Whirligig! Return of The Cherry Bluestorms!

The Cherry Bluestorms (TCB) long-anticipated third album Whirligig! opens with a cover of the Beatles’ ‘She Said She Said’. It’s a gracious, slick Jefferson Airplane-resounding track that’s peppered with salutary moments of Filter's ‘Take a Picture’ single. Smashing opener to whet the sonic appetite!

TCB’s romanticism turns subtly subversive, as ‘Roy Wood’ follows, boasting a nod to the Rolling Stones’ ‘Satisfaction’. Thankfully, any concern induced is quashed soon after, when we’re repeatedly told and convinced that “Roy Wood wouldn't mind!”, ahead of a warm, instrumental outro.

The undeniable groove of ‘Heel to Toe’ ensues, with an engaging, endearing guitar echoing The Stone Roses’ ‘Love Spreads’. Its prominence shines amidst a somewhat perfunctory but great-sounding composition... that’s a positive for fellow TCB aficionados and no, not many bands can say that!

Opening acoustically, ‘Sleep’ sees lead vocal shift from Deborah to Glen, pleasingly producing the closest thing to a John Squire/Echo & the Bunnymen synthesis this side of the Stone Roses’ long, drawn-out demise. Sadly, “Nothing ever lasts forever”, even the seductive ebb & flow found herein.

Getting nearer to their trademark sixties sound, TCB gift us something of a sonic daydream. Seducing us with everything from lyrical imagery that interjects gentle intervals and softly soaring vocals, ‘Rays of the Sun’ effortlessly enthrals and entices.

‘Seven League Boots’ again invokes the Rolling Stones (particularly the chorus of ‘Let’s Spend The Night Together’, the percussion of ‘Sympathy For The Devil’ and to a small extent ‘You Can’t Always Get What You Want’), to great effect. Contrary to its suggestive title, it’s a more sentimental, patiently delivered track with tender vocals that seem to address us personally; check out this video...

TCBs tap into their collective main vein with ‘Purple Heart Magic’, a track that typifies their majesty, their ear-sorcery and yes, their oh-so habit-forming music that so many folk have missed out on… maybe 2018 will be their year and, by default, our year too. All hail TCB!!!

The optimism of ‘Brighter Days’ draws us in from the outset, so much so that we forgive and forget the occasional fleeting flashes of Cast’s ‘Finetime’. It’s a toe-tapping, nodding extravaganza that disguises its heavyweight simplicity with a fine balance of lead/backing vocals & piles of production prowess.

The intermittently vulnerable lead vocal of ‘Out’, both draws and distracts as it competes and contrasts with the composition’s punchier counterparts. The soft, seductive storytelling is perhaps the most alluring element, but that’s a big statement when dealing with a song of such strength and budding stature.

‘Caroline’, like ‘Sleep’, lets those beloved trademark psychedelic nuances shine, as Glen’s prominent Dylanesque drawl steals the spotlight and easily dilutes any ‘San Francisco’/The Carpenters undercurrent. It’s often said that best things come in small packages, right?

With its accessible, image-riddled lyrics and all-round soothing accompaniment, it’s only a matter of time before penultimate track ‘Each Mortal Day’ has got you running for the repeat button! We somehow empathise with each newly-elicited emotion, as Deb’s delicate vocal demands our focus.

Whirligig’s longest track is saved until last, suggesting that ‘Be Here Now’ will be more of the operatic epic we’ve historically fallen for, but it’s not! Amidst a more familiar TCB construct, the guitar solo shines brighter than the already dazzling track; prepare to feel the sun beating down on your eardrums folks!!!

Whirligig! seems more deliberate and mature when compared to commonplace moments that pepper TCB’s delightfully playful, psychedelic back catalogue. Maybe it’s the Hammond organ resurrecting sorely-missed Rob Collins; maybe the myriad of Manc reference points presented… maybe not!

Because they hold such enticement and quality, each track instills a subtle sense of loss upon closing; to some extent they feel like album samplers (despite their average duration of 3.6 minutes). Maybe I’m greedy, but if history has taught me anything, it’s that I can’t get enough of that TCB sound.

Follow the links below to further your submersion into the wonderful TCB world.

http://thecherrybluestorms.bandcamp.com

http://www.facebook.com/thecherrybluestormsmusic

http://www.myspace.com/thecherrybluestorms

http://www.reverbnation.com/thecherrybluestorms

http://www.soundcloud.com/thecherrybluestorms

http://www.thecherrybluestorms.com

http://www.twitter.com/geewilikers

http://www.youtube.com/thecherrybluestorms

The Cherry Bluestorms: See no Evil / Dear Prudence Limited edition debut vinyl release

The Cherry Bluestorms (TCB) are a US band whose inspired sound is unashamedly borne of the brilliance of our very own bygone 60’s Britpop era; the fact that the greater recognition they deserve remains predominantly unrealised is a real injustice to the band, their regal song writing and yes, their already prestigious past in the world of popular music.

Okay, they’ve only a handful of releases to relish, but by working with the likes of legends such as Devo, The Dickies and more, it’s surely time we asked if their everyday “household name” status may’ve been tragically undermined by plain old blameless geography… a fair point perhaps if you discount happenings such as Bowie seducing Iggy.

For anyone fondly familiar with Russ Meyer’s movie ‘Beyond the Valley of the Dolls’, the sound and style of featured bands Strawberry Alarm Clock or The Carrie Nations will surely resurface upon hearing this single; ‘See no Evil’ empowers an incredible, somewhat flamboyant ethos, as TCB go about their business like a freeze-frame flashback to that glorious ‘60s blur.

Further evidence of this is the serenity of the psychedelic spin that enshrouds ‘Dear Prudence’, but unlike its more upbeat predecessor, this cover version easily provides dialogue for any dreamer’s delight, in a way that Siouxsie & the Banshees maybe never did… but is it enough to incur widespread coverage that isn’t stuck neck-deep stateside?

Those of you who are suitably seduced should head to Bewdley, Liverpool or Manchester in May 2017, where TCB will be playing live. In the meantime, click here for a taster or see below for links to anything from their beguiling biography to their brilliant, albeit brief back-catalogue and who knows, maybe you could do your bit to big-up TCB.

http://thecherrybluestorms.bandcamp.com

http://www.facebook.com/thecherrybluestormsmusic

http://www.myspace.com/thecherrybluestorms

http://www.reverbnation.com/thecherrybluestorms

http://www.soundcloud.com/thecherrybluestorms

http://www.thecherrybluestorms.com

http://www.twitter.com/geewilikers

http://www.youtube.com/thecherrybluestorms

Penny for my thoughts: The Cherry Bluestorms deliver yet again

Bad Penny Opera (BPO) is the second LP to be released by The Cherry Bluestorms (TCB), the 60’s Brit indie-rock driven duo consisting of Texan Deborah Gee, a truly sweet and oh so sultry songstress who perfectly complements the colourful cool composure of her TCB counterpart Glen Laughlin, who you might know from his time spent with legendary punk outfit The Dickies.

Their psychedelic, accessible debut LP Transit of Venus impressed me to the point of no return and yes, I now  hypocritically return and succumb to a second helping of TCB magic, which chronicles our protagonist Bad Penny’s London-bound, post-relationship search for a new life.  Taking in the sights and sounds of Britain’s 60s rock scene as she goes, Bad Penny makes good as she goes!

Now, some of the titles on BPO might afford us insight into the band’s affection for the recently resuscitated Madchester scene, but TCBs love for The Charlatans (UK) is what shines brightest herein.  This eulogistic journey back to the musicianship of yesteryear is peppered with charismatic cast-members who animate and enliven this cyclic concept album at every opportunity.

Opening with the ‘Up to our Hips’ era Charlatans-resounding ‘Bad Penny Overture’, this easy-going groove-driven track draws you in close and stirs little desire for sonic scrutiny as it does, until a drawn-out, solo-strong outro stands up to demand your outright attention. 

Soft and understated ‘By Your Leave’ offers many a Rumer-worthy flash of innocence amidst the awesome Hammond-proud sounds.  Coming in at two and half minutes, the track is over almost as quickly as it began, affording listeners little chance to fully appreciate its simplistic brilliance.

‘A Better Place’ comes across as something of an anthem desperate to astound, but the brass-derived highlight that comes midway in the form of a casual, carefree horn solo is all too short-lived.  With lyrics being effectively repeated it serves up the first real enticer and leaves us wanting more.  

Covering Donovan’s ‘Wear Your Love Like Heaven’ is a bold move for anyone aiming for hip or grasping at relevance these days, so you can imagine my delight at discovering a solid, feel good rendition that screams quality, particularly with each of Gee’s vitality-fuelled vocals. 

‘A True Heart Wears A Thorny Crown’ offers thinly veiled homage to ‘North Country Boy’, a Charlatans track I hold little love for, but that said, this track undoubtedly adds another ass-shakingly good classic to TCBs back-catalogue; if indie-driven delight is what you’re after… you got it!

It could be the shifting drive or a meandering sense of direction that stirs uncertainty throughout ‘Sunday Driving South’.  Calmness, calamity and conflict combine throughout an emotive track that keeps you guessing at the outcome. Ken Kesey references are always welcome in my house too!

‘The Country Man’ and its fresh-sounding multi-track vocals immediately reignite our appreciation levels, but it needs no studio gimmickry in order to hold its own, no sir-ee!  Any track that closes with the word rhododendron is already onto a sure winner, right?! 

    

Upping the ante, ‘World Going Mad’ annoyingly escalates anticipation levels, before ambling around on its way to the end of the track… at least that’s what it wants you to think!  It’s a real yet repetitive treat and realising midway that the track’s end isn’t quite as nigh is expected is a closing bonus.

‘As Above So Below’ stomps its way into the proceedings to lovingly set the stage for Laughlin’s licks that serve up yet another hand-clap, foot-tap and even head-nod happy track.  I suspect the word infectious could be appropriate, but I’m too busy keeping myself and this LP to myself!      

A somewhat feeble ‘London Bridge’ serves up some sonic respite, which lets us to take a little premature breather whether we want to or not!  Fear not friends, for the flames of format familiarity that brought us thus far, will soon be fanned and flaring around us once more.  ONWARD!

‘To Love You Is A Crime’ comes crashing in, before subsiding into a luscious vocal-led tale of self-devaluation that mildly stirs more offbeat offerings once made by The Beatles.  Here’s another track that’s over before the separate parts of its composition can be fully appreciated.  

     

‘Start Again’ takes us right back to the cold stone cobbles of London just as much as any lamp-lit Liverpudlian canal.  The music pleasingly upholds a Gerry and the Pacemakers sentimentality whilst a perfectly delivered, timeless and stylized vocal transports us to those former days of glory. 

‘Bad’ is the beloved bastard son of our equally enthralling opening track, which impresses its incestuous similarities on the listener; it’s a great LP closer that piles on all the lyrical prowess of its predecessors, leaving behind a underpinning pining for the repeat button… it’s simply brilliant.

If you’re no prouder a TCB fan after hearing this album, you owe it to yourself to give it a second chance, perhaps when your head’s elsewhere and you’ve undergone some open (your) heart surgery!  Tune in, drop out and admire the lyrics as you go to get a proper handle on this lovingly crafted LP.

 You can hear some of the above sounds, as well as some older, equally awesome tracks by visiting their  Soundcloud  page and for more info and further insight into a fantastic band, go visit TCB website, like them via their Facebook page or follow them on Twitter, I promise you won;t regret it!  

Finally, all applicable thanks to whoever took the above photos!

L.A.Whoa Man! An Interview with Glen Laughlin of The Cherry Bluestorms.

It’s always rewarding to interview a fellow Stone Roses fan, but to find such a sweet and sexily surreal one all the way in Los Angeles was something of a pleasant surprise! 

Glen Laughlin of the LA-Based band The Cherry Bluestorms kindly took some time out to answer my questions which reveal much more than the details of their forthcoming album ‘Bad Penny Opera’ which is due for release this year.  

Here’s the interview...

1.    When you take aim with your peashooter/pellet gun/sniper rifle, you’re aiming at whom?

a.    I’m not into real violence, but I’m happy to indulge in a bit of the fantastic sort.  I suppose my first choice would be Michelle Bachmann, because I don’t suffer fools gladly.

2.    Where do you go when it all gets too much?

a.    I suppose that’s a time I tend to stay home.  Otherwise, perhaps a turn at Descanso Gardens, northeast of L.A.

3.    Is bedtime more half nine with a half read paper or more half four with fully red eyes?

a.    Definitely more half four with fully red eyes!

4.    What do you do with any ‘you’ time?

a.    I’m quite a reader in spurts.  If I’m not reading or watching a film (no TV), I’m probably plunking away at a guitar.

5.    Who would be your dream collaborator?

a.    I should clarify that Deborah is real, so she’s excluded, but otherwise... possibly Andy Bell of Ride/Hurricane #1/Oasis.

6.    What’s the last gig/concert you went to?

a.    I saw The Horse Soldiers a couple of weeks ago.  The lead singer is also the singer in The Furys, a band I used to be in that is getting back together.

7.    What’s the best / your favourite music video?

a.    If you mean in the modern/MTV sense, off the top of my head I’d say “The Devil You Know” by Jesus Jones.  But I’m a sucker for the promo films The Beatles and The Kinks did in the ‘60’s.

8.    If you were a musical instrument what would you be?

a.    Maybe a reed organ; I’m too much of a “contain multitudes” sort of person to imagine being a monophonic instrument.  I like the slight stately yet homely, warm yet melancholic qualities of the instrument.  I think it might suit my Dickensian conceits.

9.    What’s ‘love at first sight’ all about then?

a.    I think we all “become”, we all change and we have unexpected chemical reactions to others, who change and become in their turn.  Love can have so many different meanings and manifestations.  I know from personal experience that that chemical reaction can be quite instantaneous, quite violently passionate and surprisingly long-lasting.  But I sometimes love other people too.

10. Where do you draw your inspiration from?

a.    Over time, my tendency has shifted from the specific, for example a stationary image in my mind or a literary idea, to more general things that come of the grab  bag of things I’ve read, thought, seen or experienced in my life.  They all sort of connect and inform each other.  I’m always the last to know and then I write about it.

11. Care to share any regrets, missed opportunities or things that might’ve been?

a.    I don’t have a lot of regrets in the sense that I would actually change something if I could.  The things I’d be tempted to change seem to lead quite quickly in my imagination to a less desirable present.

12. Were/are you aware of your escalating popularity?

a.    I certainly am.  I notice that for some reason, the more money I owe, the more popular I become!

13. Will your past come back to haunt you or will karma be kind?

a.    Funny you should ask.  As it happens, I’ve heard from a number of people from my distant past in the relatively recent past.  In all cases it’s been really good, even where I thought it might be uncomfortable.  I don’t know about karma, or what I deserve, but I have no complaints.

14. Where do you most enjoy playing live?

a.    I think I enjoy anyplace we’re playing and singing well, particularly if the on stage sound is good.  It’s great when the audience is really digging it, but I’m usually focused on what I’m doing, rather than what I think someone else thinks of what I’m doing.

15. Why? What's your biggest why question that mystifies you most?

a.    Why do birds suddenly appear every time you are near?

16. What influences your sound above all else?

a.    If by sound you mean the overall sound of the band, it’s a combination of innate abilities and styles, along with personal tastes, which are connected to the records we like whose sounds are applicable to ours.  For example, I love The Beatles and I love The Stone Roses.

I have similar guitars and amps, so my sound is often probably not dissimilar to much of what those bands do.  I also love Robert Wyatt, but it’s less often that sounds and approaches he uses are applicable to what The Cherry Bluestorms do.

17. Where do you sit in the grand scheme of things?

a.    Fourth row centre.

18. Why the name (not your christened name of course)?

a.    There is an obscure Be Bop Deluxe track called “Futurist Manifesto”.  It has a bunch of cut-up random phrases, one of which is, “Watch those royal and cherry bluestorms”.  That phrase stuck in my head for a very long time.  It seemed suitable for a somewhat psychedelic Mod-ish band.  I’m not sure we’re exactly that, but we have the same tailor.

19. Who’s the most likely to go solo or crazy?

a.    Deborah and I both have solo material, some of which is pretty removed from The Cherry Bluestorms.  Deborah already has a really great solo album and we’re already working on another.  No sign of insanity yet, but it is a certainty that we’ll both release solo albums.  No thoughts of parting company with TCB as far as I know! 

20. Any choice epitaphs or famous last words for which you’d like to be quoted?

a.    My head seems pretty big next to the small chip on my shoulder, but I’m really pretty nice.

21. What makes you better than everyone else?

a.    There is no way to gracefully countenance this question!  I certainly don’t think we’re better than everyone else, but I sometimes feel our music has been taken no more seriously than music I find to be inferior.

There may be no accounting for taste, but I think there’s more to it than mere personal preference.  Credit where credit’s due, even if it’s not your cup o’ tea, even if you mix metaphors!

22. When do you plan to take over the world?

a.    I guess you didn’t get the memo…

23. What changes can we expect with your latest outing?

a.    Bad Penny Opera is an even more overt tip o’ the hat to our ‘60’s influences.  It has more keyboards and they are in more featured roles.  I think that despite its own eclecticism, it still is somehow more cohesive than Transit of Venus.  I also do more singing along with Deborah.

24. Are you all agreed/in control of the formats for your releases?

a.    Yes!

25. Wish you were doing anything else with your time other than music?

a.    Music is my main passion, but I wouldn’t mind having more time to read.

26. Who were your heroes as a teenager?

a.    When I was a child I was into The Beatles, The Kinks, The Who, The Small Faces, The Buffalo Springfield, The Byrds, Spirit, The Rolling Stones, Donovan, Jimi Hendrix, Cream, The Hollies, The Lovin’ Spoonful and Syd Barrett.  As a teenager I got into the art rock and British folk-rock thing as well.

I was into Fairport Convention, Steeleye Span, The Strawbs, Nick Drake, Genesis, Be Bop Deluxe, Brian Eno and Pink Floyd.  When the punk thing hit, I got into XTC, The Skids, Fingerprintz, Magazine and Elvis Costello. 

27. What do you think of the paparazzi?

a.    I don’t think much of them or about them, but I certainly think people should get a life.

28. What music are you listening to of late?

a.    Unfortunately, I’m often working on my own music or the music of clients I’m producing, so I don’t stay as current as I used to do.  Lately I’ve been playing with one of the bands I’ve produced, “Big Shot Reub & the Reloaders”.  They are a blues based band and so I’ve been going back and listening to Muddy Waters, Howlin’ Wolf, Peter Green’s Fleetwood Mac, Otis Rush, early Jeff Beck Group and other stuff I hadn’t heard for years.  It’s a real education!

29. Any message for underachieving or odds-facing musicians out there?

a.    “Advice” is such a loaded word, as it assumes one is in a position to give it.  But I’ll stick my neck out.  It’s clear that the music business is in a serious period of transition, as is the place music holds in the general public’s heart. 

What doesn’t change is that some people are passionate about listening to music and/or playing it.  If music turns you on, then keep at it and become a better listener and a better writer or performer.  Ultimately, it’s the fulfilment that one achieves by expressing one’s inexpressible individual aesthetic; by placing meaning on something inherently non-representational, that one strives for.

There is no clock running on that and no measure of popularity that can diminish it.  It’s a lifelong commitment to a calling.  There is nothing more worth doing in this life than to appreciate and create beauty.  

30. Any career highs or lows you care to share?

a.    Flying in a 6-seater airplane over the coast of Oregon with Dewey Martin’s Buffalo Springfield Again was certainly a thrill.

31. Do you enjoy playing live or are you more at home in a studio?

a.    I think of live dates as fun, but also as the place where all of the cylinders are firing at once.  “Live” is to live.  I’m very happy to be recording or writing and if I had to choose I’d write and record.  But the visceral nature of a live show, to say nothing of the instant gratification, makes it all seem real. 

32. Your career defining dream moment would/will be what?

a.    I suppose everyone would like the validation of a real record deal or a hit record.  I’m no different, but I can say that seeing a review or a comment from someone who really seems to have got what I tried to say musically makes me really happy and grateful.

33. Know of any upcoming bands that are destined for greatness?

a.    The Anydays!

34. How important do you feel visuals are in relation to music?

a.    I always quote my friend Larry who says, “People listen with their eyes”.  Of course as time goes on, as technologies expand and as attention spans diminish, visuals become more important.  I always thought that a band’s aesthetic sensibilities tended to show themselves visually as well as aurally.  It’s at least another opportunity to be creative about getting your message across.

35. What’s been the highlight of your year?

a.    My neighbour moved away!

36. I’m sure you’ve done a few but which gig has been your best?

a.    The Cherry Bluestorms played a gig in San Diego awhile back.  Although the audience didn’t seem especially thrilled, for me it seemed to be the most perfect show we ever did.  The look of the band, the sound and the performance itself was as close as we’ve ever got.  So it was a highlight that was perhaps invisible to most.

37. Any forthcoming plans for you / the band?

a.    We have an alternate version of Fear of Gravity from Transit of Venus that will be available very soon.  We have a new album, Bad Penny Opera that will be out in about a month.  We will be in England promoting the record in May.  We are working on Deborah’s second solo album.  We already demoed all of the tracks for our third album, some of which we’ll be playing in our sets in England.  We are also working on videos for two songs from BPO.  Other than that…

38. Is there more pressure playing live with a band than there is playing solo?

a.    I think there is more pressure playing solo.  It’s like being naked!

39. Are you unlucky in love and if so, why?

a.    I’ve certainly been unlucky at times, like most.  But as they say, he who laughs last…

40. Best song, movie or album ever?

a.    Best song: Hey Jude; best movie: Funny Bones; best album: Kink Kronikles.

41. Where did you sleep last night?

a.    Home.

42. What’s your secret vice... what are you a sucker for?

a.    It’s no secret that I drink a lot of Cokes.  But I don’t use a straw, so I don’t suck.

43. What makes the world go round?

a.    How can you mend a broken heart?  How can you stop the sun from shining?  

44. Where’s the place to be?

a.    Right here, right now.

45. What’s your weak point?

a.    I can’t say no to interviewers!

46. Which instrument does it for you most?

a.    My ’66 Rickenbacker that I bought from David Swanson of The Pop.

47. What inspired the LP title?

a.    It was a small leap from the cyclical idea of a bad penny always returning, to a corruption of Three Penny Opera, which is based on a favourite of mine, The Beggar’s Opera.

48. Are you a good dancer and can you prove it?

a.    I’m a fine dancer, but not as good as the Supernatural Anaesthetist (Genesis track).

49. What kinds of music (if any) do you dislike the most?

a.    It would be a toss between what’s now called Country music but isn’t and rap, but fortunately Kenny G. came along to break the tie.

50. Where will you retire to when you're tired of comeback concerts?

a.    I think Cornwall or Devon would be my preference, but I’m not sure I could stay out of the city for long.  It might have to be London, or half London and half L.A.

51. When will the world end?

a.    You missed it!

52. Who’s the main driving force or do you work as a team?

a.    Honestly, it’s “yes” to both.  I tend to be the instigator, if that’s what you mean by “driving force”.  I’m obsessed with music.  But Deborah and I definitely work as a team.  Mark just joined the band, so his role is still in the making. 

53. How important are the single/album charts?

a.    There are single and album charts?!

54. What revival would you most like to witness?

a.    Charles Laughton’s!

55. Which era would you have been born in ideally?

a.    I suppose it would have been great to have been born just a bit earlier so I could have experienced the mid-to-late 1960’s as an adult.  Otherwise, Dickens’ London would have been frightful and wonderful.

56. Are exercise and diet important to you?

a.    If Deborah says so!

57. If you could protect and save 1 thing in the world, what would it be?

a.    The opening chord to Anyway, Anyhow, Anywhere by The Who.

58. Who’s the most gifted person alive today?

a.    Paul McCartney.

59. Have you got any famous relatives and if so, who are they?

a.    Uh, no.

60. Does complaining accomplish anything?

a.    Apparently not.

61. Whose autograph do you have and why?

a.    Bill Nelson of Be Bop Deluxe, ‘because I asked him for it.

62. Which fictional character would you most like to be and why?

a.    P.Smith, cause he dresses so well.

63. Which rules... the digital age or the vinyl/cassette age?

a.    I like digital for the stuff digital is good at and analogue for the stuff analogue is good for, but if you are asking about an “age”, then thus far vinyl and tape have it all over digital.  It’s an unfair comparison though, because digital is in its infancy.

64. Which musical style should become extinct first?

a.    Country music isn’t or rap

65. Do you have any tragically unused band names you’d like to use?

a.    David Swanson and I briefly tried to form The Legendary Obstacles.

66. Was it easy becoming who you are today?

a.    Are you kidding?

67. What’s the biggest myth about stardom?

a.    The ones the stars believe.

68. Have you ever been conned into or out of something?

a.    Yes.  But I do some interviews anyway!

69. Do politics have a place in music?

a.    Music is one of our sets of languages.  No subject is off limits, but I think that generally, since art in the fine art sense is “interpretive”, the more literal the message being proffered the less “artistic” it is.

Here are The Cherry Blustorms in action: