a bit sterile.
BOB. And your favourite songs from it?
Anne. 'All By Myself' and 'The Leaves'

BOB. And it was soon after this you did that Byrdsnight thing?
AS. Are you referring to our Byrds cover/tribute series of shows we did for - Lord have mercy - Marlboro cigarettes?! If you ask me, I think it was Daryll-Ann at her peak. I have a very good performance of that on tape. It 's the songs that are so fucking brilliant and they suited us very well, I think. Great guitars, great harmonies and great songs.

BOB. Spinart picked up Happy Traum for a U.S. release and you played there soon after. You were in New York on 9/11?
Anne. We planned to leave on 10/11 when disaster struck in NYC. We left about a month later. It was all very weird indeed. We did some radio stuff but just one live show in the Mercury Lounge. Unfortunately that night we were overwhelmed and nearly paralysed by, what turned out to be, some very potent grass.. maybe we would have been a very successful band if we hadn't been so stoned on stage all of the time. To be honest it doesn't exactly build bridges to an audience.
BOB. So After this is the time your daughter was born, and you kinda left the band and yet you didn't.

Anne. I basically wanted to do my own stuff, be a singer and player myself. Be a star (laughs) so I left, bought an Apple, Protools and Logic and began discovering harddisk recording, midi, sampling etc. I wrote and roughly recorded about 14 songs over the next eighteen months, still melodic music but with more soul and dance into it. But couldn't get anyone interested really, maybe didn't try enough to get somebody interested, I dunno. I'm still working on that kind of stuff away from what I'm doing with Do The Undo.

I told the boys I was leaving and then Jeroen Vos said that he was leaving too and so Jelle locked himself up in his trailer and made an album. I played some guitar and did some backing vocals on it and I contributed one song: 'Equally Sympathy'. We had made a rough recording of that song during our Happy Traum sessions, but never finished it. Jelle asked me if it could be on 'his' Trailer Tales album. So we re-recorded it. Jeroen plays drums on the album. I didn't see much of the boys in that time. When the album was finished Jelle asked if I would join in with the rest of Daryll Ann on stage to promote the album. And since I missed playing live a lot, I said yes.

BOB. Don't Stop seemed to be a return to form and a return of the band
proper rather than the swansong it turned out to be in the end.

Anne. Well, it was the return of DA as a band, working on and rehearsing songs before we went in the studio to record them. It was the six of us then, because Diederik Nomden had joined DA live on stage (with keyboard/organ/vocals) since the TT-tour and was now considered a full member of the band. I did lead-vocals on the 4 songs I had written. Just because I knew I was ready for it. I've done lead-vocals on earlier DA-releases (on Seaborne-West, Weeps and HT) but listening back I'm not sure I was ready for it then. And I told the band that I would like to sing a few of my Don't Stop songs live as well. And that was OK with them. So that was the first time I sang some of my songs live.

With Dont Stop it was almost like a real band again and that was good. At the same time I knew - and it felt like - things, relations, attitudes had changed for good. I mean I can't say that tour was the happiest time of my life. There's always been a good connection and mutual respect between me and Jelle - on a musical level. On a more earthy level there's been very little communication and openmindedness within the band and I know I haven't been the Great Communicator myself. It was like a small infection that turned into a big rotting abscise. I remember we had a sort of discussion, one of the few, about the band's direction and future and Jelle's 'leadership'. That was in our rehearsel room, after the album release. I know some us, including myself, showed signs of growing unhappiness at that meeting but there was no real follow-up to that talk. In an interview with a local Dutch newspaper, soon after that, I decided to be fairly straightforward and open about the situation in the band and my irritation about it. And that was enough to trigger a snowball of accusations and bad words, resulting in a split and cancelling two of the remaining shows.

BOB. So now looking back on it all how do you feel about what you achieved creatively with Daryll Ann?
Anne. Sure I'm proud of what DA has done. Here in Holland Weeps is generally recognised as a classic pop-album. And just like Van Gogh I'm sure it will sell millions when we're all dead!! The general thought on DA here is that it was a great band that failed to make it.. so be it. Well, it's still better than playing in a band that sucks and fails to make it! So, I'm not eaten by bitterness or anger.
BOB. So is it true that Excelsior are doing a b-sides and rare collection?
AS. Well they did that with Caesar. But no plans for DA as far as I know. Though both Jelle and I have a large collection of homemade 4-track cassette demo recordings of existing DA-songs and unreleased stuff that we might be happy to release at some point.

BOB. Okay run us through the line up of Do The Undo.
AS. Dick Brouwers used to play bass in DA and now plays bass in Do-The-Undo. I know Henk Jonkers (drums) since the early nineties. He produced our first EP for Hut Recordings, 'I could never love you' and co-produced 'Come around' (the second EP) and 'Seaborne West' (first - and last - CD for Hut). I met Thijs van Duijvenbode (keyboard/vocals) through Dick. Thijs is the youngest - he's 25 years old. It's a big change, being frontman now, but I like it and I know I am - and we are - growing as we play and practice. We've done about 15 shows now - mainly supporting other Excelsior acts - and the album should be out within the next few weeks. We recorded the basic tracks ourselves in Frans Hagenaars' studio in Weesp. Additional recordings were done at home. Right now I'm in the middle of mixing the songs. There will be 14 songs on it and about 7 of them are under 3 minutes. Most of them are pretty up-tempo and catchy. 3 songs are a spin-off from my 'dance'-project and transformed into guitar-pop. About 4 songs are more then 10 years old and 7 songs were 'recently' written. As a live-band we tend to be more 'rocky' than DA was.

Anne. Recently we celebrated the 10-years anniversary of Excelsior Recordings. Do-The-Undo did a show that evening as well. It was great fun and one of the acts a guy called 'Spinvis' received a gold record for selling over 35.000 cd's. In Holland and Belgium - that is, cause he sings in dutch. In fact his lyrics are really amazing and a very strong asset. It's just great that the label finally seems to get some reward for years of struggling and continuous believe in their mission.