SINÉAD O'CONNOR - Who's the boss here?

Little Bray on the Irish Sea is a place modelled on classic British seaside resorts. Without a pier, but with a long beach promenade, nice cafés and busloads full of pensioners and families with small children who want to sniff sea air in the cloudy Irish summer. And they probably don't even know whose front door they are strolling along on Strand Road, the main road on the waterfront. Sinéad Marie Bernadette O'Connor resides with her four children in a large, white, two-storey building whose angles are in the Rastafari colours (it couldn't be more striking). A single mother who receives in leather trousers, T-shirt, pink slippers and with a freshly shorn head and striking tattoos on her face (red hearts on both cheeks). Although she cooks coffee and inquires about flight and arrival, she is not really cordial. More suspicious and hesitant. The chaos in the kitchen and living room is visibly unpleasant for her. Which is why she's asking to her first floor retreat.


The past months have been hard, but the work has more than paid off", a satisfied Clemens Mitscher will say at the end of the day. In a seminar Mitscher wanted to teach his students the technology of analog and digital photography under the difficult conditions of a rock concert. "Nobody would have thought at the time that the project would take on such proportions," he was amazed. Didi Zill, renowned photographer of music celebrities from rock and pop, who had the Stones, Pink Floyd and Deep Purple in front of his lens in the 70s and 80s, for example, also travelled by train from Munich to Frankfurt to attend the opening of the exhibition. He is very impressed by the juxtaposition of rock photography classics and the courageous, spirited pictures of the up-and-coming photographers. "I had already given a lecture at the university and was pleasantly surprised at how interested the young people were - and that they showed understanding and interest for analogue photography

AMPLIFIER - Slightly mysterious

Lightness can mean really hard work. So Amplifier had to rehearse intensively for four months before they went into the studio with the material for their "summer album", as Sel Balamir likes to call his youngest baby. The founder and creative head of the band explains in an interview with eclipsed why the basic idea was to make a relatively straightforward noise and to convey a "Back to the roots" feeling.

eclipsed: It is said that "The Octopus" and "Mystoria" - two completely different albums - were made at the same time. How did this happen?

Cosmic Symphonies - FLYING COLOURS release their second album

Steve Morse, guitarist at Deep Purple since 1994, has been a musically highly motivated lover with the name Flying Colors for about three years.

"It's an extraordinary stroke of luck that we met in this formation and can now pass the balls to each other like this. There's no no go in this band, anything's possible." The fact that this musician from Florida, who has often been honored as the best "overall guitarist", particularly likes this is noticeable in the fact that there is hardly an interview with him - no matter whether the occasion is Deep Purple or his Steve Morse band - in which the language does not come from the Flying Colors. The most prominent member of the dream team is former Dream Theater drummer Mike Portnoy, about whom Morse says: "The guy loves to organize, and that's also necessary for our other activities, because I'm glad that we can do a few concerts with the band at all in autumn"

Music From Time And Space Vol. 53

FLYING COLORS - One Love Forever (7:16)
Album: Second Nature (2014)
Label/Distribution: Music Theories/Mascot/Rough Trade

Flying Colors' "Second Nature" is again a treasure trove for ingenious melody arcs, embedded in a prog-oriented sound. Even more than in their other band projects the namesakes Steve and Neal Morse, Mike Portnoy, Dave LaRue and Casey McPherson can spread musically here.

The history of rock photography

Jimi Hendrix in Monterey on his knees in front of his burning guitar, conjuring up the flames; Janis Joplin laughing on a couch, his left arm up his hip, a bottle of Southern Comfort in his right hand; Johnny Cash with his rage-distorted face, his right middle finger drawn like a weapon; Jim Morrison with his bare upper body embodying the voluptuous shepherd god Pan as well as the hedonistic worry breaker Dionysos; David Bowie with his face at the pelvis of Mick Ronson, his guitar simulating fellatio; Sid Vicious with a blood-stained chest carved with the words "Gimme A Fix"; Iggy Pop, walking over the heads of his fans - images that capture unique moments, images that initiate careers and manifest images, images you can't get out of your head anymore. The power of the visual is of enormous importance especially in rock music: Like in no other field we equate the image of the artist with his person.

JOHN GARCIA - The free swimmer

At the snack bars around the Schlesische Tor in Berlin's Kreuzberg district, people sit in front of flat screens and watch football. Only at Club Bi Nuu is the world championship in Brazil a minor matter. John Garcia's band Unida has gathered there for a soundcheck. Despite the newly awakened interest of the Americans in soccer, which one hears about everywhere, the members of the US band don't feel like kicking. Before the soundcheck can start, the ex-Kyuss singer follows up interview obligations. He uses the last gig before a longer break of his Stoner troupe to talk about his solo debut.

eclipsed: You're releasing your first solo album. Surely some fans expected it earlier..

AMON DÜL II - We are Family

Amon Düül II had emerged in 1967 from an artist community in Munich's trendy Schwabing district. In times of student unrest, APO and protests against the Vietnam War, music was still an expression of a socio-political attitude. Whether the band still lives this artistic spirit after almost fifty years, we discussed with guitarist John Weinzierl.

eclipsed: Why did you publish "Bee As Such" now as a physical product under the title "Düülirium"?

John Weinzierl: Nowadays you work differently, you put something in the room first, just like we download the music under the working title "Bee As Such". I got a request a few months ago to play on a Billy Cobham record and I came into contact with the people from the Cleopatra label. Then we said let's get them out with the cover and everything. The name was suggested by our old Chris [Düül-Gitarrist/Violinist/Singer Chris Karrer; note], the rest of us just said: "Yeah!". (laughs)