Dan Sandman: Reviews

Hard to imagine but this album has been recorded in a bedroom!

Then it Chris Monger ran over the way, which invited him into its Bedroom studio, where finally " In Technicolour" in the autumn 2007 developed.

Promise-fully the Opener begins " She Swam, Swam and She Swam" with a long-drawn-out loud clay/tone from the electrical guitar, whereby one thinks: Hell, which comes there to me? After some seconds the rockige clay/tone falls in itself together and for the remainder of the TRACK has we it with a calm piece to do. Sandman plays a native acoustic guitar, by some E-guitar-tones is temporarily overlaid and Monger delivers some sounds of key board in addition. With " Say NO Words" it continues similarly, only Sandman the speed screw continues to screw somewhat in the bits and Bites. Since there is also no break between the two numbers, one, without a view of the display would not state that one already landed in the second song. And is both from the arrangement and from the flair OK ONE supply sounds itself. Only the guitarist and singer should not commit the error to go persistently this way further.

" Mum" is zweiminütiges instrument valley a Intermezzo, in which Sandman on the acoustic suddenly few rockige tones places. Madly! " Autumn" sets, where " Say NO Words" stopped. By the carried, nearly andächtige tendency, paired with the key board carpet, one could speak smoothly of such a thing like Ambiente Folk. Center in it becomes then nevertheless more quickly and Sandman throws in some groovige A-guitar-sounds. Thus it saves the TRACKs before the Belanglosigkeit. Tja, which remains one, when patience " to have…; Flowers" also straight are not the yellow of the egg. Sponge over it, because such a thing had we nevertheless already… Why do I have to rub continuously the eyes?

Finally! " Ramble Song" provides now however for the already eagerly expected alternation. Acoustic guitar, of a monotonous E-guitar overdubbt, Monger at the hand drums… Hey, it goes nevertheless! Sandman saves the listener from the deep sleep. Nice melody, combined with a good Refrain, becomes the piece nevertheless smoothly a Hinhörer. Now Monger plans the Harp and " In Loving Memory" it develops to a next good TRACK in which Dan shows that he can variable use its voice. Harmonica and again the acoustic guitar, more need to in addition-get it not, around a qualitatively good song. " Pub" is again a short intermediate play provided with mad flair, which comes very strongly more rüber. Unfortunately it is only a good minute of ' lang'. Supported it is " with a voice tangle from a tavern and for; Caravans" the Englishman seizes " Pub" - Topic with the electrical guitar up and distributes it over the entire TRACK. Here it grants to the acoustic break and thus can one it at the latest now not necessarily only into the Acoustic Folk corner put. But it schultert simply to often the strengthened guitar.

To my personal favourites on " In Technicolour" heard " Acoustic (I Love It) ". Each quantity name Dropping, without which I do here. Sandman distinguishes itself from well-known sizes of the seventies-years and its statement reads textuell clearly: ” I want acoustic… “Monger does not mix the first time together vocally and this piece can one sound oneself more frequently. Then we drop back blunt into musical Gefilde, which we already with " Flowers" , " Say NO Words" or " Autumn" heard. Now it means only " RK The Bar" emergency-hung;. Even if Sandmans voice is by sections impressively verfremdet, it does not change for anything in the fact that the number is condemned to Vorbeirau. Why do I have to rub already again the eyes? " Fulltime" is a variation of " Mum" in the high-speed wash course. That was it then also…

Dan Sandman has determines potential, is a good guitarist, should for a successor however to more alternation grant itself. Ask! Thus remain for all-side well-known line under that 5-6 of 10 RockTimes clocks remaining.

Badly translated from the original German review, anyone who can send me a better tranlation please do

12/03/08 - "I want Acoustic, I must be getting on" - Dan Sandman at the The Purple Turtle

The real plug of the evening was what came afterwards: Chris Monger, a local indie music producer/performer and Dan Sandman, a beat/king-bum poet and guitar player from Camden; dropping his usual electronic sound for the evening and for a small minimal selection of instruments including a tiny Rhodes keyboard. Incidentally, Monger is responsible for producing Sandman's debut record In Technicolour released, as I gathered, quite recently. I could have sworn I heard his name somewhere before, perhaps in a London music paper - perhaps he came to Oxford a while back and I subconsciously stored his name in some derelict part of my brain. In any case and thinking back about it now, his set was surprisingly engaging. It wasn't pretentious or preachy, no no. His music found the very thing that modern folk has forgotten: how to not take itself so fucking seriously. Each song had this ability to drift in and out of various shades and colours, a possible theme to his music given the record title. Despite some predictable endings and occasional sickly-sweet melodies the songs were laden with chirpy, sympathy poetry overseen by an earnest approach and experimental guitar work. It was well crafted and unique. One Oxford high collar in the croud was making a brash scene and generally whooping the place up as best he could. Understandably, drunks have little patience for quiet, reflective music and he was beginning to try his luck.
"We should have an orgy!" he bellowed, getting half assed laughs from the surrounding audience then pointing directly to me "...he can join us!".
"But we have no otter's nipples" my 'associate' quickly responded. This reference to Ancient Roman sex parties confused him effectively and he tried his best to regain his former repose, but to no avail. His larger soaked head betrayed him.
"We should all come next week in togas" I added, silencing the poor, smarky fool enough to allow the evening to continue on in a reasonable condition.
No doubt, Sandman has delt with worse. His light-hearted attitude and sarcastic humour stems from events such as these. Anyone who deals with hecklers gets my approval.

A very important moment in the life of a Camden, North London resident Dan Sandman was the first time that he Bert Jansch at a folk festival saw play for a fascinated public. Met alleen maar zijn gitaar slaagde hij er in om de aandacht van de toehoorders te grijpen via zijn uiterst vakkundig vingerwerk op die zes snaren van het akoestische instrument. With just his guitar he succeeded in including the attention of the audience to intervene through its highly skilled vingerwerk on those six strings of the acoustic instrument. Zo wilde Dan Sandman zelf ook gitaar kunnen spelen. If Dan wanted Sandman also can play guitar. Daarnaast leerde hij ook de kracht van het gezongen woord kennen via de liedjes van de poëet Nick Drake die zijn gevoelens op een onnavolgbare wijze kon weergeven in zijn teksten. In addition, he also learned the power of the sung word to know through the songs of the poet Nick Drake that his feelings on an inimitable way could appear in his texts. Ook dat wilde Dan Sandman ooit zelf kunnen. That wild Dan Sandman ever able. Tenslotte was het voorbeeld van Richard Thompson inspirerend omdat hij er blijkbaar al in geslaagd was om die combinatie vlekkeloos uit voeren, zelfs met een gezonde portie humor en een fascinerende live performance. Finally, the example of Richard Thompson inspiring because he was apparently already succeeded to that combination from flawless, even with a healthy portion of humor and a fascinating live performance. De helft van de liedjes op zijn debuutalbum “In Technicolour” gaat over zijn soms turbulente liefdesleven en in de andere helft bezingt hij in het nummer “In Loving Memory” het gemis aan de o zo spannende oorlogsverhalen die zijn overleden grootvader aan hem vertelde, zijn liefde voor het Britse platteland in “Autumn” en in “Flowers” en een stukje geschiedenis van de gitaarmuziek, voornamelijk in de instrumentale nummers “Mum”, “Pub” en “Fulltime” maar ook in zijn ode aan de gitaargrootheden in de muziekgeschiedenis via het liedje “Acoustic (I Love It)”. Half of the songs on his debut album "In Technicolour" goes about his sometimes turbulent love life and the other half in his commune him in the song "In Loving Memory" the lack of the so exciting oorlogsverhalen who are deceased grandfather told him to, love for the British countryside in "Autumn" and "Flowers" and a bit of history of the guitar, mainly in the instrumental tracks "Mum", "Pub" and "Full" but also in his ode to the gitaargrootheden in music history through the song "Acoustic (I Love It)". Zijn bewerkingen in de stijl van zijn grote voorbeelden zijn terug te vinden in “She Swam, Swam And She Swam” en in “Ramble Song”. His operations in the style of his great examples can be found in "She Swam, Swam And She Swam" and "Ramble Song". De beslommeringen in de liefde komen aan bod in “Say No Words”, “Caravan” en in “Nothing At The Bar”. The concerns come in the love addressed to "Say No Words", "Caravan" and "Nothing At The Bar". “InTechnicolour” is een knap debuutalbum van een artiest die langzaam maar zeker bouwt aan een muziekcarrière in de stijl van zijn bovenvermelde voorbeelden. "InTechnicolour" is a clever debut of an artist who slowly but surely building a muziekcarrière in the style of his aforementioned examples. Laat maar snel terug wat van je horen, beste Dan Sandman. Let but quickly back on what you hear, Dan Sandman. Bijvoorbeeld door spoedig een mooie opvolger voor dit album op ons los te laten. For example, by quickly turned into a beautiful successor to this album on our releasing it.
(valsam)

Badly translated from the original Flemish review by Google, anyone who can send me a better tranlation please do