Harvesters – At Rosie’s Palace


Debut album of new band led by Paul Lamont of Grand Blue Heron/A Clean Kitchen Is A Happy Kitchen/Hitch

ZZ Top played by old hardcore kids.

Released by KMR Recordings in Cooperation with JFR.


Miguel Moors (Blackup, Haze, Crites): guitars
Ba.rt Soens (Fuss Bender, The Sloofs) : bass, backing vox
Lion De Clerck (Bobby C., Leopard Skull) : drums
Paul Lamont (Hitch, Blackup, A Clean Kitchen Is A Happy Kitchen, Grand Blue Heron): guitars, vox

At Rosie’s Palace.

Harvesters Facebook


Not a concept album by intent, Harvesters’ first album did come out as the topical soundtrack to a non-existent road movie in which the road takes many turns and serves as a metaphor for life from the early stages of adolescence to the time the protagonists realise that youth has long since gone.

Reigning Sound // The track that sets off the album, is a musical reference to Greg Cartwright’s Reigning Sound, based on simple chords and influences from surf and garage to build a story of two young people not unlike the ones depicted by Raymond Petitbon on Sonic Youth’s “Goo” album.

Wrecking Well // Life continues for the protagonists and they starts to realise that not all of their decisions are well made, even though at heart the decisions are made by someone who is not a bad person. This track dips into classic rock, but juts in rare elements of nineties noise. Detroit Love // A person could – in theory – go without art or books, but no man/woman/their can spend a life without music. This is Harvesters’ garage/soul take or professed love for some of the great music that put Detroit on the map. Hillside Blues // Veering well off in the direction of Southern Rock (some say Skynrd, others claim ZZ Top) this is an almost typical blues rock, fight or flight tale for the two main players in the album’s story. Corner Store // Originally intended as a groove based,broken blues track (which it still is live), the album version of this riot story takes a turn towards (well produced) lo-fi garage.

Deadbeat // The first song ever released as a demo is still a staple in the live set and now opens side B of the album. Here, the not so smart decision by a not so smart man to deal in questionable substances is delivered in pure amped up rock ‘n roll that winks a serious eye to the music of Chuck Berry. Dead In The Water // The most nineties inspired track of the album may be called a bona fide pop/rock track. Content wise, this one is slightly off kilter,

as it is liberally based around an eighties movie (a pretty bad one, we must confess) called “Empire of the Sun”. Warlitzer // Robin Trower’s music certainly came to mind when we wrote this track about dealing with trauma. Seventies hard rock influences on a millenial record: it can be done. Cloud Season // Wisdom and advice based on experience are

given to the two main players in the album’s story. It is our guess who gives the advice or whether it is taken to heart, but it is offered. In a stoney, noisy kind of way. Gone Cold // This is about the only time the album plunges into 80ies territory, more or less around the area where Red Lorry Yellow Lorry or Echo & The Bunnymen reside. The closing chapter of the album brings us back to the road and offers an insight into the thoughts of one of our players, who has since parted with his/her/x partner in crime. Most of life’s road is now behind and our character mesmerizes about his age and the future to come. A deal is struck with the waitress in this last truck rest diner. Will the young lady make the same mistakes/decisions made in the opening track or will she be shielded from those errors because of the protagonist’s experiences? The album doesn’t answer that. Perhaps the next one will.

At Rosie’s Palace was recorded live in studio and is the result of 3 years labour. It is a well balanced and excellent sounding album. Much of that can be attributed to Cedric Maes (Production) and Alessio di Turi (Recording Engineer & Mixing). The album carries a cleaner and perhaps more pop oriented vibe than the live shows, but: an album needs to be a good album and a live show needs to be a good live show. Both rarely translate well intoanother and we set out not to make the mistake of doing this translation. This is our attempt at making a record that you want to listen to over again. – Harvesters

Harvesters got together after Paul Lamont & Miguel Moors started talking
after � two support slots they did for Jon Spencer & The Hitmakers with T Blackup. They wanted to do a new band that mashed up all the stuff they liked
from the great eras of music of the 50ies, 60ies, 70ies and possibly some
early 80ies, a time when bad ass music also translated into a lot of great,
good old fashioned, kick ass songs.
A delayed start somewhat prevented the band to get to full speed straight
away, because they dealt with a rotating number of bass players and
were shut down temporarily due to a nasty bug that halted the entire
world for almost two yea.rs.
At the end of 2021, though, in walked Ba.rt Soens on bass and he hit
the ground flying and pretty much immediately locked in with Lion on
drums to become one of the tighter solid groove backbones and
rhythm sections you will find a.round town.
After releasing a demo that lead them to perform at Sjock Festival,
Missy Sippy, Trix, N9, Kingsland … , the band also opened for The
Lords Of Altamont and Ayron Jones. In november 2022, they
holed up at GAM Studios (Begium) for a week with Cedric Maes
and Alessio di Turi (Sore Losers, Sha Laa Lees, Radio Willy … ) to
come up with an absolutely fine sounding 10 track album –
entitled “At Rosie’s Palace”, featuring staple songs from their
live set. The album largely exceeded the band’s own
expectations. It’s set for release on Sept. 1, 2023.
Harvesters release their own music and book their own
shows.You can seem them live quite a bit a.round the country
in the fall of 2023. The album will be available on.line, at
selected shops and at the live shows.
“Hit the one in the middle.” (Paulie Pennino, Rocky IV)




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