terça-feira, 28 de março de 2017

kNOWing Eva with Undone - An Interview

Poesia em formas psicodélicas, caos, dores, perversões, delírios, morte, família, sonhos, guerras, , apocalipse, tudo é alimento para o caótico combo macedônio, Undone.

O recém lançado "kNOWing Eva" é um exercício de desintegração plena e total da sanidade, sendo conduzido pelas guitarras delirantes de Viktor Gajtanoski e Ronit Bergman exorciza tudo com a vocalização mais tensa e sexy dos últimos tempos.

"kNOWing Eva" é certamente um dos trabalhos mais intensos lançados este ano, e precisa, veja bem, precisa ser apreciado imediatamente e sem moderação.

Nestes tempos de incerteza o Undone é a trilha perfeita para seus temores.

***** Interview with Undone *****

Q. When did Undone start? Q. Tell us about the history...
Undone started in the summer of 2010 and its still undoing J

We were invited to create an experimental poetry- and sounds show for an international poetry festival in Macedonia. We were given rooms in the amazing mountain village Velestovo overlooking Lake Ohrid – a place which if you don’t get inspired there you might have a problem with inspiration… we had a week to create something and we pretty much wrote the essence to what became the first album of Undone – If We Are Here (2011). Later came Indeed (2012) which was a result of a three day jam session and it was followed by Steering Will, Family - last year, and our new Ep kNOWing Eva. Our last 2 releases appear also in vinyl which I am really happy about. Different people play in each album, but it looks like Edi - Andrej Anastasov-Daskalovski the drummer, Muso - Mustafa Jonuzovski who plays bass, and the guitarist Noga Shatz will defiantly continue to work together. Darko Tasevski and Filip Mitrov also appear in the different albums and we will continue to collaborate when possible. In kNOWing Eva we collaborated with Viktor Gajtanoski whom we also closely collaborated with in If We Are Here. My husband Darko Janevski always takes part as well, he records and mixes the albums and sometimes contributes his Voice, effects and field recordings.

Q. Make a list of 5 albums of all time…
that’s as 5 as I can get now ~
The Velvet Underground – The Velvet Underground &Nico
Sonic Youth – Daydream Nation
The Jesus and Mary Chain - Psychocandy
Spacemen 3 – Sound of Confusion
Butthole Surfers – (can’t decide) Hairway to Steven or Locust Abortion Technician
Syd Barrett – The Madcap Laughs
Coil – Love’s Secret Domain
Gong – The Flying Teapot
Brian Jones Presents The Pipes of Pan at Jajouka
Lustmord – Arecibo – Trans plutonian transmissions
Television – Marquee Moon
Can – Soundtracks
Cocteau Twins - Garlands
Brian Eno and David Byrne – My Life in the Bush of Ghosts
Joy Division - Unknow Pleasures

There are so many others It was a difficult question.

Q. How do you describe Undone sounds?
You can probably genre it shoegaze/dreampop but I call it Sandalgaze, because the roots of the main core of Undone are in the Middle East and the Balkan, and I think we have that about us. we didn’t grow up on shoegaze.. Dreampop from the middle east has war and sand in it, is bloody, and could even get nightmarish..if classic shoegaze is like butter, we bring oil.. I think we best fit in the psychedelic genre since it is so divers and colorful. For me psychedelia is spiritual music, it is worship, and that is something which has been around in one form or another since the beginning of time. I also sometimes tag Undone ‘Quest’, first because psychedelic music is a Journey, a search and travel with mind, with heart, by music, and also, Undone is never really planning, we work and create in a journey, following the path the music and words pull us to, discovering it.. Also, since different people join in each new album, their musicality takes the music accordingly which affects the style.. at the same time the core are friends who know each and Undone well..

Q: Tell us about the process of recording the songs?
The first releases we were all working in Macedonia, in later albums we were joined by musicians from different countries. In Macedonia we record at ours and at Edi’s great new studio he built. We start simple, send over and the friends from other countries add themselves - record in their home studios and transfer the recording to us here - where we add it and send it again so everyone hears where the song is going, we communicate musically like this, talk-experiment-think-try until everyone is happy with the song and themselves in the song. Everyone takes any part they wish to take. It is challenging.. and always a very nice interesting collective creative process.

Q. Which new bands do you recommend?
I will answer with music I pay attention to - older and newer from - Anton Newcombe is perhaps not so new, but he is newcoming with something pretty beautiful on nearly daily basis, and so are the rest on my list are not all new but I am always interested in their older and newer stuff, always find it extra exciting.. Vibravoid, The Pancakes, The Oscillation, The Orange Drop, Dead Skeletons, Magic Castles, The Lucid Dream, Miranda Lee Richards, The Warlocks, The Invisible Opera Company of Tibet, Flavor Crystals, Chicos de Nazca, Tales of Murder and Dust, Chatham Rise, Nameless (UA, Teropil), Sun Mahshene, The Asteroid #4, The Chemistry Set, The Sun Blindness, Dead Horse One, Helicon Glasgow, Floorian, Joe Chapman and his different projects, The Limiñanas, Kingdom of the Holy Sun, Desert Mountain Tribe, HIGH&DRYs, The Hanging Stars, Baby Woodrose, The Sun’s Evil Twin, Dead Meadow, The Third Sound, Frankie Teardrop Dead, Luca Zotti and his different projects, Temples, Mellow Lizard, Perija, Elephant Stone and all the rest…

Q: Which band would you love to make a cover version of?
I would like to make a slow heavy but dreamy cover for Mamma Mia of ABBA

Q: What are your plans for the future?
Now I am preparing ‘Harbor’ which is an exclusive compilation of Undone songs for everyone attending Fruits de Mer Records Festival of Psychedelia in August!

I will music in two new projects soon to emerge, one with Yoram Gur who is the amazing musician-guitarist from my first band Plastic Venus, and the other with Luca Zotti! I will continue to collaborate with Edi, Muso and Noga into the next Undone album ‘NewClear Reactions’, and!

A bunch of us friends-bands are about to launch a collective record label Very soon.. ! excited about that!

Q: Any parting words?
Thank you so much for having us! Keep up the good work!


Tanned Skin, Light Eyes with Fun With Ether - An Interview

Resumidamente, quando sem querer, inicie a audição de "Tanned Skin, Light Eyes" debute do duo Fun With Ether, foi literalmente amor a primeira audição.

Shoegaze, com doses perfeitas de barulho e candura, fizeram o disco entrar direto no hall dos prediletos atuais.

Impressionante o poder da empatia sonora, fazer um ilustre desconhecido tornar-se querido como num piscar de olhos, não?

O poder da música permanece inalterado e imbatível, e o Fun With Ether é a prova viva disso.


***** Interview with Fun With Ether *****

Q. When did Fun With Ether start? Tell us about the history...
1. Fun With Ether started off as an idea back in mid/late 2015. I really wanted to start making music, but I didn't have some essentials to start recording actual content. When I started my first semester of college, I recorded some demos with GarageBand using drum machine software. Then I stopped for a little while until I began recording tracks for my debut in the late summer of 2016 with the proper equipment.

Q: Who are your influences?
2. I'd say I'm heavily influenced by a lot of 90s, alternative, and shoegaze bands. Bands such as Lush, Sonic Youth, Swirlies, Pale Saints, and many more are some of the groups within that category. I'm also influenced by more rock-oriented bands as well, such as Rush, The Church, early Gene Loves Jezebel, etc.

Q. Make a list of 5 albuns of all time…
3. *not in rank order*

Rush - Hemispheres
The Charlottes - Liar: Best of The Charlottes (compilation)
Lush - Gala
For Against - December
Sonic Youth - Sonic Youth EP

Q. How do you feel playing live?
4. I've played live before, but I've yet to play my own material out in public. With that being said, I would love to start playing my own stuff live soon. I feel pretty ambitious about it.

Q. How do you describe Fun With Ether sounds?
5. I guess you could describe my sound as gritty dreampop, shoegaze, pop rock, etc. It's atmospheric, but there's a steady beat to it.

Q: Tell us about the process of recording the songs ?
6. Well, I'm practically the main guy behind Fun With Ether. It's like my baby, haha. I recorded all the instruments, starting with drums, guitars, bass, and lastly, vocals over the fall/winter of 2016. My friend Erika is the voice behind the project. After I had a fairly decent mix of the instrumentation, we met together during our winter break for a couple of days to track the vocals. We were on a time crunch because she goes to school out of town. It's kinda funny because I also write the lyrics and have a certain way the lyrics are to be sung in my mind. Despite having a horrible voice myself, I showed her how the sing the vocals. But it didn't take too long and the process went relatively smooth.

Q. Which new bands do you recommend?
7. Hmmm, tricky question! While Ringo Deathstarr isn't relatively new, I'd highly recommend them to those who are into modern shoegaze. Ally Gold is another great alt-rock group. If you really want to listen to really noisy stuff, check out Soda Lilies.

Q: Which band would you love to made a cover version of?
8. I would love to cover Sonic Youth, especially songs from their early discography. I love their raw sound and noise from most of their albums from the 80s.

Q: What are your plans for the future?
9. Let's see.. Well as of right now, I see myself having enough creative ideas to make two more albums, maybe even a couple of EPs. So I definitely plan to write more content in the near future. Hopefully I'll get to go out and tour around Texas. That would be fun!

10. Q: Any parting words?
Thank you so much for your questions! I had a blast answering them. :)


segunda-feira, 27 de março de 2017

Mouthbreather with Mind Meld - An Interview

Em alguns momentos se faz mais do que necessário apenas o rock´n´roll tribal, brutal, nu e cru, sem firulas, sem efeitos, sem modernices, sem interferências, saca?

E para estes momentos acabamos recorrendo a pedras fundamentais da música, leia-se, Blue Cheer, Stooges, MC5, ou Sabbath, mas veja bem, experimenta buscar no submundo dos bons sons o discípulo correto desses mestres, e o TBTCI esta aqui pra facilitar sua pesquisa.

Vá direto ao ponto, Mind Meld, diretamente de Los Angeles, e mais cirurgicamente seu debute homônimo, lançado há pouco mais de 1 mês atras. 

Encha o copo com sua bebida favorita, busque seu psicotrópico predileto, aumento o som e aproveite. Mind Meld é, música alta, pesada, para momentos de exorcismos pessoais

***** Interview with Mind Meld *****

Q. When did Mind Meld start? Tell us about the history...
Bert and Erik were in two great bands together, Jesus Sons and Hoover III, and I'd just finished up with Endless Bummer. We were all pals jamming at Permanent Records after the shop closed, just for fun. All of us vibed so well together that a band just happened. Happy accident!

Q: Who are your influences?
Stooges, Hawkwind, Bowie, Blue Cheer, Sabbath, MC5...we could go on here forever.

Q. How do you feel playing live?
We are at our best live. Our minds meld in that setting and we all become one wild, destructive and engaging beast.

Q. How do you describe Mind Meld sounds?
We are constantly at 11! Our songs are a mixture of our influences and our environment. We strive to get everyone high enough to join us in outer space!

Q. Which new bands do you recommend?
LA has so many rad bands. Check out Walter, Prettiest Eyes, Babylon, Frankie And The Witch Fingers, Flat Worms, OGOD...we could go on forever here too.

Q: Which band would you love to made a cover version of?
We do a cover of Edgar Broughton's "Why Can't Somebody Love Me" and a blown out version of "Skies Above" by The Equals. Lately we have dabbled with an MC5 cover of a Troggs song. We like the idea of covering a cover. Interpreting and interpretation if you will, haha!

Q: What are your plans for the future?
Make more records, smoke more weed and play more shows!

Q: Any parting words?
Creativity thrives in the face of adversity. We're dealing with some heavy stuff here in the US, but that's even more reasons to... KICK OUT THE JAMS, MOTHERFUCKERS!

domingo, 26 de março de 2017

Cloudy Eyes with Pia Fraus - An Interview

Absolutamente desnecessário fazer as honras de apresentação para os estônios do Pia Fraus.

Um banda a frente do seu tempo, resumidamente, os seis amigos, estudantes de arte começaram suas experiências sonoras lá no distante ano de 1997, uma época que experimentar soar como um mix de shoegaze, class of 86, dreampop, com fortes influências de Stereolab era um tanto quanto fora do contexto do domínio do Britpop da época, mas mesmo com as adversidades daquela época o Pia Fraus construiu um carreira e discografia absolutamente impecáveis. Clássicos cultuados como "In Solarium" de 2002, "Nature Heart Software" e "After Summer" ambos de 2006, fizeram o culto aos estônios crescer com o passar dos anos, e lá se vão 20 anos desde os primeiros passos da banda.

Mas não pense que eles acabaram, em nenhum momento houve um ruptura, continuaram a produzir, obviamente com tempos maiores entre um trabalho e outro, além de outros projetos paralelos de seus integrantes como o Imandra Lake do líder Rein Fuks, até chegar ao dia 13 de Março, sim pouco menos de 15 dias atrás e o Pia Fraus colocar no mercado através de sua gravadora, a estônia Seksound, um split ao lado dos heróis da noisepop, o Rocketship.

E muito em breve vem um novo trabalho e assim a vida caminha para o Pia Fraus, imune aos anos e suas modernidades, os estônios permanecem fiéis as suas origens, e os novos tempos dão a eles, um status maior de cult band e heróis de sua época.

Se por um desvio de caráter você não sabe do que estamos falando aqui, eis a história do Pia Fraus passada a limpo, resumidamente pelo próprio Rein, delicie-se a apaixone-se novamente, ou, pela primeira vez pelos queridos estônios.

***** Interview with Pia Fraus *****

Q. When did Pia Fraus start? Tell us about the history...
RF: We started in 1997 when we all studied in art school in Tallinn.

First we started playing with Reijo on bass and myself on guitar. We recordes some weird songs with my sisters cassette player. In 1998 joined Tõnis, Joosep and girls. We were teenagers, everything was new and interesting for us.

Q: Who are your influences?
RF: Biggest influences at that time were Estonian bands like Borax, Dallas, Dreamphish, Röövel ööbik, Zahir. Also The Wedding Present and Stereolab.

Q. Make a list of 5 albuns of all time…
1. J.M.K.E “Külmale maale” (Estonian punk classic!)
2. Stereolab “Peng”
3. The Pastels “Illuminati”
4. Nick Drake “Pink Moon”
5. Bonnie “Prince” Billy “The Letting Go”

Q. How do you feel playing live?
RF: Playing live has been the hardest part for me all the time. I really like to spend time in rehearsal room with my friend, I like recording and producing process but I don’t feel myself comfortable on stage. But I still have done it almost 20 years.

Q. How do you describe Pia Fraus sounds?
RF: I’m always looking some balance between warm and soft sound, lo-fi, guitar noise and airy synths. I never wanted to sound like regular indie rock band.

Q: Tell us about the process of recording the songs ?
RF: Thing are a bit different with this new album we’re working on at the moment.

I wrote about 20 new songs and picked 12 songs for the album. I started recording alone, recorded all my parts, guitars, vocals and some percussions and then invited other Pia Fraus members for their parts. The recordings are almost finished and soon we'll start mixing.

Q. Which new bands do you recommend?
RF: There are so many great bands in the world in these days. It's not easy to pick one or two... I can recommend some stuff i like - Soda Lilies, She Bit Her Lip, Lazy Legs,

Q: Which band would you love to made a cover version of?
RF: I really like making remixes and cover versions. I have one dream to cover Arthur Russell song and few more ideas i cant’t talk right now. Have You heard Pia Fraus version of Depeche Mode “Condemnation”? We also covered Michal Jackson’s “Heal The World” but never recorded it.

Q: What are your plans for the future?
RF: It’s really hard and almost impossible to make future plans for Pia Fraus because there are so many busy members in the band but I can promise that we gonna release our best album in next autumn I’ll definitely make more music in the future with Pia Fraus, Imandra Lake or some new project, stay tuned!


sábado, 25 de março de 2017

Cerebrotonia with Eye Candy - An Interview


Amigos são assim, vivenciam bons e maus momentos, amores, desamores, dores, vitórias, perdas, chapações e, a música, sim, a música une, e com o duo Eye Candy aconteceu isso ai, Juan Palencia e Mitchell Kerr, colocaram suas experiências lado a lado e meteram psilocibina ruidosa e viajante e assim, criaram seu debute,

"Cerebrotonia". O álbum é guiado por um certo shoegaze espacial, camuflado em derretimento psicodélico.

Sabe aqueles discos que ficaram perdidos, ainda mais nos dias atuais onde tudo é consumido tão velozmente que não há tempo de saborear como se deve, mas o TBTCI coloca e profetiza que "Cerebrotonia" do Eye Candy vai se tornar um saboroso e eterno quitute sonoro para os que souberem degusta-lo em sua totalidade.

Boa viagem.

***** Interview with Eye Candy *****

Q. When did Eye Candy start? Tell us about the history…
MK: It was 2014, I was about half way through freshman year and then we met, we started the band, and then I stopped going to public school to do independent studies and dedicate more time to the band and we’ve just been writing songs ever since.

JP: Yeah this was in late 2014. We had a couple rehearsals where we weren’t very sure what to do. I knew that I wanted to make something that utilizes guitar pedals and guitar tones very well. We started little by little, with bare minimum guitar equipment. We’d jam on weekday afternoons and kinda slowly carve out the path of what kind of music we were capable of making, those sessions contained noisier types of music. Eventually, the more gear we were able to get, the more we experimented with tones and soundscapes further.

Q: Who are your influences?
JP: It varies. I would say Brian Eno and Phil Spector might be two large influences to me. My influences might tend to change depending on what I’m mainly listening to in the moment.

MK: Guided by Voices, Brian Eno, Windy and Carl, Cocteau Twins, right now anyway.

Q. Make a list of 5 albums of all time…
JP: Well there’s just so many albums in all honesty but the ones I will always defend no matter what are The VU & Nico, of course. Pet Sounds, Loveless. Evening Star by Fripp & Eno is an all-time favorite of mine. Along with Bee Thousand, Twin Infinitives, and Future Days.

Q. How do you feel playing live?
JP: It sure is a rewarding experience. However, there is uncertainty going on because of improvisation sections that we throw in before and after songs. We like each set of ours to be a different experience from the last.

 MK: I don’t really know what I think of it I guess it's just that we’ve yet to play a show where everyone is into it, I enjoy it but it feels a little odd right now.

Q. How do you describe Eye Candy sounds?
JP: Well one term that was brought up by me was “Drone pop”. I would say it’s a good descriptor for some of the sonic elements of the record, I suppose. I was listening to a lot of Biosphere and Jefre Cantu-Ledesma, so I wanted to combine the textural elements from those types of genres and apply them to these short pop tunes I had written.

Q: Tell us about the process of recording the songs ?
JP: Well it was a bit of a process. We had minor technical difficulties with the guitar amp. We somehow relieved the issue and then went straight to recording it. It was recorded live in Mitch’s bedroom where we rehearse and record. I wanted that live sound, where the instruments bleed into each other. There’s also more of an opportunity for improvisation and mistakes. So we put up some 57’s and an at4040 and tracked each song individually.

MK: Well it technically wasn’t completely live, as we couldn’t find anyone to record the other parts so they just got overdubbed we did rhythm guitar and drums live. As for amp problems, they were never truly solved, we just got lucky enough that we were able to minimize it as much as we could.

Q. Which new bands do you recommend?
JP: Eli Rector, Mary Lattimore & Jeff Zeigler, Mothers, Swanhoppers. I still have a list of new recommended artists that I need to get to.

Q: Which band would you love to make a cover version of?
JP: I play lots of Guided By Voices songs, so probably them.

Q: What are your plans for the future?
JP: Playing gigs, touring. Getting out there and going beyond just a bedroom project.

 MK: That is something far too extensive to type out.

Q: Any parting words?
JP: That’s about all.

MK: Peace out.


sexta-feira, 24 de março de 2017

Strange Light by Bryant Eugene Vazquez

Bryant Eugene Vasquez é um trovador as avessas, ao contrário da suavidade e demais facetas de quem leva esta alcunha, o cara distribui ruídos, ao melhor estilo discípulo de Phil Spector, dos irmãos Reid e John Cale.

O novo single do cara não deixa a afirmação acima ficar em vão, "Strange Light" é uma linda e ruidosa canção de amor, mas que como reza a lenda, no final o amor vai embora.

Escute alto e entenda as inspirações do Bryant para esta nova pérola de ruído branco.

Strange Light by Bryant Eugene Vazquez

I see it as a farewell to my exploration into the genre of shoegaze/noise pop. As I might have mentioned in a previous article, I'm in the midst of a series of album studies. Grey Expectation was the second in a trilogy. With the release of "Strange Light" I hope to close the chapter on this study. It's been a beautiful and challenging time writing and recording this material, but I am ready to move on to the next study.

"Strange Light" was written after the release of Grey Expectations. Perhaps it was always intended to be a closing note on the study of shoegaze/noise pop. The name came from a literal translation of a person's name whom I briefly knew. She was a very beautiful person, and so in my nature, I was brought under some form of spell. I became enveloped in the concept of this person. I didn't know her very well, but I'd created a false reality of who she was or could be- in order to suit my fantasy. In the end, my lack of a grasp of this reality led to the dissolving of the relationship. I suppose it's in everyone's nature: to create our own worlds, regardless of the truth. Maybe it's because we need it in that moment; maybe it's because we're all lonely people, and a dream is so easy to fall in love with. In any case, I awoke from it, and this is the result of that awakening.


"I Want to Stand Where the Sun Himself Shakes with Fear" by Voices From Deep Below - Track by Track

Os nova iorquinos do Voices From Deep Below voltam as páginas do TBTCI mais barulhentos e densos do que antes.

Hoje veio ao mundo o quinto, veja bem, quinto álbum da banda, intitulado "I Want To Stand Where The Sun Himself Shakes With Fear", um título auto explicado obviamente, principalmente após a audição do disco.

Medos, solidão  captados por uma onda de extremo peso e densidade, seja de forma estridente ou, principalmente angustiante, em  "I Want To Stand Where The Sun Himself Shakes With Fear", o VFDB criou seu trabalho mais intenso.

E nada melhor do que seus criadores para explicarem som detalhes quase sórdidos, cada uma das cinco canções que compõe esta peça de barulho e dor.

Sras, e Srs, VFDB no TBTCI.

"I Want to Stand Where the Sun Himself Shakes with Fear" - Track by Track

1. This Is the Way
This was the first song written for the album, and ultimately is the one that set the tone for the rest of the songs. The album wasn’t initially going to be very heavy, and was going to stick to the same formula as the previous VFDB albums, but as this song was being written and recorded, a desire grew to create a more intense album than I had in the past, but one that still kept the right amount of atmosphere and beauty where necessary. This song, as with all the others, has some wonderful guest vocals and guitars from some very talented friends.

2. Blurred
This track was originally very different, and had completely different verses. Something just wasn’t gelling with the original verses though and, despite my best efforts, it had to be scrapped. I was incredibly happy with the rewritten version which include not only new verse, but the big wall of sound instrumental choruses. Listen closely and you can hear some vocals buried deep, deep in the back of the post-choruses. There are a lot of amazing guest vocals on this song, and the incredible outro was done solely by Tyler Agnew of the band Blue Plutos. There’s some acoustic guitar, some ukulele, and two killer synth lines. That’s my highlight of the album.

3. I Can’t Speak
The writing of this track was influenced by the story of the Russian cosmonaut Vladimir Kamarov and his fatal voyage on the Soyuz 1. Kamarov was sent on a space mission in a botched spacecraft that he knew could end in his death. The samples you hear in the track are his last transmissions as his craft plummeted towards earth. This track contains my favourite riff on the album. Considering the subject matter, this song had to be as intense as possible, and I think/hope the riff achieves that.

4. Indigo/Younger
This is the one I liked most as I was writing it. The drums have a nice tom pattern going on which I’d never worked with before. The main riff started out pretty simple, but then I decided to go with an accompanying second line that harmonises with the main line in some places. The big metal outro is one of my favourite parts of the album, and had a lot of time spent perfecting the mix. I’d never mixed double kicks before, and learnt a lot along the way. Mixing those double kicks with thick bass, and about 10 guitar tracks proved a real challenge, but I think ultimately it turned out sounding nice and wide and punchy. This track is about a nostalgic feeling for times and relationships of the past.

5. White Columns
This track was intended to be the big closer of the album, and mirrors track 1 in many ways, especially in terms of an attempt at coming up with a big, heavy memorable riff. Another moment I’m fond of are the synth parts in the “what you want…” section before the long instrumental bridge. That synth preset really was the perfect addition to that section, that I knew needed something extra added for a long time. It sounds to me like a distant, broken siren. The guitar solos in the big outro of the song were the most fun parts to play on this album. In the background of the instrumental bridge you can hear the album title being shouted out from the other side of the room. This track was originally going to be given the same title as the album, but I thought that would draw too much attention to it as the title track, but this track definitely echoes the sentiments of the album title. The title of the album comes from a line written by Seneca, the stoic philosopher. The title’s meaning is echoed throughout the whole album, but especially on this track.


quinta-feira, 23 de março de 2017

Notorious with Small Reactions - An Interview

Quando se escuta uma banda como o quarteto estadunidense Small Reactions, se tem a plena certeza de que o indie rock ainda vive e transpira por aí.

Quando se tem a formula, noisepop, punk e mais um monte de subgêneros fica fácil seguir adiante, e é essa a mágica, simples, mas certeira dos caras. Experimente ouvir "Notorious" último ep do Small Reactions, barulheira, rápida, direta e sem firulas, com direito e um belo cover de Indian Summer dos heróis, Beat Happening.

Precisa mais? Ah, precisa sim, escuta alto.

***** Interview with Small Reactions *****

Q. When did Small Reactions start? Tell us about the history...
Sean: We started playing music together in 2005, but didn’t really become Small Reactions and shift to the music we’re playing now until around 2009 or so. We started out sounding like a jam band (much like Phish) and ended up sounding like we do now, some how. I think hearing Television, Wire, and Stereolab for the first time changed what we wanted to play.

Q: Who are your influences?
Sean: Stereolab, Wire, Deerhunter, Crystal Stilts, Velvet Underground, David Bowie, Echo and the Bunnymen, Jesus and Mary Chain, and Post-Punk, Indie Pop, Krautrock, and Noise Pop in a general sense.

Ross: My influences range from the post punk to classical. To compose a song is often a task of finding the balance between construction and deconstruction. I think Scott Walker's later albums would be a good example of this. Where the art rock of Eno and Bowie are taken a little further into minimalism, leaving the song as a puzzle to put together in your mind and can take a few listens to really absorb.

Q. Make a list of 5 albums of all time…
1 Deerhunter – Microcastle
2. Crystal Stilts – In Love with Oblivion
3. Stereolab – Emperor Tomato Ketchup
4. Broadcast – Tender Buttons
5. Wire – Pink Flag

Scotty: Not an LP, but Judy Hughes – “Fine, Fine, Fine” (1967)

Q. How do you feel playing live?
Scotty: When it’s going well, playing live is like daydreaming or sleeping – you don’t really know you are doing it because you’re off somewhere else for a time.

Ross: Live shows are the ultimate musical expression for myself. The recording process makes the song something complex, but performance brings the challenge of representing a composition with a different set of rules. It's all about dynamics. Having the highest point be the most intense and the lowest point to barely holding onto the grid. I don't like when bands have the same emotion and beat for every song. To me a performance should play like a movie.

Sean: Our songs are more varied than they used to be, but I liked to think of our sets as toeing the line between control and chaos, like a high-speed train that almost derails and sometimes it might. Reckless efficiency? That was always the intention. Like a barista who makes a successful, tasty cup of coffee, but makes a huge mess in the process.

Q. How do you describe Small Reactions sounds?
Scotty: It changes a lot. Our first LP was like a noisier, gothier Walkmen. For our upcoming LP, I’d say it’s more sonically diverse and dynamic. Not too mention it’s minimal - guitars + bass + and a little bit of synth.

Sean: I always tell people we sound like a loud, noisy pop band. We want the songs to be big and loud and repetitive, but we always want everything to have a hook, too, no matter how dark the it gets.

Q: Tell us about the process of recording the songs ?
Scotty: Recording was done at studilaroche with Ben Price engineering. It’s a house studio, and we got to cut basically all of the tracks live. We made a lot of a coffee and tinkered around with all of the little instruments Ben had laying around. I was heavy into Bowie at the time and I remember listening to Station to Station nonstop before arriving in the morning and going home at night. It was only a few weeks before he died.

We mic’d up vases of water for the track “El Dorado” at Ross’ suggestion.

Sean: We’ve always thought that recording live works best for us. We do vocals and a few guitar and key overdubs later, but, otherwise, we feel best working as a unit. I think the first record has two songs that weren’t tracked this way and the next one is the same. We’re thankful for engineers who are excited about that, too.

Q. Which new bands do you recommend?
Scotty: I am really behind on this. There’s so much out there. I think it’s important to know your history, though. For instance - Prince. I grew up knowing who Prince was, hearing “Purple Rain,” and, as I got older, intrigued by his whole persona. Beyond his music - which, iike, Jesus, “Dirty Mind” I cannot stop listening to - he was a song-a-day type of artist. He’d shut everything else out and work day-in, day-out. When it came time to deliver an album, he’d have 3-4 albums of material recorded. I gravitate towards that way of working - the songs, etc., they come out of the air. You get them or you don’t. You think of them after a dream or while you’re walking around the house playing an unplugged electric guitar. It doesn’t make sense to me that you can be out of that state of mind, ever. I like being in that state - always creating, always thinking, always moving. Sorry this was a terrible new band recommendation. I’d have to say Cindy Lee makes utterly fantastic music that can take over your life for a little while.

Sean: LVL UP, Ultimate Painting, Mothers, Morgan Delt, Once & Future Band, Orion, Art School Jocks, PWR BTTM, Amber Arcades, S U R V I V E, and so many more!

Q: Which band would you love to made a cover version of?
Scotty: Devo

Ross: For a covering other people's music, what comes too mind would be taking something that's very abrasive and making it soft. Or taking something that's foreign to us and translating it so a whole new group of people are exposed to it.

Sean: One time, years ago, we chose our set for an upcoming show by literally drawing our set from a hat. As we were pulling out the songs, Clinton had put “Monster Mash” as a one of his songs. It was supposed to be just our songs in the hat, but that wasn’t the case. We played it since we drew it and there were no reservations. So I guess Clinton would have us cover “Monster Mash” by Bobby “Boris” Pickett? I’ll cosign that one.

Q: What are your plans for the future?
Scotty: Release LP#2 this Spring, record again, release something else in the fall. Keep moving.

Q: Any parting words?
Scotty: I read in a Trish Keenan interview that she would play a game where she had to write a song from scratch and record it within 30 minutes. It might be crap, or it might be amazing. Either way, don’t negate the benefits constraints often provide.


quarta-feira, 22 de março de 2017

Bayonet with Belgrade - An Interview

Shoegaze em tonalidades épicas, por vezes apenas o velho e bom indie rock, em outras, contornos de megalomania melódica, algo como se os Psychedelic Furs colidissem de frente com o Ride, esse é mais ou menos o cardápio sonoro que vocês se deliciara ao dissecar a discografia dos quinteto da Filadélfia, Belgrade.

Vários singles com extremo destaque para o recém lançado "Bayonet", sem contar no excelente debute homônimo de 2013.

Faça uma coisa, mergulhe de cabeça na música do Belgrade que esta totalmente gratuita para audição e download, mas eu aconselho prestigiar um pouco mais esses caras, mesmo sendo "name you price" estes caras merecem total apoio.

Ouça alto e preferencialmente curtindo a noite, ou o dia, o ponto é que a música do Belgrade é propícia para todo e qualquer momento.

***** Interview with Belgrade *****

Q. When did Belgrade start? Tell us about the history...
Belgrade began in the summer of 2011 when Jeff Meyers (drums) and I (Matt Hanemann – guitar) started playing in a practice space we shared with other bands we were in at the time. We both wanted to do something musically different than we had the opportunity to do before in our other bands over time. We had known each other for about 10 years at that point and were both in pretty loud, energetic and sometimes abrasive bands. Growing up surrounded by different genres of punk and hardcore as our main outlets, we both were kind of gravitating towards something a bit more musical and experimental – and with lots less distortion and yelling. We soon brought on Derek Zglenski (bass) and Jason Bucci (guitar) to start honing in the sound… After a few weeks we decided to call up our old friend Mike McNelis to come and sing for us. In the early 2000’s, Mike sang for the band The Progress (which our bands had all shared the stage with at various points) - and we always loved the sound of his voice. Mike was looking to do something similar and less overtly punk-rooted too. After only a few months – we all found our niche in the creative process and wrote our first LP pretty quickly. We played out first show in February of 2012 with the Jealous Sound. Since then, we’ve been lucky enough to share the stage with Real Estate, Appleseed Cast, Circa Survive, Cymbals Eat Guitars, Walter Schreifels, The Velvet Teen, and a ton of other bands we look up to.

Q: Who are your influences?
Our influences are kind of all over the place… Everything we’ve experienced and and all of the music we listen to plays a part in how we express ourselves. I’d say anything from mellow classic rock like Fleetwood Mac and Thin Lizzy to confrontive art-hardcore Universal Order of Armageddon and Drive Like Jehu, to current local bands like Little Big League, and classic alternative that we all grew up on, like My Bloody Valentine, Pixies, and Nada Surf — hell – we even covered Wicked Game by Chris Isak at a show before.

In terms of how all of our influences make their way into the Belgrade song writing and performance process - I feel like we all channel the feelings we get from hearing music we love and try to bring that to the table in a non-specific way. We all come from slightly different musical histories (with a lot of overlap) but we all try to keep our sound tempered by embracing less distortion and more reverb.

Q. Make a list of 5 albums of all time…
Wow… that’s a REALLY hard one. I think each member of the band would have different thoughts on this question… So I’ll just drop a few that I know have made it to the top of my list at different points in the past 5 or so years that the band has been together. How about Ten, or so? (I listen to a lot of music) ;)

Sonic Youth “Goo”
The Wipers “Over The Edge”
Boys Life (everything they’ve done)
Land Of Talk “Some Are Lakes”
Karate “595”
Yo La Tengo “I Am Not Afraid of You and I Will Beat Your Ass”
Hot Snakes “Suicide Invoice”
Walter Schreifels (Basically anything he does - but especially the demos before Walking Concert)
Kite Party “Come On Wandering”
Maritime “We, The Vehicles”
Neil Young “Broken Arrow”
Team Dresch “Personal Best”
Psychedelic Furs “Psychedelic Furs“
Real Estate “Live“ — anything with the old drummer.

… and all of that Kinsella stuff always gets me motivated.

Q. How do you feel playing live?
When we have a great show — the feeling is euphoric. Almost in a black-out state of mind because you are so ‘in the moment’ of what you are doing that the rest of the world and all of its details kind of melt away. I think, if you have the ability to get lost in execution of your own songs - it’s the best feeling ever.

Q. How do you describe Belgrade sounds?
It’s hard to get perspective on that - as a member of the band. I’d say that hearing us I hear many different things… including the ever-unattainable goals we are setting for ourselves. It’s ever-evolving… If I had to give a classic response to that question - I’d say on record we are pretty atmospheric - but there are definitely very tangible and sometimes pleasant structures underneath it all.

Q: Tell us about the process of recording the songs ?
For the first record - we went about it the way we’ve always done - Wrote a bunch of songs and recorded them (13 tracks) in two different sessions with Vince Ratti (Skylight studios). Pretty standard recording session. Most of the music was done pretty quickly - and we worked with Mike and Vince to get the vocal sounds we wanted. We split up the first batch of recordings because we could only fit 9 songs on our Vinyl LP - and released the rest of them (with an additional remix) as an EP after the LP was out. We later combined all of the songs on one 14-song CD, which was released on Happy Little Trees/Cargo Records in Europe. Grab one if you can get them - there weren’t that many made.

For the next grouping of songs - we went about the writing and recording process very differently - writing a song - then recording it by itself or with one other track in a different studio - with different engineers based. We really wanted to experiment with different sounds and approaches - rather than being one cohesive sound from song to song (Like the first record was). We’ve tracked at The Headroom (with Joe Reinhart from Hop Along, Algernon Cadwallader, Dogs On Acid) - and at Gradwell House (with Dave Downham) a few times.. and have great experiences with both. I think we’ve decided we like aspects of both processes… But the latter definitely take much longer to get the songs out there. it’s not quite as economical to do each song in a different studio either. Ultimately - for the last batch of songs - we did a lot of home tracking (guitars mainly) and combined them with the studio recordings so that we would have a bit more control over the end product. So far it’s working pretty well - and is sounding a lot more like “us” . The latest song “Bayonet” is a great example of a hybrid home/and studio recording - and we think it’s a pretty true representation of the song.

Q. Which new bands do you recommend?
Wow… another tough one. In Philly especially - there are so many great bands and projects starting up all the time. Lately I’ve really been listening to a lot of Philly bands like Cherry, Spirit of The Beehive, Open City, Sun Organ, Sun Airway, Japanese Breakfast, Cave People, Three Man Canon, Restorations (Jeff’s other band), Yankee Bluff, Hurry, Hop Along, Littler, and Goddammit. Lots more I can’t think of right now - I know I’m gonna kick myself later.

Q: Which band would you love to made a cover version of?
Lately I can’t get enough of that song “Virginia Slims” by FutureBirds…. it’ just one of those songs you hear and never want it to end… I’d love to cover that song and get lost in playing it live. it’s simple and tangible - great vocals… and just totally bathed in reverb.

Another one would be My Bloody Valentine’s “When You Sleep” - i know it’s kind of cliché choice and has been covered by a million people already… but I guess there’s a reason for that… it’s absolutely captivating and catchy.

Q: What are your plans for the future?
Writing more music… louder, quieter, weirder… better.

Q: Any parting words?

You have a great site - and are representing tons of awesome music _ I’m about to take a high-dive into your bandcamp catalog. If I drown, don’t save me. ;)
Belgrade — Matt, Jeff, Mike, Jason, Derek


terça-feira, 21 de março de 2017

New Goth with Genau - An Interview

Sofisticação, elegância, desenhadas em traços sombrios, nublados e encharcados de melancolia, este é "Genau" o debute homônimo da dupla Christopher Belkofer e Erik Gosnell ou se vocês preferirem Genau.

Melodioso e denso como deve ser, o Genau passeia por entre o nebuloso e soturno terreno que fica entre a darkwave e o pós punk clássico.

"Genau" o álbum, é hipnoticamente melancólico e indispensável para os fãs do gênero.

***** Interview with Genau *****

Q. When did Genau start? Tell us about the history...
Chris was in a band called Bigfoot and the singer and drummer both moved, so that project amicably ended. Erik responded to an ad Christopher had posted on Craigslist looking for musicians. The band Erik was in at the time was seeking a vocalist so he sent him some of their rough demos. Chris added not only vocals, but guitar as well, so when that band collapsed (just before we had a chance to play together) we decided to start something new. We began as a trio with a mutual drummer friend and everything clicked. We began writing, playing out and recording almost immediately. After a time we parted ways with the drummer and began working as a duo, embracing a drum-machine driven, stripped down aesthetic. This was the birth of Genau as we know it..

Q: Who are your influences?
We immediately bonded over a love of the Cure and 4AD artists like the Cocteau Twins and Clan of Xymox, as well as contemporaries such as Echo and the Bunnymen and The Smiths. We also share admiration for a lot of British Invasion acts, particularly The Beatles and the Zombies. The influences of Marvin Gaye and D'Angelo are not to be underestimated.

There are many artists whose influences might not be readily apparent to the ear but are important in approach and attitude: the madcap discipline of The Fall; the noise-as-composition approach of Throbbing Gristle and Cabaret Voltaire; the dark architecture of Killing Joke, Bauhaus and Christian Death; the hypnotic repetition of Can, Miles Davis and The Happy Mondays; the visceral energy and defiance of 80s hardcore; the violent overtones of Sonic Youth and the Birthday Party; the romance of Jeff Buckley. To a certain extent we are influenced by U.S. culture as this stimulates us to want to create something of value and escape into a more rewarding reality.

Q. Make a list of 5 albums of all time
In no particular order:

The Cure: 17 Seconds and Faith.
Cocteau Twins: Treasure
Echo and the Bunnymen: Heaven Up Here
Anything by the Smiths
Marvin Gaye: What's Going On

Q. How do you feel playing live?
A mix of technical focus on the sound and the mix, etc. with moments of transcendence. Our live performances sound very similar to our recordings, which we find quite satisfying.

Q. How do you describe Genau sounds?
When we started playing together we never discussed the sound Genau 'should' create. We still don't! Our shared love classic alternative/post-punk/etc is probably most apparent. Essentially what you hear is purely the product of two musicians collaborating in the moment, sometimes with a rough framework but often without.

Maybe the Yin of lush+expansive guitar and vocals with the Yang of stark+monochrome bass and drum machine? Typically we are melodic, sometimes noisy with a dash of melancholy.

Q: Tell us about the process of recording the songs ?
We serve the songs and therefore value whichever approach produces the best results. Some recordings are live with minimal vocal/guitar overdubs; we fire up the drum machine and perform bass, guitar and vocals as a complete performance. Others are rough recordings intended to be demos, but captured a certain magic that we like, so we release them. A few are painstakingly crafted, but those are few and far between.

Q. Which new bands do you recommend?
ICEAGE are a newish group but they are amazing. Wymond Miles is fantastic as well.

Q: Which band would you love to made a cover version of?
We have been a bit of an anti-cover curmudgeon to avoid pigeonholing and stay clear of the “bar band” thing here in Milwaukee. However, we do have a totally impromptu and sublime version of The Beatles 'No Reply' that dates back to our human drummer days.

Q: What are your plans for the future?
We're always writing music. We look forward to releasing recordings (regularly) and playing live (occasionally).

Q: Any parting words?
Our sincere gratitude to anybody that takes time to listen to Genau. We hope you make a connection to our music.

Special thanks to The Blog That Celebrates Itself for their passion and enthusiasm. We are honored and humbled!


Plastic World with Candy Maps - An Interview

East Kilbride na Escócia entrou definitivamente no mapa mundial da música por ter apresentado ao mundo os irmãos Reid, e a cidade novamente brinda-nos com uma nova preciosidade chamada Candy Maps.

Pense em Beach Boys, Phil Spector, Pastels, e J&MC, é claro. Melodias grudentas, wall of sound deliciosamente pegajoso, e aquela aura de paixão que nos faz sorrir de ponta a ponta após a audição do EP "Plastic World".

Simplesmente, você só tem uma única opção, apaixonar-se pelo Candy Maps, simples assim.

***** Interview with Candy Maps *****

Q. When did Candy Maps start? Tell us about the history... 
A: The band started about a year and a half ago at a terrible party with a weddingesque DJ so its probably fair to say it's born more out of frustration with bad music as opposed to the love for music most musician's claim. In that short time we've went through a lot of members with a revolving door line up that makes The BJM look like ABBA with the only consistent member being Michael.

Q: Who are your influences?
A: In terms of influences The Velvet Underground are at the centre of all our tunes as well as a lot of Phil Spector/Joe Meek 60's pop, The Pastels, Spacemen 3, The Telescopes, Flying Saucer Attack and a lot more.

Q. Make a list of 5 albuns of all time…
A: White Light/ White Heat - Velvet Underground
Destroy All Human Life - Country Teasers
Suburban Light - The Clientele
Experimental Jelly - Tomorrow's Tulips
Psychedelic Jungle - The Cramps

Q. How do you feel playing live?
A: Terrified and intoxicated with rapid fluctuation between the two.

Q. How do you describe Candy Maps sounds?
A: The product of being stuck inside with no money and a lot of records with only 2/3 chords.

Q: Tell us about the process of recording the songs ?
A: We don't really have a step by step process of writing and recording. Most songs are written in aforementioned bedroom then taken to practice with the rest of the band. We keep things as simple as possible and don't appreciate the technical showboating and anal musicianship that is prevalent in a fair chunk of the bands around us. Most of the recording's feature Michael and Eva solely but in the future we'll be involving the full 5 piece band.

Q. Which new bands do you recommend?
A: Locally our favourite emerging band's are Spinning Coin, Sweaty Palms and the Bellybuttons. We're also fond of the recent trend of band's clearly influenced by Country Teasers like Bat Bike, Goat Girl, Duds and Fat White Family. Bands like Dead Rabbits and The KVB are also worth having a swatch of.

Q: Which band would you love to made a cover version of?
A: Eric "Eggy" Liddle

Q: What are your plans for the future?
A: We're working on another single at the moment and hope to sort out some physical releases in near future and we've changed up our live sound after a long break from gigging which we'll be getting back to very soon

Q: Any parting words?
A: Join your local Marxist party and organise in Trade Unions.


domingo, 19 de março de 2017

Splash with Daysee - An Interview

Quando você se depara com canções iguais ao do espetacular EP "Splash" dos novatos Daysee de Chicago, palavras são absolutamente desnecessárias.

Aquele noise bubblegum, aquela barulheira celestial descendente direta do Medicine, tudo absolutamente tudo fica superficial e torna-se apenas coadjuvante.

O Daysee basicamente cometeu talvez o melhor EP de estreia deste ano, até este momento, e certamente é a grande revelação deste 2017.

Barulho divino.

***** Interview with Daysee *****

Q. When did Daysee start? Tell us about the history...
It started back around november, Eric and me (nick) had been in other bands but we started this band so we could do whatever we want. We originally wanted to be called "daisy" but settled on daysee just pronouncing it the same as daisy.

Q: Who are your influences?
The Beatles, electronic music, mbv and nirvana

Q. Make a list of 5 albuns of all time…
Lovess(duh)-my bloody valentine
In Utero-nirvana
Velocity:design : comfort-sweet trip
Harvest Moon-Neil Young
Medicine-Shot forth

Q. How do you feel playing live?
We are all very close friends, so we have great chemistry and have a lot of fun together.

Q. How do you describe Daysee sounds?
Like being inside a snow globe on cough syrup

Q: Tell us about the process of recording the songs ?
We record everything at our personal studio. everything is recorded on 1/2 tape

Q. Which new bands do you recommend?
Sleepwalk, ozean, lazy legs, the funs, swear beam

Q: What are your plans for the future?
We are playing as much as we can and gonna get making music for the love<3 br="">
Q: Any parting words?
Thank YOU we love you all


sábado, 18 de março de 2017

Corporate Dream with No Mightier Creatures - An Interview

Descendentes diretos da crueza e ruídos da matriz V.U., sem espaço para devaneios sonoros, simplesmente indo direto ao ponto. Os peruanos do No Mightier Creatures, cometeram em fevereiro, seu debute, um disco sujo, sem retoques ou firulas modernas, aqui não há espaço para enrolação, ríspido e cascudo, evocando Tom Waits, Iggy Pop, Lou Reed, Nick Cave em suas facetas agressivas, os peruanos vão do básico blues elétrico ao dissonante com letras expurgando o caos.

Discos como esse do No Mightier Creatures precisam existir de tempos em tempos pra apenas demonstrar que não é preciso mais do que inconformismo com a merda toda do mundo mais moleques malucos afim de, único e exclusivamente dizer fodam-se todos.

Escute alto.

***** Interview with No Mightier Creatures *****

Q. When did No Mightier Creatures start? Tell us about the story...
*I found the name of the project in a book, wrote it on a piece of paper and put it on my wallet. Sometime by the end of 2009 in Washington Square Park I met this black man who told me a few things about the blues. I became obsessed with pieces of tense cable and wood and plastic that resembled knots, boxes or wrappings on the street. When I moved to Barcelona and traveled around a bit, I started bumping into them more frequently. Photography became a new way of taking notes of the efforts these decaying urban environments were making to hold themselves steady; I convinced myself that something was sending me a message. In the meantime, I taught myself how to use vocals; natural room reverb and the resonance of an acoustic guitar near my chest helped a lot. Time passed by. I traveled to Pucallpa, after I had to face bureaucratic shit in S/pain again and found myself working 39 hours a week. I guess one can learn to articulate a voice after paying attention to what's really out there; a record should build up in you until is set to burn and cut.

Q: Who are your influences?
*Not sure, if I were younger I could be more specific on this topic. Who are my influences?

Q. Make a list of 5 albums of all time…
*I am only certain of my top two of all time: White Light/White Heat by The Velvet Underground and Funhouse by the Stooges.

Q. How do you feel about playing live?
*It’s a good pull back to reality, I haven’t played live in a while.

Q. How do you describe No Mightier Creatures´ sound?
*That’s not for me to say, I listened to these songs so many times I cannot hear what they sound like anymore, I only know what I hear which is not necessarily what they are.

Q: Tell us about the process of recording the songs ?
*I had a bunch of demos and lyrics and traveled back home to Lima. I got together with Dolmo, former Serpentina Satelite guitarist to get the songs organised, then got together with Arturo Quispe who plays guitar in Cholo Visceral and runs the indie label Necio Records in Lima. He had been playing drums for about 6 months by the time we started rehearsing and he was fantastic, Arturo is an incredibly talented and determined musician, you should check out his work. A couple of weeks passed by and Felix Dextre, also former Serpentina Satelite, got back from India where he was doing some Yoga master classes. We had already discussed this new project, he offered to help me record it and play bass. Once the band was together we rehearsed I guess about 15 days or so and then went into the studio. All tracks were recorded live, there´s just some minor overdubbing and the vocals of course. I wanted to keep it as straightforward and transparent as possible. We recorded 13 songs in one day and a half.

Q. Which new bands do you recommend?
*Black Lobo, Cholo Visceral, Registros Akásicos, Nocturno

Q: Which band would you love to make a cover version of?
*That’s easy: “Hybrid moments” by The Misfits… If you’re gonna scream, scream with me… Moments like this never last…

Q: What are your plans for the future?
*No plans.

Q: Any parting words? Thanks again
*Thank you for this interview and for listening. The vinyl version of No Mightier Creatures is coming soon, bare with us a moment, moments like this never last.


sexta-feira, 17 de março de 2017

Endless Grey by A Thousand Hours - Track by Track

Epicamente melancólico, denso e insinuantemente climático, assim é "Endless Grey" primeiro álbum, lançado há poucas horas do A Thousand Hours.

Sob a concepção de Red, guitarras e vocais, o A Thousand Hours concebeu um disco de extrema beleza, evocando sombras da sonoridade tipicamente 4AD,  pinçando atmosferas shoegaze numa linha tênue entre o etéreo e o slowcore, não a toa a banda não deixa de reverenciar nomes como Red House Painters e Low.

Mas "Endless Grey" vai muito além de rótulos, as guitarras desaceleradas e cristalinas aparecem em cascatas servindo para a bela voz de Demi Haynes nos guiar ao paraíso.

Vale ressaltar algumas participações extra especiais como Nico Beatastic e Mandy Claire do Lights That Change, sem contar a masterização que ficou sob a tutela do Capitão Greg Wilson da DKFM.

Sublime resume "Endless Grey", mas o TBTCI não contente com essa rara beleza, pediu a Red que esmiuçasse em detalhes quase sórdidos música a música e o resultado você lê abaixo.

Apaixone-se pelo A Thousand Hours.

"Endless Grey" - Track by Track (By Red)

Hello, this is Red from a Thousand Hours and its my privilege to give the readers of The Blog That Celebrates Itself some insight into the songs off our debut release "Endless Grey". I just hope I don't bore you all with my trite banal reflections, well.. you've already read this far.

Endless Grey:
This is one of the first songs we started working on for A Thousand Hours. It started pff as a demo I made for my solo poject Swain, but I knew right away that it was getting into darker territory that wasn't the right fit for it, more into lyrical territory of the Cure, and as a result the music took on a somber not. Its about the fleeting nature of everything, and how ultimately everything is inconsequential. Mandy Clare from Lights That Change is on the backing vocals, along with Demi. There presence was very much needed to sort of breath a little bit of beauty into this one.

I'm proud of every song on this album, but this is probably the crown jewel... and naturally, it was the biggest pain in the ass to complete. I still groan when I hear my vocals because I think they could be so much better, but I think thats the nature of the artist, always tearing down. Musically, its got a sort of a Chameleons meets shoegaze thing going for it, very post-punk but swirling and hazy.

This song is pretty much all Albert Gresens, he sent me the demo for this with bass and guitar. I told him to rerecord it, mixed it all and laid out some vocals and a lazy drum beat. A reviewer said it was like Jesus and Mary Chain without the pedal effects, usually reviewers are wrong as often as they are right, but I can definitely hear that.

This was actually the last song that was made for this album. I was actually trying to shop it out, talked to Rebecca from Emerald Down and Krissy from Whimsical, but with the deadline for all the music being submitted coming up, there was no time for that. So I picked up the mic and recorded the vocals myself. Its a misty homage to my favorite kinds of 80's dream pop.

Tender was actually a re-write of a song I made about a year ago for a girl I am more than smitten with. I actually made her almost a hundred songs throughout the course of a year. I was fiddling around with the acoustic guitar one day and played that very Floydian first chord... My mind got to working and I just transferred the lyrics over. Albert is on bass on this one and is playing a very sexy sequence, it almost feels a little dubish to me too.

When I started this project, my thought was of a collaborative group kind of like This Mortal Coil, so naturally I needed some interesting instrumental segues. The album didn't pan out a hundred percent like that, but this piece serves a beautiful function in sort of breaking up the first and second half of the record, with this song and the next being sort of the final two tracks of what (in my mind) is side one. Nadi Mack is on all instruments and is wailing a bit like a ghost, though its hard to hear as it was all mixed to sort of blend and be very indistinguishable.

Down is my personal favorite on this album, though its right up there with B. There is a simplicity and repetition that made the perfect basis point to build on top of. Demi brings some gorgeous background vocals, and a perfect bass line, as well as some great guitar swells. Musically, its got a bit of a Slowdive sound to it with mantra like lyrics that repeat throughout. The other little guitar line that plays during the music chorus (as there are no vocals on it) I played, after listening to some early Red House Painters.

This song continues the sort of, water/hopelessness theme that is pevasive on the album. Its a bit post-punkish and the vocals in parts sound like a funeral chorus. It didn't sound so dark when the instrumental tracks came to me, but naturally leave a song with me for over an hour and I will tweak it until its perfectly suitable for despairing in a darkened room. The flood is coming, the clouds are moving, danger is on the horizon.

The Desolate Hour:
This was the single we released back in January, though it sounds a bit different than it did then. I never stop fiddling and so it definitely got some facelift... but you wouldnt know it since the single now has this version. But anyone with the old mp3 can most definitely hear the difference. Another song about the same girl, and missing. Missing is one of the most powerful emotions that can bring you down and keep you in bed. Demi and Albert both are on this track with me, and really the combination of all of us is pretty stellar. Not my favorite song, but a good single.

Rainy Days:
Nico Beatastic doing all the vocals on this. Albert supplying the chilly and cold instrumental tracks. A Psychedelic haze sot of permeates, and bubbles over with a wickedly flangered guitar near the end.

The second instrumental track and the albums closer, composed by Albert. I didnt know what to do when I first heard the demo to this. It was spectacular, and dark, but seemed like such a distance away from the opening track Endless Grey. As I sat on the computer, mixing with levels and effects I realized it had to be on the album, and it had to end it. It packs a gnarly and bitter punch, almost akin to the Cure during the pornography era or Joy Division at their angstiest.
Thanks Red


quinta-feira, 16 de março de 2017

List of Equipment with Lusterlit - An Interview

Para quem acompanha o TBTCI o nome Charlie Nieland soa bem familiar, também pudera, Charlie e sua eterna banda Her Vanished Grace moram em nossos corações, sem contar que o magistral "Star Crossed" continua sempre em alta rotação, literalmente um pequeno clássico perdido.

Mas, Charlie é hiperativo e continua compondo desde que o HVG deu um tempo, vide seus álbuns solo e desde o ano passado, o mestre Charlie ao lado de Susan Hwang e assim surgiu o Lusterlit.

Na realidade Charlie e Susan fazem parte de um interessante grupo de poetas e escritores chamado Bushwick Book Club  no Brooklyn em NY, onde regularmente se encontram e produzem boa música, inspirada em literatura.

A colaboração de Charlie e Susan deu tão certo que os dois juntaram forças e criaram "List of Equipment" primeiro EP deles.

Um espectro de estilos, colados e unificados, fazendo um senso de unidade absurdo, por vezes, há conexões com Nick Cave em outras com PJ Harvey, há ainda semelhanças com Massive Attack, e, já, em outras, o Lusterlit parece criar peças feita sob medida para um filme cult.

Elegantes e sofisticados, Charlie e Susan acertaram no centro da mira quando resolveram unir forças e criar o Lusterlit, que "List of Equipment" seja só o início.

***** Interview with Lusterlit *****

Q. When did Lusterlit start? Tell us about the history...
SUSAN: Lusterlit began in 2016 when Charlie and I started playing our songs written for Bushwick Book Club as a duo. Bushwick Book Club is a literary/musical crossover event that presents new songs inspired by books. I started it in 2009 and Charlie's been a contributor for the last several years. Between the two of us, we have a kazillion songs about books as the shows are approximately monthly, using everything from Flaubert to Nabakov to Dr. Seuss as inspiration for new songs. Local and touring musicians from all genres participate each month. It's musical nerdery, but we like it. It's fun to work from common, external source material. Somehow you give yourself more freedom and there's a lot of experimentation.

CHARLIE: I produced Susan's collection of Vonnegut inspired songs And began recording my own album of book club songs. At the same time we began backing each other at book club shows and our arrangements of the newly written songs were flowing from our performances. By the time we had our releases ready we'd decided a duo was a great vehicle for us and we booked a release show and a tour of the west coast. When we got back from the tour we jumped right into recording and that became our latest release LIST OF EQUIPMENT.

Q: Who are your influences and the concept for the project? -
SUSAN: Oh... just mentioned a few authors, but recent ones on the newest recording are Cormac McCarthy (BLOOD MERIDIAN), Julia Child (MASTERING THE ART OF FRENCH COOKING), Jonathan Lethem (THE FORTRESS OF SOLITUDE). Musically, I'm influenced by the blues and blues-based music, old soul and Motown mostly I suppose. Also Cole Porter and standards. Really though, you don't know what you're going to pull on when you're writing a song inspired by a book. It can be anything. I've beat-boxed for Book Club songs. Did you know Charlie wrote a rap song for our GEEK LOVE show last year?

CHARLIE: I'm always surprising myself lyrically by the songs inspired by books like Killer Angels, Vonnegut's Galapagos even the tacky Tesla Bio we read last summer. Musically I feel like our influences come from all over from Nick Drake, to ELO, to Eurythmics to Pj Harvey.

Q. How do you feel playing live?
SUSAN: I feel great. Ha. I mean, I feel the songs. I like that about playing live. I like that when we're playing, what you feel are the songs, and not much else. I get pre-show doom and sometimes post-show doom and sometimes pre-show and post-show doom, but while playing, usually what I feel is just the song. And it's always the funnest to hit something. I love that I get to play my Korean drum so much in this duo.

CHARLIE: I really love being in that moment in the room when everything is suspended and everyone is experiencing the song just as it's flowing through us. As we back each other up, allowing each of us to take chances and reveal the emotional charge of each song. Playing as a duo brings so much focus to the smallest details. So by playing the songs a lot, we find all sorts of little nuances of dynamics and tempo to explore and bring out more light and shade in the songs. I think that's so exciting to do as a team.

Q. How do you describe Lusterlit sounds?
SUSAN: I would say the Lusterlit sound is varied, but Charlie makes everything sound good. So to me it's some version of good. Charlie? I think Charlie's better at describing these things...

CHARLIE: I think we instinctively bring a colorful approach to arranging our songs about books. Cinematic but not theatrical. Because we have such a wide variety of musical influences it allows us to just play in the sandbox when we're coming up with ideas and they combine to create something that's timeless with modern things mixed in.

Q: Tell us about the process of recording the songs ?
SUSAN: The process is, Charlie and I get together, and we see what comes out. Sometimes we have a clear idea ahead of time of how to go about things and what we want, but sometimes we don't, and we just show up and see what happens. That's exciting too. We usually each have our own basic song with lyrics that we come to the studio with but how we flesh things out for the recording are often improvised that day and over a series of days. We co-wrote our first song together for a show at Bushwick Book Club Seattle, and that was interesting and exciting too. Charlie came up with a riff, and I said, can that be meaner? And then can the nice part go here? And he improvised, and I recorded things, and I improvised, and I stared at words, and we carved this song out together. It's the first track of the new EP -- CEREMONY inspired by BLOOD MERIDIAN.

CHARLIE: Our arrangements usually begin with the foundation of our duo arrangements from our live performances of the songs. It's a gift that the songs get to have a little trial by fire with the Bushwick Book Club before we get in the studio with them. That period of refinement brings them some life experience that becomes a springboard. Then we get to have fun bouncing off that energy with our spontaneous ideas in the studio. It's like they give something back to us when we are recording; they have secrets that get revealed at different points in time and we get to witness it.

Q. Which new bands do you recommend?
SUSAN: I recommend Frank Olson and the Olson Twins in Brooklyn. That guy's voice and songwriting has a trueness to it that always hits me as unwavering.

Also, I love my friend Leslie Graves' songwriting. And we both sing in Julie Delano's band, GOLD. Also, I adore ENDLESS ARROWS which are the songs of our other genius friend, Julie Lamendola. DANYDANY in Los Angeles is coming out with a new recording soon as well, and they are just so inventive and emotional. I love them so.

CHARLIE: Yes lots of great music happening in Brooklyn. I just discovered a band called Howth that make really powerful and imaginative pop music with great singing and dreamy and edgy guitar and powerful rhythm section fireworks. The band Mindtroll are geniuses at all-out fun and truth in the guise of fuzz bass and accordion fueled punk rock. In mainstream music, I loved the Solange release. She brings a delicate but deeply powerful touch to her R n B.

Q: Which band would you love to made a cover version of?
SUSAN: Sparks. It's my favorite band. ANGST IN MY PANTS is one of my favorite songs of theirs.

CHARLIE: Well there are some literature inspired songs by artists I love out there. Bowie made a whole musical based on 1984 and was denied permission by Orwell's estate and the result was the album Diamond Dogs so I'd love to play something from that at some point.

Q: What are your plans for the future?
SUSAN: I plan to make more music. Write and record more. And make more music videos. I want a choreographed dance number. What do you say, Charlie?? I'm a sucker for a choreographed dance number. If I can keep singing and hitting things, I'm happy. I also like to wear clothes.

CHARLIE: We're really looking forward to making music videos for our songs from List of Equipment, and after that, we have lots more material that we plan to keep releasing and recording. We look forward to traveling and bringing our songs about books to other places in the U.S. and abroad.

Q: Any parting words?
SUSAN: Thanks for asking us questions! It's been fun talking... Thanks for listening to our music. Thanks for caring about music enough to write about it. I love that your love of music helps to spread it around! More ears for more music... win win and win.

CHARLIE: It's been great talking to you Renato. The Blog That Celebrates Itself has been such a great place to learn about all kinds of music with heart and imagination. I know it's a labor of love for you and we appreciate the wonderful energy you put into it. Thanks for asking us to take part!