- 1There's a Crack in My Bell04:41
- 2Anybody Else (But You)03:42
- 3Blood Sister02:43
- 4Bobby Pin02:24
- 5Being Double (feat. Iris Romen)04:38
- 6Eugene's Palace01:35
- 8Talking to Myself04:14
- 12The Age of the End02:19
Info for Vedgdbol
Less than a year after the first album, Robot is already back with a new record, titled Vedgdbol. Whereas the debut, 33.(3), was a meticulous study in finely tuned songwriting, its follow-up is an untamed beast revved up on rock 'n' roll blood – less prim and more primal. This time, studio wizard Robbie Moore programmed his Robot to churn out as many musical sketches as possible over the course of a weekend. He then shared the resulting seeds with an all-star band assembled in his studio, Impression Recordings, who brought them to life. The results ripened into Vedgdbol, a fiery blast of twelve hook-filled nuggets, with a few instrumental detours. Before moving to Berlin, Moore was living in London where he worked with numerous acts such as Florence + The Machine and Babyshambles. In 2015, he founded Impression as a studio and record label, and this year so far, since the release of 33.(3) in January, he has produced and recorded with an array of artists such as L.A. Salami (Domino), Jesper Munk (Warner), Lary (Universal) and Namika (Sony). Moore's artistic momentum has now snowballed into the second Robot offering, created over the course of one moment. Whereas on the previous LP Moore played all of the instruments himself, for Vedgdbol he wanted the recordings to be as spontaneous as the writing process. To achieve this, he recruited a supergroup of Berlin-based fugitives: guitarist Knox Chandler (Psychedelic Furs, Siouxsie & The Banshees, Marianne Faithful), bassist Taylor Savvy (Gonzales, Bonaparte), drummer Micha Fromme (Pretty Mery K) and radio darling Joel Sarakula on keys. Side A of Vedgdbol pulls you into the party with three manic slices of garage pop. In between “There's a Crack in my Bell” and “Blood Sister” is the album's lead single, “Anybody Else But You”, in which Robot is still trying to master the art of communication: “I got some words in my brain / but they don't know what to say.” After this psychedelic sock-hop, Robot shows his sweet and symphonic side on “Bobby Pin” and “Being Double”, a duet with Berliner chanteuse Iris Romen. After a jaunt to “Eugene's Palace”, Robot lands in the murky moat of “Mousetrap”, in which he channels his inner dead rock star. “Talking to Myself” is something Tarantino would select for the chase sequence in his Jetsons reboot, and from there ricochets through the airwaves until landing on “Evil” – actually one of the album's most wholesome moments. “Seasick”, however, is properly dark and stormy, featuring a 13-piece choir in what you might call an existential shanty: “Fill the hole with a tear / too cold to cry it”. By the time we reach “The Age of the End”, it feels like Robot's self-awareness is driving him bonkers, his overcooked programming finally turning him into a Vedgdbol. The only solution is seemingly to hit reset – the LP is coaxing you to flip it over, so it can take you for another spin. Vedgdbol is not your garden-variety, space-age salad – this is sonic superfood for the soul.
Robbie Moore, vocals, guitar, keyboards
Knox Chandler, guitar
Joel Sarakula, keyboards
Taylor Savvy, bass
Micha Fromme, drums
I have been scratching together trying to make what might sound like music since I was 7 years old, when I began to teach myself guitar and piano. I then spent many years unconsciously re-writing Beach Boys songs and making hissy recordings using my mother’s tape-to-tape function.
Not knowing if I wanted to be a musician or a plasticine cartoonist, when I was 15 I saw my opportunity – the lodger had moved out, so I took over the spare room and began turning it into my own 4 track cassette studio. Developing into an obsession, I barricaded myself in that room trying to figure out how to write pop songs until I had recorded 3 albums by the time I was 18, when I was kicked out and went to live with the Krishnas.
Getting married after a 3 day long psychedelic episode, and discovering when we woke up that we sang well together, we ended up at my father’s house, taking over his sitting room and recording 3 more albums in 2 years – which started to get some attention, including festival dates, good support shows and a sofa in a publisher’s office.
Well, fate was not on our side that time – a tragic death, petrol emotion and fragile youth left us in tatters and unable to pull ourselves together again. Out of the wreckage I clambered, creating what would turn into The Mores, rapidly growing into a 17-piece orchestral monster, and which in 2002 saw us as pioneers, being the first band to play many of London’s churches including Shoreditch and St. Giles, both now established venues. With 15 shows in little over a year, running an orchestra, 3 backing singers, a lighting rig, a bar, trying to convince doubtful vicars, I was getting married again every month!
Meanwhile a run in with a Smashing Pumpkins drummer had taken me to a dilapidated artists building where I began construction on my first ‘proper’ studio. Being poor, I acquired a blue Ford Sierra with a red door and a petrol leak and conducted a long season of nightly skip and bin raids across London, gathering together enough materials to build the studio, entirely out of things I had found, for free. Sound on Sound magazine were impressed enough to do a 5 page feature! Look here
Being in the middle of a creative boom in London, pretty soon I started getting people wanting to record with me, helping me pay the rent while we set about putting The Mores on to tape. Two years and one sideways studio expansion later an opportunity to move into the old SARM East studios appeared. Along with 2 partners, in 2005 we refitted the studios and quickly became one of the best places to record in East London, with a huge pooled equipment collection, impressive studio history and a perfect location on Brick Lane. So began an amazing few years both in the studio and on the road, recording, producing and playing on hundreds of sessions with the likes of Florence + the Machine, Glen Matlock and the Irrepressibles, touring with Babyshambles and Lefthand, and Mores releases with Ambiguous Records. In 2009 the business expanded and the studio relocated to Dean St, Soho, and is now one of London’s most popular studios. See here
As Dean St became more and more of a big business, I needed somewhere I could call my own, so in 2010 we converted our flat in Woolwich into a Joe Meek style setup, with tie lines running from the loft into each of the downstairs rooms. It even had a steam room/echo chamber! It was a beautiful place and I recorded albums for Rob Marr, Jackson Scott, Holly and the Wolf, and singles for Mr. David Viner and LA Salami there.
This album contains no booklet.