Breaking my radio silence (and new ground)

I’ve been a bad little blogger (surprise surprise) but I have an excuse … I’ve been in “creative mode” for the past month or two, working on new ideas and, finally, I have a prototype for a new pattern.

Unfortunately, until the book is out, it only shows that this is possible and practical — there will be no instructions on it outside of the book for now. The sheer quantity of new techniques is going to make this piece prohibitively complex to release as a standalone pattern — sorry.

ferronnerie-1Without further ado, this is Ferronnerie. A French-named technique deserves a French-named pattern, and since this is double-knit entrelac, its name translates to “wrought-iron” in French. The yarn is Quince & Co Finch, and it takes less than a skein of each of 4 colors, even for the largest size. Check out the brim as well.

There are a number of unique things you can do with DK entrelac that you can’t (easily) do in standard entrelac, but I’ll describe those at a later date. In short, for a number of reasons, I feel like double-knitting is incredibly well-suited to entrelac and I hope this will open some new creative doors for other designers in the future.

As you may have seen in my previous post on double-knit entrelac, I had a number of hurdles to overcome before I could do this. It’s what kept me from working it out earlier — but now that I’m in “creative mode” I’m in the mindset to systematically resolve many problems. Documenting them is still sketchy, however. In order to do this piece, I had to work out double-knit invisible short rows, double-knitting backward, picking up stitches along edges, keeping all 4 edges of each diamond fully locked, decreasing the sizes of the diamonds appropriately to shape the closure properly, and creating a final closure that requires minimal seaming. As you can imagine, this will take a whole chapter in my new book to properly document. I look forward to it — but it’s going to be a while.

In other news

I have yet to schedule any LYS workshops for the Spring — if you know of any who’d be interested, please have them contact me — but in addition to the upcoming gigs this November and December, and the two big shows already scheduled for the Spring (see my previous post for dates), I’d like to announce that I’m now scheduled for ANOTHER big show: Stitches South in Nashville, TN, from April 23-26, 2015. I’ll post more upcoming dates once I’ve got them nailed down.

Fall 2014 Workshops and more

Over the span of my teaching career, I’ve noticed a pattern — I may have mentioned it to you before. In the Fall, as many people start to think about knitting again (I mean, some of us never stop … but you know what I mean), you’d think people would be excited to work on some extra-warm and fashionable double-knitted items. And perhaps double-knitters already are — but folks who don’t already know? They’re not up for it just yet.

I call it the Holiday Knitting Effect. I don’t teach project-based workshops, but in the Fall people are disproportionately knitting projects for gifts rather than stuff for their own use that may not have as firm of a deadline. So in the Fall, when I run workshops, I’m all about teaching people new techniques. They don’t want to hear it. Heads down, churning out hat after scarf after shawl, using the knowledge they already have and every ounce of speed they can muster (and a fair few curse words). And my workshops don’t fill up.

The Spring is a different story — having hit (or resigned themselves to missing) most of their deadlines, knitters will come out of hiding as early as January to learn new techniques. It may be too late to use them for anything that’ll be useful during that season — but those new techniques will come in handy sooner or later.

What does this mean for me and my double-knitting technique workshops? It means that I’m still willing and able to teach in the Fall, but shops and venues that have their fingers on the pulses of their clientele know that these classes may be a risk. So the shops that do run my Fall workshops are the ones that can reduce their risk in other ways — in other words, my local shops.

So, fellow northeasterners, I was all psyched up to let you know that I’d be teaching in 4 states this Fall, but NH and ME have bowed out until the Spring and I’m back to MA and NY again.

Of course, you can always check my events calendar for the latest listings but for your convenience here’s a rundown of my short Fall lineup. New Yorkers! pay special attention because this is very short notice!

  • Saturday, Sept 20. New York City, Knitty City, 9-12 Intro to Double-Knitting
  • Saturday, Sept 20. New York City, Knitty City, 1-4 Multi-Color Double-Knitting
  • Saturday, Nov 15. Salem, MA, Seed Stitch, 1-4 Intro to Double-Knitting
  • Sunday, Nov 15. Dorchester, MA, Stitch House, 9-12 Intro to Double-Knitting
  • Sunday, Nov 15. Dorchester, MA, Stitch House, 1-4 Advanced Double-Knitting (TBA)
  • Saturday, Dec 6. Salem, MA, Seed Stitch, 1-4 Multi-Color Double-Knitting

And for those of you who like to plan WAY ahead, I’ve got a couple of major gigs coming up in Spring 2015:

In other news …

fircone sachet

Earlier this year I submitted a neat little pattern to the Interweave Knits Gifts issue, and that issue should be hitting store shelves soon (I assume, since it just got posted to Ravelry). It’s called the Fir-Cone Sachet, and it’s a simple DK piece in Shetland wool that can be sewn together and stuffed with spare pine needles from your (or someone else’s) Christmas tree to keep that nostalgic aroma around well past the holidays. Double-knitting means that you can choose the face you prefer when you’re done and the double thickness means it doesn’t need to be lined before stuffing it. I hope you enjoy it!

My double-knit entrelac has gone pear-shaped

Not that there’s anything wrong with that.

You may remember back in 2012, I played with double-knit entrelac while considering a new hat design (what’s entrelac, I hear you ask? Wikipedia knows). At that point, I was working out details on double-knit short rows, picking up new pairs along a double-knit edge, and ways to keep the whole thing locked together at the edges of the diamonds, at least. I made a little rectangular swatch that allowed me to try out a bunch of different options for each, and if you’ve taken a class with me or seen one of my presentations in the recent past, you’ve probably seen the swatch in question.

It’s been a while since I’ve thought about DK entrelac any more than in passing. Shortly after I made the swatch, the illustrious Gwen Bortner took one of my advanced double-knitting workshops and it became clear that she had done — and even published — a double-knit entrelac pattern. However, even Gwen said that the photo of the piece doesn’t do the technique justice, and after I picked up a copy of her book, I realized that the technique is not described in any real depth so the method is relegated to the crazy enthusiasts (like myself) who are willing to work out the details for themselves.

For the next couple of years I found myself busy with other things. But now, with the next book on the (distant but visible) horizon, I am working on snippets of techniques again. In a moment of frustration while working on another piece, I decided I’d dedicate some braincells to the entrelac question. Once I’d opened this old dusty crate in the back of my brain, I was able to look at it in a new light, and something that had eluded me before snapped into place. Not only is double-knit entrelac possible, it’s easy — and one of the elements that is unique to my style of double-knitting is going to make DK entrelac even easier. I’ve also been playing with new stitch/pair relationships and new ways of explaining things that will go a long way toward fostering a better understanding of DK entrelac and double-knitting in general.

DK-entrelac-sneakpeek1

So without further ado, this pear-shaped thing was my technique swatch. I ironed out some details but most of it is working in an easily repeatable/documentable method. I’m not thrilled with the closure but I have another idea for that which I’ll try out later. Also, the gauge is way off — too loose and showing too much of the other color because of that. Now that I have the technique down, my next step is going to be to play with the gauge, color changing, and (of course) motifs within the panels.

Just so you can see that it’s reversible, here’s another photo with the pear halfway turned inside out.

DK-entrelac-sneakpeek2

 

Now comes the bad news. This is kind of a tease, I’m sorry to say. This is going to be a fairly technique-heavy pattern and when it’s done it’s likely that I’ll be saving it for the book and not releasing it as a standalone pattern. However, if there’s great outcry I may change my tune on that.

Thanks for your continued interest and I hope to see you back here again soon!

It’s Summer! New Pattern just in time for Fall: Spring Willow. Winter?

OK, now that we’ve got all the seasons covered, it’s time to think (and knit) proactively. Rather than waiting for Fall to think about Fall knitting that you won’t finish until Winter and therefore won’t wear until next Fall, how about starting in on something new and fun in time for the cooler weather coming up? (Again, apologies to those in the southern hemisphere for my north-centric worldview here).

SpringWillow-3

The first thing you’ll probably notice is that I managed to find an even creepier statue to model my new pattern than the one that modeled Parallax v0.5. But hopefully you’ll also notice the stunning thing she’s wearing. Witness the first example of true double-knit lace — not merely two layers of lace stuck together, not merely using lace to embellish an otherwise normal piece of knitting, but reversible lace with subtle colorwork that literally could not have been done in any other way. If you’ve been following me, you may notice that this is the pattern I was working toward back when I made this post.

The pattern is called Spring Willow, and it’s a double-knit lace cowl in luscious Anzula Dreamy superwash merino/cashmere/silk yarn. It has a really nice drape for a double-knit piece, and the combination of lace and two layers makes it an ideal 3-season garment. As with all my patterns, every technique you’ll need is explained — with pictures, when possible. Double-knit lace is surprisingly easy to achieve, and you’ll soon find yourself cruising through this pattern in ample time to have it ready for the Fall and early Winter that it’s so well suited for. And even if it may not be best worn in the coldest midwinter, it can make a reappearance alongside its namesake as you begin to see the spring greens and new-growth browns that the colors were chosen to represent.

I hope you enjoy the pattern — for now it’s available on Ravelry but I’ll be posting it to Craftsy and Etsy as well in the near future. Here’s a closeup shot of the fabric:

SpringWillow-2

Further Updates

Good news for West Coast folks! I have been accepted to teach my full repertoire at Stitches West in 2015 — a couple of regular workshops and then the Sunday-Monday intensive ETC class where you’ll get to learn all kinds of advanced two-color double-knitting stuff. Rumor has it that registration is starting even earlier this year — next week, I believe? so I hope to see some of you there!

For my East Coast family, I am running a short series of workshops in Dorchester, Salem, Portland (ME) and at Harrisville Designs! More info on those once I have everything nailed down.

MusicBlox: Wintergatan

Homemade instruments like a custom musicbox and an analog keytar-ish thing join an unimaginable mixture of live acoustic and electronic instruments and samples in what is probably the most deliriously happy music I’ve listened to in a while without feeling like my brain is overdosing on cheese. OK, there’s some cheese, but it’s earnest cheese.

Wintergatan

Wintergatan (Swedish for the Milky Way) is a unique band made up of multi-instrumentalists who, in many cases, play multiple instruments at once on stage. Their stage setup above is sadly misleading — they set up tables in the shape of their band’s name and cover them completely with something like a hundred different instruments, then proceed to not play the vast majority of them. I would be far more impressed if they actually circulated through this field of instruments, picked them up and played them periodically. But even if it’s just a prop, it drives home the possibility that they probably could play any of these instruments if they wanted to — their skill is equal to the task, even if their mic and power setup isn’t (see? no cables to all those keyboards).

One of the things I love about these folks is that process seems as important as product to them. This is borne out in their music videos, at least a couple of which are twice as long as the song itself because they show all the behind-the-scenes work that goes into creating the video, or in some cases the instruments themselves. I’m particularly enamored of the custom music box they’ve created that actually gets used in their live shows. In the background you can see that they’ve actually created a custom melody tape to feed through the mechanism. This means one of two things: either there is a computer program that creates music-box tape according to a melody you create, or they wrote a computer program simply for this purpose. Either is pretty awesome, really.

So enough talk. Go listen. This video is full of incredible things, including all the stuff I mentioned plus homemade Lego stop-motion animation and a rhythm track made from slide-projector noises. Make sure to watch all the way to the end if you want to know how they put it all together.

Needless to say, I would be among the first in line if Wintergatan ever tours in the US, but for now they’re confined to their own continent so I’ll just wait. In the meantime, you can get their CD or vinyl album from their store if you’re in Europe, or go for digital at Bandcamp.

Victorious Return of Victorian Raffia

If you’ve been following me since before EDK came out, you may remember a scarf I was in the process of knitting back then. Here’s the story.

Once upon a time, I had figured out double-knit decreases but double-knit increases were still a mystery to me. When I finally filled that gap in my knowledge, I decided to work on a piece (a scarf) that allowed me to play with a whole series of different increases and decreases. I had recently discovered the wonder of Kieran Foley’s work and decided to adapt one of his charts to double-knitting.

Never one to do things by halves, I realized that if I were to work the chart exactly as he’d created it, I’d be missing some important techniques. So I modified it subtly to make it a better practice piece.

The chart I created has directional single increases and decreases, and centered double increases and decreases. That’s 6 techniques, each (of course) done on front and back of the work for a total of 12 different types of increase and decrease. This was assured to make me an expert in double-knit increases and decreases in short order.

Victorian Raffia Scarf

Victorian Raffia Scarf

The piece came out beautifully, and got lots of attention in knitting groups and on Ravelry. When my book was in progress, I was about 2/3 done with the scarf. I wrote to Kieran and asked him if he’d allow me to publish the changed pattern in my book (with suitable attribution to him as the originator). He turned me down. To be fair, I was a little relieved — I had a lot to do and this just meant I didn’t have to finish the scarf. I bagged it up and it has been bagged ever since.

Four years later, I got an email out of the blue from Kieran Foley. He’d reconsidered and decided to allow me to publish the pattern on Ravelry, with a 60/40 split for joint authorship. I was intrigued, and accepted his offer. I could finish the last 1/3 of the scarf and have it ready by the Fall easily!

However, in those four years, I had learned much about double-knitting and designing in general, and I felt that the piece was no longer up to my usual standards. First of all, it was entirely done in twisted stitches — something I enjoy the look of but most other knitters will never do. In addition, it’s a pain and a half to do double-increases into twisted stitches, even with very pointy needles. Second, unlike any of my more recent scarves, it was done without selvedges, which meant the edges were harder to keep smooth and clean. Finally, it was done without any embellishment to the bottom edge, which meant that the increasing and decreasing created a couple of bulges along the bottom. After much deliberation, I broke the yarn and started again with a fresh cast-on.

VicRaffia2The new revision of Victorian Raffia has a section of mock-ribbing similar to the ends of Corvus. However, because of the main pattern, the mock-ribbing flows seamlessly into parts of the chart. The new chart is an 80-row repeat rather than the 76 of the original, so that the “river” sections which are a 20-row repeat will be able to match up nicely with the larger chart. The river sections themselves use some no-pair elements to smooth out the movement of the knots-&-crosses pattern. There’s a new type of increase I’ve never used anywhere else, which means there’s a total of 14 increase/decrease techniques now. And of course, it’s now done with a selvedge and “normal” stitches so that it will more closely resemble other people’s work.

Now it’s time for me to apologize, once again, for the next part: this pattern will be done when it’s done. I can’t release it until the scarf is finished and photographed, and I’ve got several other things to do at the same time, which will necessarily slow this one down. The good news is that I’m very much enjoying working on it, and will endeavor to get it done as soon as I can. But the nature of the piece means that it will take a while to finish, and I hope you will be patient in the meantime.

MusicBlox: Govinda

If you’re like many people, you’re probably sick of hearing about dubstep. Perhaps you think it’s the auditory equivalent of nails on a chalkboard, or the anguished screaming of the souls of thousands of teenagers as they’re dragged into the pit by half-shaved hipster demons. Actually, that’s Merzbow you’re thinking of (so it could be worse). Perhaps you liked dubstep once upon a time when you heard Glitch Mob for the first time, but since then the genre has kind of gone in a direction you don’t like. Perhaps you actually remember dubstep before it got taken over by the current EDM crowd, and Hatcha and Plastician are still in occasional rotation on your playlist. Perhaps you like dubstep and you wish it didn’t have such a bad rap. Perhaps you have no idea what I’m talking about.

Regardless, I have one word for you: Govinda.

Govinda is the moniker of a solo artist named Shane Madden with quite a number of albums under his belt, who has recently been moving in a dubsteppy direction. There is some confusion since there are evidently two artists under the name Govinda, both working in electronic world fusion with Indian influences — but I think a line can be drawn around the Shane Madden Govinda project by isolating the albums that use live violin. This is how Madden has really made his mark as a performer: few electronic artists will whip out a “traditional” instrument and play it with virtuosity equal to their electronic wizardry. It’s always a delight when they do; for example. Squarepusher played bass guitar alongside his early performances, and Big Gigantic packs huge venues that dance for hours to what is essentially acid jazz.

Under normal circumstances I’d drop in a handy YouTube video here, but since the future of music on YouTube is in doubt right now, I’m going to link elsewhere until that whole mess settles out.

This is one of my favorite tracks from the most recent full album. Govinda has released some EPs as well, of both original content and remixes, and all strong music but I still feel Universal On Switch is the best full album. YMMV, so listen to them all!

CSA: Somerville (Chocolate, that is)

Last year, when my friend Guido joined the Somerville Chocolate CSA for their first season, I was intrigued but unsure if I could really justify purchasing such quantities of chocolate. I’ll also admit that I found the sole pickup point at the top of Winter Hill a little daunting as well. While I have no problem pedaling up that hill in the summer (at least, every now and then, not daily), the prospect of getting up there in the winter was not something I relished the idea of.

But like any successful CSA, they have expanded their pickup points and one of them was in my neighborhood, at Central Bottle. I could no longer resist.

CSA-S2H1-1

The proprietor of this amazing venture is one Eric Parkes, brother to the singular Clara Parkes whose unparalleled knowledge of all things fiber and yarn and knitting (not to mention baking, and those caramels …) has endeared her to the knitting world forever and ever, amen. But where was I? Clearly the genius runs in the family, for Eric is doing with chocolate what Clara has done with yarn. He’s starting from the very beginning, almost — getting cacao beans shipped from all over the world and experimenting with different ways to process them, then charging a hundred or so willing guinea-pigs for the privilege of being his test subjects. He came to the Common Cod’s latest Ignite event and gave a talk about his CSA … which, since I was there, was probably the thing that sealed the deal for me. You can check it out here — it’s only 5 minutes.

So in the interest of enticing you to perhaps join me in this adventure — for I think that there are still shares available in this season, if not for much longer — I’m going to try to give you a sense of the three bars in Season 2, Harvest 1.  Once upon a time I fancied myself something of a supertaster — I could pick individual ingredients and spices out of a dish by taste alone. I’m out of practice but I haven’t completely lost the knack.

The bars are sorted by origin — Peru, Venezuela, Ghana — but also by cacao varietal. You can read up on the varietals first if you like.

Peruvian Criollo

Peruvian Criollo: This is my least favorite of the bars in this harvest, so I’m starting with it. The mouthfeel is sort of grainy, similar to Taza’s trademark texture. Interestingly enough, I understand that Taza uses mostly Peruvian chocolate as well. I’m fairly sure that’s a coincidence — or perhaps not? I assume the graininess is a function of the tempering process, but could it be endemic to this particular cacao bean varietal? Aside from the mouthfeel, the flavor is sort of unremarkable. There’s something between a tangy first taste and a bitter aftertaste, but that’s as far as I can taste. One thing it does have going for it — it’s not too dry, which I appreciate in a dark chocolate.

CSA-S2H1-4Venezuelan Trinitario: This one had me looking back at the label a couple of times to check the ingredients — nope, still just cacao and sugar, and 70% at that. It really tastes like a dark milk chocolate — very smooth, no bitterness at all, very sweet but most surprisingly, the distinct flavor of roasted nuts. I had to eat a couple of squares (quelle horreur!) to pick it out but I think the flavors are reminiscent of something between roasted almond and roasted hazelnut — but not overwhelmingly so.

CSA-S2H1-3Ghanaian Forastero: Finally, my favorite of the bunch. This bar is reminiscent of dark spices and has a pleasant, fruity tang with the occasional burst of something tropical I can’t quite define. The mouthfeel is very smooth but this is definitely a dark chocolate, not like the near-milky smoothness of the Trinitario. With a flavor like this, I can forgive the brut quality that leaves me wanting a little something to drink right after finishing it.

I feel I should come clean — I actually picked up this harvest about a month ago. I have been alternately sick or busy since then and haven’t had time or the functioning taste buds to review these. I have already picked up Harvest 2, and hope to do something similar with that soon — so keep an eye out!

Cookbook Challenge: Mad about Muffins

Every summer since I met my lovely wife, we’ve taken a few days to visit her family’s home-away-from-home in Wells, Maine. They rent a beach house out on the sandbar for a week or two and invite the family to come up. We have to rotate through because it’s not a very big house, but we’ll generally try to get there while some other family is around, since it’s nice to see family outside of the usual holidays and birthdays that usually bring us together.

In recent years, we’ve made an effort to visit Spiller Farm while we’re there. This is a kind of unique farmstand (think fresh local veggies, imported watermelons, and lobsters in tanks) that has a pick-your-own component as well. When we get there, it’s usually pick-your-own highbush blueberries, among other things — we’ve gotten corn, carrots, tomatoes as well as the usual fruits in the past. We make a point of picking lots and lots of blueberries — about a gallon, if we can. Of course, many blueberries are eaten in the process, and occasionally we just throw them up in the air and try to catch them in our mouths.

052614-blueberries

When we get back from Wells, I pack the blueberries up into 2-cup servings in freezer bags and freeze them. It may be months before I get around to using them but they’re still delicious.

Recently, we had a houseguest staying with us, and I decided I’d up my breakfast game and make some muffins. So I entered the cookbook challenge again. This time, I’m using a book called “Mad About Muffins“. There are great recipes — from basic bran muffins to “Taco Muffins” that use salsa and meat drippings. But for now, as you can probably imagine, I’m sticking with a basic, classic blueberry muffin.

Caveat: I don’t know the rules about posting recipes out of someone’s cookbook, but I’m going to hope that if I’m doing it in the pursuit of promoting their cookbook they’ll be OK with it. However, this recipe is written more narratively and also has some tweaks that make it a little different (but not a lot). Nevertheless, if I get a C&D order I’ll have to take it down.

Blueberry “Mad About” Muffins

Heat your oven to 375 degrees. Soften 3/4 stick of salted butter and mix with 2/3 cup of sugar (I use Florida Crystals or some other fine-grain minimally-processed sugar) until well combined. Beat in 2 eggs. Add a teaspoon of vanilla extract (I recommend Penzey’s if you can get your hands on it), and 2 teaspoons of baking powder. Add a cup of all-purpose flour, mix in. Add 1/4 cup of milk, mix in. Add another cup of flour and another 1/4 cup of milk, as well as 2 cups of blueberries fresh from the bush — or the freezer — and mix until just combined. Try not to crush the blueberries too much.

Grease a muffin tin (or use muffin cups, which is what I did) and evenly distribute the mixture into 12 muffin-shaped depressions. Finally, take 1/4 stick of softened butter and mix with 2 tbsp of cinnamon sugar (or 2 tbsp of brown sugar mixed with 1/4 tsp of cinnamon). The recipe calls for 1/2 cup of chopped walnuts as well but if you don’t have any, just double the butter/sugar mixture (1/2 stick of butter and 4tbsp of cinnamon sugar). Put a dollop of the mixture on each muffin and bake them for 25-30 minutes.

Muffins

The muffins turned out great, and were gone within 24 hours. We have no self-control, evidently. The stuff that was supposed to be streusel topping just ended up giving each muffin a slight sugary glaze. This was also the first test of the Baker’s Edge pan I got last Christmas. Why, you ask? I have no idea. It’s just a well-made muffin pan; the company claims the shape is good for something but I think it’s just an interesting gimmick to set them apart from other kitchenware makers. Since they’re well made, I don’t mind buying into the gimmick. I really love their brownie pan too, but I like edges so it makes sense.

I’ve got more food posts lined up, so keep an eye on this space.

MusicBlox: Red Red Groovy

redredsmallI was digging through my music directories, and stumbled across this album I had almost forgotten about. It took me way back to the days I spent as a highschooler digging through CD bargain bins, looking for … I don’t know, things I hadn’t heard of that looked interesting. I remember finding this album vividly. I was a student at St. Mark’s in Southborough for less than a year (long story), and one of the teachers had a kind of club that went in to Faneuil Hall for a fancy dinner and classical music with the BCO periodically. I joined out of a sense of adventure and an interest in not being cooped up in my dorm room with people I barely got along with. Prior to the dinner and music part of the evening, we had the run of the market and had much fun at stores which have long since been replaced with tedious facsimiles.

One of the stores I made a point to hit was Sam Goody, a music chain in the vein of Strawberries or Coconuts (what did music have to do with fruit in the 90s, anyway?). I’d leaf through their bargain bin, then go through their electronic section. At this point in my life I had already solidly connected with the rave scene, and even if I was unable to go to parties frequently I was voraciously devouring as much of the music as I could get my hands on. Eon, Plastikman and the Speed Limit series were on frequent rotation in my dorm room, to the consternation of the dorm parents.

The time in question, I had struck out in the bargain bin but stumbled across an intriguing cover in the electronic section. Sometimes, when I found little else, I’d take a gamble on something by the cover alone. This time, when I got a listen to the CD, it wasn’t at all what I expected — but not wholly disappointing, either.

Red Red Groovy was a band on a short-lived spinoff of the MCA record label called Continuum Records. The label folded in the mid-90s, which left them without a platform on which to release their music. There’s also a rumor that they were embroiled in a legal battle with the similarly-named but unrelated industrial act Red Red Groove, which kept them from pursuing new representation under a new label. Rather than renaming and pressing on, they disbanded and went their separate ways.

The album they left behind remains, in my opinion, one of the most unique and overlooked electro-pop albums of the early 90s. While some will note the similarity to pop-psychedelic groups like the B-52s and Deee-Lite, the fact is that their placement in the electronic section of Sam Goody was not accidental. The album has a strong dance groove, aside from the unmissable 60s-style Hammond-organ grooviness that invites comparisons to Madchester bands or Saint Etienne. However influenced they may have been by some of the UK music scene around the same time, Red Red Groovy was from Minneapolis and also influenced by the burgeoning US rave scene that was their more direct experience.

Despite the fact that the band’s website is long gone, their album “25” is still available from time to time on Amazon. Or of course, you could just stream the whole thing on Youtube.