HAPPENING RIGHT NOW DeanAllenFoyd


AUSTIN MATTHEWS meets Canadian ex-pat Francis Rencoret of Sweden’s latest psychedelic sensations T


he thrilling, pulsating gallop of ‘Please, Pleaze Me’, the opening track of the debut album by Dean Allen Foyd, will


put any right-minded psych fan into a head- spinning epiphany – such is its perception- altering majesty. This new Swedish psychedelic rock band have made one of the albums of the year with the defiantly retro yet utterly fresh sounding, The Sounds Can Be So Cruel. Front man and guitarist, Francis Rencoret


(who named the group after being introduced to bluesman T-Model Ford and mishearing his name due to the legend’s heavy Mississippi accent) sites the band’s main influences as Love, HP Lovecraft and The West Coast Pop Art Experimental Band, “These are the ones that have opened new horizons for us in the world of psychedelia, folk, country and avant garde. The blend between the psych and the blues was definitely influenced by Captain Beefheart’s Safe As Milk. Right from the beginning that record has been a source of inspiration for us.” The album perfectly captures an authentic vintage psych sound and


was recorded using an analogue console at Fashionpolice Studios in Stockholm. Francis is defiant that the band is not merely a ’60s pastiche however, “We do not consider ourselves to be a retro band nor do we want to emulate our heroes from that era but to continue the journey they all started. One thing is to be inspired and to use similar sounds but we are constantly aiming forward so we can


“WhenImovedtoSwedenfrom Canadain1995,Iwasamazed byhowpeoplevigorously collectedvinylrecordsandtold storiesofgreatbandsfromthe ’60sand’70s”


bring something new to the table.” Francis is also fiercely


proud of his adopted homeland, “I think Sweden is quite in tune with what goes on in music, fashion and so forth for being a country with a little over nine million inhabitants. When I moved to Sweden from


Canada in 1995, I was amazed by the general knowledge people had about music from the past and to see how people vigorously collected vinyl records and told stories of great bands from the ’60s and ’70s that I had never heard of. Another thing is that when a child here in Sweden decides to take music, the government provides him or her with amazing schools for young talent free of charge. Then you have the long boring winters that bring the dark – what else better to do than play music? You get so much time to play and not so many distractions.” Drummer Willie Alin explains the


particularly Swedish impact on the band’s music, “Swedish folk, which was a big inspiration for our jazz scene during the ’60s is something we can’t turn away from just as much as the Swedish prog-rock from the early ’70s has rubbed off on us. These influences stick out even more now that our new member Errka Petersson has joined us on Hammond organ – you can hear the influences coming from the ’60s LPs of Bo Hansson which to me is all about mixing Scandinavian melancholic folklore with explosive improvisation.”


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