De una isla en la que vivieron Soft Machine, o en la que actuó el mismísimo Jimi Hendrix, no podríamos esperar menos que un grupo como The Wheels. Estos ‘chicos isleños’ han sabido recoger el testigo de mil y una melodías del imaginario pop transformándolas en un sonido fresco y juvenil.
Para celebrar el próximo Record Store Day de 2018, The Wheels se unen a The John Colby Sect en un siete pulgadas con dos de los temas de The Year of The Monkey: Mr.Hyde y Smoke and Colours. Dos caras, valga el guiño a Mr.Hyde, con aromas lisérgicos y evocadores, tintes glam y sonoridades actuales envueltas en flanger y reverb.
La edición del 7” está limitada a 500 unidades que estarán disponibles a partir del 21 de abril, fecha del Record Store Day este año. La portada, un collage que enfrenta ideas,formas y colores, está realizada por Antía van Weill.
The Wheels se embarcarán este año en una gira de más de 40 fechas que les llevará a recorrer todos los continentes y con la que, sin duda, alargarán las celebraciones de su particular Año del Mono.[/et_pb_text][/et_pb_column][et_pb_column type=»1_3″][et_pb_sidebar _builder_version=»3.0.76″ area=»sidebar-1″ orientation=»right» show_border=»off» background_layout=»light» /][/et_pb_column][/et_pb_row][/et_pb_section][:en][et_pb_section bb_built=»1″ fullwidth=»on» specialty=»off» _builder_version=»3.0.76″ background_image=»https://thejohncolbysect.com/wp-content/uploads/2018/01/SG-by-PB__blog.jpg» background_position=»top_left»][et_pb_fullwidth_post_title _builder_version=»3.0.76″ title=»on» meta=»off» author=»off» date=»off» categories=»off» comments=»off» featured_image=»off» featured_placement=»background» background_color=»rgba(255,255,255,0)» text_color=»light» text_background=»off» title_text_align=»center» title_text_color=»#ffffff» meta_text_align=»center» border_style=»solid» custom_padding=»5em||5em|» custom_css_main_element=»text-shadow: 1px 1px 0 #2f2a85;» use_background_color_gradient=»on» background_color_gradient_start=»rgba(255,255,255,0)» text_orientation=»center» title_font_size=»36px» title_font=»|on|||» background_color_gradient_end=»rgba(255,255,255,0)» /][/et_pb_section][et_pb_section bb_built=»1″][et_pb_row][et_pb_column type=»2_3″][et_pb_text _builder_version=»3.0.76″ background_layout=»light» border_style=»solid»]
One good thing of the social media is that you can find incredibile people to work with, as Sara Gossett. We felt in love with her watercolours when we saw the Green Seagull ‘s cover. Working with her to create Edward Devine was really easy and the result is an amazing colorist image that keeps the esence of the songs.
We sent her some questions to know her history and influences, here you can find her answers:
- How did you start painting /drawing? Do you have academic studies?
Like it goes with many people, I have been drawing ever since I was a child, so it was one of those things I started doing when I was very young and really enjoyed: drawing on pages of my grandfather’s old stationery and in notebooks in school, so as years passed I just kept doing it for myself for fun… but for whatever reason, I never considered that it could actually be something I could personally do as a «career». I think this must be a very similar thought for many people as well! We don’t think we are good enough, or maybe authority figures in our lives through the years put the idea out of our minds that the arts can be something actually pursued seriously as more than just a hobby that will always be inferior to a «real job.»
I never had any formal training or academic studies; I actually studied Art History at college and have an undergraduate degree in that. After I graduated and started working full time at a day job in an office, I felt a strong pull back to creating as an outlet and really started to feel like my own voice could be developed as something I could take seriously. When I could, I signed up for a few night classes at a local community Visual Arts Center to reacquaint myself with some structure and explore different mediums like weaving and stained glass, but the best way I have found is experimenting with what works and feels right on a personal level, which is how I really fell in love with watercolor.
- You were born in Texas but you are living in Chicago, what do you like the most of the city? if we visit you some day what place you will recommend us for sure?
In April I will have been in Chicago for one year, and I’m still learning the city! I really do love it so far, it’s got amazing museums and so many different neighborhoods to explore, great people and music both locally and with groups that come through on tours. I would say make sure to visit when it gets warm again!
- Who are your current and past artistic inspirations?
There are too many to list to cover it all, but my favorites for graphic arts come from the golden periods of Art Nouveau and Art Deco and of course the 1960s & 1970s! But truly there’s so much, from all times of history… So I can’t possibly list them all, but here are some: David Palladini, Bob Pepper, John Alcorn, Nicole Claveloux, Leo & Diane Dillon, Marijke Koger, Mike Hinge, Antonio Lopez, Dudley Edwards, Hapshash and the Coloured Coat, Peter Max, Heinz Edelmann, Milton Glaser, Mati Klarwein, Koloman Moser, William Morris, John Austen, Harry Clarke, Eugène Grasset, Mucha, Beardsley, Sonia Delaunay, Erté… rock posters of the ’60s & 70s and all the uncredited illustrators of sci-fi book covers from this period — they are endless inspirations and influences! I also love vintage clothing and textiles and really find a lot of inspiration in the print designs of ladies like Maija Isola of Marimekko, Celia Birtwell and Zandra Rhodes, plus illustrators like Kasia Charko who had such a hand in beautifully communicating Barbara Hulanicki’s amazing vision for Biba! I guess I listed a lot after all, haha… but truly there are just SO many — it feels infinite.
- 50 years have passed since that 1967, Summer of Love and raise of the psychedelia, what did you recover from that era?
I can take away inspiration in every way from this period that was just so vibrant with art and music, color, and imaginative, creative explorations. Aesthetically it’s such a joyful era of expression, and it’s clearly impactful in that people keep returning to it with each new generation, cycling through «psychedelic» art and music again and again. So much still feels fresh and alive, still relevant. That time in history certainly had its problems, and there’s so much work still to do as far as battling racism, sexism, environmental concerns, etc., 50 years onward. I think most importantly to me now with awareness of our modern world is to keep that creative spirit of beautifully crafted work alive and share it in our own way — hopefully not in a purely reiterative sense where nothing new is added and we are just copying what’s already been done before, but in a way of careful attention that it is always filtered through our own hand and unique voice.
- What did you impress the most in your last trip to Europe? Buildings, places, exhibitions, lettering…
Visually speaking, the architecture of all these places so much older than the United States is just so amazing to see… castles and old stone, curling facades and statues, patterned tile and wallpaper, fairytale buildings and houses… it’s all just beautiful. When in Italy there were quite a few signs that caught my eye with Art Nouveau and Art Deco period lettering, and we visited the Museo del Novecento in Milan which had some amazing Italian Futurist works that were great! In London the textiles and costumes at the Victoria and Albert were gorgeous; I loved the 1960s British Boutique pieces and the William Morris dining rooms! Honestly though, the best part of that trip was all the wonderful people we were able to connect with, old friends and new. Can’t wait to be able to go back.
- How did Los Brincos «Amiga Mia» single end up in your collection?
I found that single at a great record store in Washington, DC called Som Records on one of my visits up there while I was living in Richmond, Virginia. Som always seems to have cool stuff from all over the world. When flipping through the international section in the 45s, I was just immediately drawn to that single based on the colorful swirling cover art that screamed to me, I needed to have it before I even saw the name of the artist! Cover art for vinyl has always been a huge appeal to me and one of the best parts about the «vinyl experience» in my opinion. I love that I can be a part of that process now! It’s sad to think that so many people are experiencing music without more than just a small thumbnail image on a screen, if even that.
- You play flute, tell us a bit more about your musical project.
- What are you listening now?