sexta-feira, 24 de outubro de 2014

Songs of Love and Lust with Soft Metals - An Interview

O duo estadunidense Soft Metals que grava pela cultuada gravadora Captured Tracks, tem dois álbuns bem bem bons no currículo, o homônimo de 2011 e Lenses de 2013, ambos caminhando pela synth wave da virada dos 70´s para os 80´s, bebendo muito em fontes como Chris & Cosey e se alimentando de linhas hipnóticos sintéticas, vocais gélidos e sensuais, faz a trilha sonora para pistas escuras e alternativas mundo afora.

A pomposidade e elegância do Soft Metals credencia a banda como uma das melhores e mais importantes bandas da nova safra da synth wave da atualidade

O duo Patricia e Ian esta trabalhando em um novo álbum a vir ao mundo brevemente e ao que parece o Soft Metals vem com doses cavalares de seu synth análogo sensual.

Aguardemos então e por hora Ian e Patricia contam um pouco da história do Soft Metals,

***** Interview with Soft Metals *****

Q. When did Soft Metals start tell us about the history...
Patricia: Soft Metals started in 2009 shortly after Ian moved to Portland from San Francisco. We were already acquainted with one another as DJs and through our appreciation of artists like Chris & Cosey, Liasons Dangereuses, Frankie Knuckles, Jamie Principle, Drexciya, among many others. Ian has a very nice collection of vintage analog synths and invited me over to work on some music with him. We weren't expecting to start a project, but we had so much fun and loved what we were creating together so we decided to continue this way and see where it led.

Q: Who are your influences?
Patricia: Early on I would say Chris & Cosey, Liasons Dangereuses, Section 25, Siouxsie & The Banshees, Jamie Principle, Frankie Knuckles, Broadcast, The Smiths, Cabaret Voltaire, Astrud Gilberto.

 Q. Make a list of 5 albums of all time…
Patricia: For Ian and I these albums will always be very special:
Manuel Gottsching- E2-E4
Jon Hassell and Brian Eno- 4th World Vol 1- Possible Musics
Chris & Cosey- Heartbeat
Liasons Dangereuses s/t
Jeff & Jane Hudson- Flesh

Q. How do you feel playing live?
Patricia: It's a very exciting, but challenging affair. I especially love to play in other cities and countries. The biggest challenge is getting the sound dialed in on the stage so we can properly hear one another to perform a good set. We are at the mercy of the sound equipment and sound engineer at the club. Sometimes it's great, sometimes it's not ideal, but there's always something to learn from it. Meeting people at shows is my favorite part.

Q. How do you describe Soft Metals´ sounds?
Patricia: Watery, dreamy, warm, hypnotic.

 Q: Tell us about the process of recording the songs ?
Patricia: Ian and I jam together on the synths and drum machines and record those sessions. We take the best elements of the jam and try to structure it a little bit closer to a pop arrangement. Sometime during that process, I write lryics and record vocals.

Q. Which new bands do you recommended?
Patricia: Xeno & Oaklander, Martial Canterel, Automelodi, Further Reductions, INHALT, Vice Device, Cosmetics, Black Marble, ADULT., Factory Floor, Silent Servant, Alessandro Cortini, Sixth June, Sally Dige .

Ian: RedRedRed, Vessel, Jesse Ruins, Wrangler, Pye Corner Audio, Vaniish, .

 Q: Which bands you love to made a cover version?
Patrcia: We have covered Throbbing Gristle, Siouxsie & The Banshees, Absolute Body Control, and most recently The Smiths.

 Q: What are your plans for future....
Patricia: We're working on a new album for Captured Tracks. We look forward to touring again after that comes out.

Q: Any parting words?
Patricia: We hope to play in Brazil one day!
Thanks Patricia/Ian

quinta-feira, 23 de outubro de 2014

Underground Lovers with Contrast - An Interview

Melbourne tem se mostrado uma mecca para os bons sons do submundo, várias bandas lindíssima ter saído de lá, na Australia como um todo, aliás desde sempre não!!?!?

Agora é hora e vez do combo shoegazer pós punk do Contrast, seu ep de estréia Less Than Zero é uma maravilhosa sônica e encantadoramente pegajosa, sim, o disquinho impregna na mente e vai corroendo sem parar. As cinco faixas com destaque para Drum Machine, Less Than Zero e Dull viciam e vão se tornando melhores a cada audição.

Tipo, não há escapatória é apaixonar-se ou apaixonar-se.

***** Interview with Contrast *****

Q. When did Contrast starts, tell us about the history…
Well, there isn’t too much rich tapestry really. Me and James our other guitar player had been mates for a long time through skateboarding. James has always been a skate filmer and we would just talk about bands we liked and guitar pedals n shit and then one day we decided to throw down some fat riffs and try some of our songs we’d both written on for size. James had already been chatting to Nath our bass player on some internet dating style website for musicians which was pretty cute so we nabbed him up and then after having a brief period with our old drummer Jordan who’s a good mate of ours still, Gabe from Lowtide recommended us Tommy who is the new tempo keeper.

Q: Who are your influences?
I guess the most influential bands for all of us in general are mainly Underground Lovers, All the bands on the creation gang in some way or form but especially JAMC, Sonic Youth and Early BJM. In terms of sound anyways. But personally, I listen to basically everything that has a good song behind it. I feel like when I first wanted to make an actual song of my own though that that wall of noise of MBV or even interesting noise like sonic youth that was all I was listening to at the time was so burned into my head that it just came out and thats all that will ever come out I guess. But now I get inspired by a lot of bands that I love that sound like nothing like what we play or what I was originally influenced by. Like for example the warlocks, the dovers or television personalities or some shit, I get psyched as fuck off the song writing and arrangements and just general dopeness and then just sit down and write a stupid noise pop song again. But its good to keep your influences sparse I think. I find I also get influenced to write a song by certain sounds or vibes in a song of bands I don’t even like. Just like a certain thing they do or something.

Q. Made a list of 5 albuns of all time…
No particular order and had to add one more in

BJM - Pol Pot’s Pleasure Penthouse
Jesus And The Mary Chain - Honey’s Dead/Psychocandy (Too hard to choose)
Primal Scream - Screamadelica
Underground Lovers - Wonderful Things: Retrospective (Compilation)
Sonic Youth - Sister
Velvet Underground - White Light/White Heat

Q. How do you fell playing live?
We are lucky enough to have an absolute ripper music scene in Melbs and just to be able to play amongst and watch bands and friends that we love is just great. A lot of our songs we cant recreate sound for sound, but I like the way we play some of our songs live almost better. They have slightly different vibes, which is good to I think to mix it up and not just directly reenact your recordings. Makes it a bit more exciting.

Q. How do you describe Contrast´s sounds?
I hate trying to describe your own shit, but, I guess I the whole chemistry of it is that just try play with as much fuzz and feedback as I can to fuck the song up as much as possible to try mask the fact that I’ve written some gay love song or some shit. So I'll try really noise it out a bit and then James will be playing some sweet jangly washy shit over the top which starts to make it sound really kinda nice and lovely again. Not that James doesn’t have any noisy moves up his sleeve though. But its like a tone fight I guess between me and him I guess initially. Then we play around with lots of individual effects, sounds and noises and try slot them in or bang them over the top where we can.

Q: Tell us about the process of recording the songs ?
We recorded Dull with our mate Tom who’s plays in this badass band called the Citradels and got it mixed n mastered by Lindsay Gravina. We really dug how good he made us sound, especially because we needed all the help we could get. So we pooled all our pocket money together and went in to Birdland to finish the rest of the EP. One song of it was kinda too shit to be heard by human ears, because it wasn’t really finished at the time, so we canned it and luckily ended up recording 'Drum Machine’ for free with our other friend Matt who does the great VHS dream stuff which ended up probably being my favourite on the CD.

Q. Which new bands do you recommended?
Oz bands are too good at the moment. Parading, Lowtide, Luna Ghost, Flyying Colours, Day Ravies, Bad Family, Hideous Towns, Miniatures, Bloodhounds On My Trail and Mosaicz are all definitely worth checking out.

Q: Which bands you love to made a cover version?
We don’t wear enough fedora’s to cover songs yet. But if I had to choose one when I’m 37 and age permits me to be fedora wearing bandit it would mainly be hey ya

Q: What´s the plans for future….
Nothing major. Just usual band aspirations. Play more gigs and keep writing and recording more tunes I reckon. Album will be next on the list once we get our hands on some cash.

Q: Any parting words?
Watch trailer park boys yo
Thanks guys

Ecstasy and Wine with La Casa Al Mare - An Interview

Seguindo a tradição no TBTCI, sem nenhum registro oficial, apresento-lhes os italianos do La Casa Al Mare, apenas um single DIY, disponível gratuitamente no bandcamp dos caras, contendo duas canções que nos remetem diretamente ao áureo início dos 90´s onde o shoegazer reinava absoluto, criando trilhas sonoras para as loucuras, devaneios e sonhos dos adolescentes de outrora.

Aqui, com M e CD Girl, o La Casa Al Mare mostra sua credenciais no atual mundo dos sonhos, os caras devem ter sido trancafiados durante anos ouvindo MBV, Slowdive e Ride, e o resultado, aliás o aperitivo, porque o debute vem no próximo outono italiano, é recheado de camadas e mais camadas de guitarras sonhadoras e muralhas de ruído branco, ok nada novo, mas e daí, vale a viagem, e vale muito.

***** Interview with La Casa Al Mare *****

Q. When did La casa al mare starts, tell us about the history...
A. It's a couple of years now, we already knew each other somehow, Rome is that small when you like and follow a certain kind of music; each of us was or still is in other bands, so it happened we met.

Q: Who are your influences?
A: Our state of mind.

Q. Made a list of 5 albuns of all time
A. In no particular order,
1 - Bowery Electric, Beat
2 - Motorpsycho, Blizzard
3 - Unwound, Repetition
4 - My Bloody Valentine - Everything since Ecstasy & Wine 'till now
5 - Slowdive - Todos.

Q. How do you fell playing live?
A. No live gigs so far as La Casa Al Mare. We guess it'll be real fun.

Q. How do you describe La casa al mare´s sounds?
A. Loudly soft. Like a dam breaking.

Q: Tell us about the process of recording the songs ?
A: We record firstly a bass line, then drums, vocals, and, lastly, guitars. Then we do some experiments during the mixing phase.

Q. Which new bands do you recommended?
A. Local acts such as Armaud, Dallas, and Snow in Mexico.

Q. What's the plans for the future?
A. Our debut LP record. Mixing and mastering, then it's ready.

Q: Any parting words?
A. We look forward to come and play in Brasil, and - thank you.
Thanks guys

Party Time with The Mold - An Interview

Em alta velocidade, um verdadeiro massacre synth punk noise é o lance do The Mold, tão rápido quanto seu som, a entrevista mais sucinta, curta e grossa nas páginas do TBTCI, mas se você esta esperando blá blá blá, melhor deixar o The Mold de lado, mas depois você certamente vai se arrepender, porque a esbórnia a´la Butthole Surfers esta escancarada na sua frente, é pegar ou largar.

***** Interview with The Mold *****

Q. When did The Mold starts tell us about the history...
A. It was 2011. Some one farted, and that was our first show. Ryan denies it, but he was there

Q. Who are your influences?
A. Germs, Black Sabbath, GG and the Jabbers, Boobs, NASA, CHUDs

Q. Made a list of 5 albuns of all time…
A. Morris Day and The Time - "The Time ",
Chamber Brothers - "Time Has Come Today",
Anthrax "Persistance Of Time",
MC5 - "High Time",
45 Grave - "Party Time"

Q. How do you fell playing live?
A. Contempt for the audience.

Q. How do you describe the Mold sounds?
A. Hymns for the unrightious

Q. Tell us about the process of recording the songs ?
A. So far, our friend Jerimiah Johnson is responsible for our documented works. Currently recording new material. Out on In The Shit Records(Italy) soon

Q. Which new bands do you recommended.
A. Golden Pelicans, Nots, Buck Biloxi and the Fucks, Manateees

Q. Which bands you love to made a cover version?
A. We've already done Screamers and Red Cross, sure we'll do more

Q. What´s the plans for future....
A. Touring. The moon, maybe Brazil?

Q. Any parting words?
A. Oom Oh Gua Gui Guy Go Pow
Thanks guys

In Strict Tempo with Makina Girgir - An Interview

Torment o debute do duo Makina Girgir lançado no ano passado é um exemplo clássico de como soar de forma vintage e contemporânea simultaneamente.

Ecos sonoros dos clássicos sintetizadores 80´s mesclados do as novas possibilidades da tecnologia atual, o Makina Girgir conseguiu soar retro e moderno, camadas e mais camadas criadas em layers atreladas a synths entre loops e vocais gélidos, o resultado e altamente dançável e para se ouvir em lounges ou onde você bem entender.

Torment do Makina Girgir é um verdadeiro clássico moderno da synth wave.

***** Interview with Makina Girgir *****

Q:When did Makina Girgir start, tell us about the history...
A:The project started end 2004, very slowly. Putting some ideas, directions, desires.. Defining a sound based on beloved wave and electro influences. Deciding to make music with no samples but only synth sounds, drum machines sounds, non vocoded vocals.. Trying to translate a mood thru music and then vocals etc..

It became more precise at the end of 2006. It was time to submit some tracks to labels.

The now defunct Das Drehmoment Berlin based label and recordshop was the one who decided to give the project a chance by using "White Eyes" on their 5th anniversary vol.2 compilation. Feedback was great.

An EP was planned with Dany and Thomas from Das Drehmoment. "The Spell" was released in 2007. At this time the tracks received a good welcome mainly thru the CBS I-f's webradio/nettwork.

Then some remixes for various artists (ImiaFan/V Vasicka, HNN, KeenK/PMuench, Echö..), some unreleased ones.. and some compilation tracks for various labels in different formats.

Then was another decisive meeting (first virtual, then for real) with Gautier from La Forme Lente who asked me 2 tracks for his Circuit D'Actes compilation series. It really stimulated us to make something special for this occasion cause we already really loved this label and its spirit. "Vie Absurde" and "Chimere" were the tracks that appeared on this one.

The collaboration with La Forme Lente went then further and an LP was planned, and released in 2013.

Unexpected good feedback. The sound of this LP is something personal I guess. The achievement of research and translation, influences assimilation, moody, cold, gloomy and pop.

Q: Who are your influences?
A:Always difficult to name them cause they usually inhabit u while u don't feel it exactly.

What i can say is my main background, back in the days, was/stays, Industrial Music from the pioneers (Coil, Chris & Cosey, TG, Cabaret Voltaire, Severed Heads, Minimal Man…) and at the same time I really enjoyed bands like Schriekback, The Neon Judgement, The Shortwave Mystery, The The, Fad Gadget, Soft Cell and also many others…

But I was always really into many styles of music.. From Italo Disco to Electro thru some Darkwave, Synthpop, New Wave, No Wave etc …

Q. Make a list of 5 albuns of all time…
No specific order. And far too difficult to quote only 5 of them! Here's a try ^^

COIL - Scatology
SEVERED HEADS - City Slab Horror
BOYTRONIC - The Working Model
DAVE BALL - In Strict Tempo

Q. How do you feel playing live?
Our music is made in the studio. It's made thru a mix of hardware and software gear. It's a long progressive process.

It's a real pain in the ass to think about moving all this gear on stage and mostly being able to reproduce most of the things/lines, live, with 2 persons. We're not interested to play our tracks by just launching them thru the "on" button of a laptop or an mpc. Stage should be something that offers a different dimension for your music including a full stage visual setup and performance. We're not able to do that for different reasons (time, rehearsals, transposing into a specific stage setup….)

Q. How do you describe Makina Girgir´s sounds?
I'm probably the worst person to be able to describe it..

If some references are needed I would say something between electro, italo and wave music.

Something cold, something melodic/melancholic, something with gloomy/hopeless touches, but something that will also make u dance desperately.

Q: Tell us about the process of recording the songs ?
There's no specific rules. Basic making.

Sometimes it begins with a bass sequence, sometimes a drum pattern, sometimes a lead/melody, sometimes the voice/lyrics…

Different tracks are then assembled and much time is used for arrangements and definitive mix of the tracks.

It's a common process. Nothing spectacular. It's recorded into a computer thru a soundcard and some fx.

Then the tracks need the final mastering to be done by a professional.

Q. Which new bands do you recommend?
...come to my mind but there are of course a lot more of them..

Q: Which bands you love to made a cover version?
Not really into cover. I never was.

Q: What are the plans for the future….
Some remixes on their way.

Busy with my own small vinyl label Falco Invernale Records (FIR008 & 009 in the tube)

Hope working soon on the next album.

Q: Any parting words?
Thxxx for finding me and for the contact Renato ! :))
Hope u have a great time in Brazil.

quarta-feira, 22 de outubro de 2014

Crawl babies with The Luxembourg Signal - An Interview

Depois do single de estreia o delicioso e apaixonante Distant Drive, eis que chegou o debute do The Luxembourg Signal, homônimo e mais sedutor do que a estreia, o álbum mergulha profundamente em caminhos doces e melodiosos fazendo um passeio em mais de 3 décadas de bons sons, ecos de Pastels, Sound, J&MC, MBV, Trash Can Sinatras e muitos outros prediletos desde sempre, simplesmente um luxo o debute do Luxembourg Signal.

Por vezes pós punk, em outras shoegazer, passeando pelo dreampop, e tendo uma unidade em seu som o Luxembourg Signal cativa desde a primeira audição.

É daquelas bandas para se apaixonar por completo.

***** Interview with The Luxembourg Signal *****

Q. When did Luxembourg Signal starts, tell us about the history...
Johnny: Brian and I started recording some new ideas about 10 years ago, but had other projects going on so they sort of fell by the wayside for awhile. Last year we talked to Beth about finally finishing the songs, and in the meantime we'd started playing around with some newer ideas with Daniel, Betsy and Ginny, and that's how it sort of all came together.

Q: Who are your influences?
Beth: The Jesus & Mary Chain, The Pastels, The Dentists, The Field Mice, The Bugaloos, The Wombles & The Monkees.

Johnny: Spacemen 3, Spiritualized, New Order, The Sound, Johnny Marr, Echo and the Bunnymen, anything by Bobby Wrattan....

Q. Made a list of 5 albums of all time…
Beth: No : )

Johnny: Too difficult.

Q. How do you fell playing live?
Beth: Drunk, nervous and sick.

Johnny: I think for most bands, playing live can be a love/hate relationship. Lately it's rare to find all of us in the same city, let alone the same room, so for that reason alone getting together to play shows is special. For me personally, on nights when you're able to play a venue with good sound to an enthusiastic crowd, its always a great experience.

Q. How do you describe Luxembourg Signal´s sounds?
Beth: Honest.

Johnny: At its core, it's simple melodies written around simple structures.

Q: Tell us about the process of recording the songs ?
Johnny: For this record we ended up recording at several different locations as a result of the timespan it took to finish the record, and the physical distance separating the members of the band. Most of Beth's vocals and Brian's drums were recorded by David Newton at Rollercoaster studio, whom we had worked with on previous recordings. I ended up recording Betsy's vocals along with most of the guitars, keyboards and percussion at my home studio, which allowed for more time to experiment with different sounds and textures. For mixing we took the tracks to Mark Rains at Stationhouse studio.

Q. Which new bands do you recommended?
Beth: The Fireworks & Soft Science

Johnny: Cheval Sombre and Temples (incidentally, both are bands that Brian turned me onto)

Q: Which bands you love to made a cover version?
Beth: The Dentists.

Johnny: The Fall, "Fantastic Life."

Q: What´s the plans for future...
Johnny: Currently working on several new ideas, and will start recording soon. We are also planning on doing a handful of live shows in spring 2015.

Q: Any parting words?
Beth: Fly low and avoid the radar.

Crazy Town with Day Trip - An Interview

Guitar bands, é as guitar bands dos 90´s saca, Velocity Girl, Black Tambourines, etc, etc, etc, a como era bom não?!?!

Melodias tóxicas que impregnavam na mente daquelas da gente sair cantarolando com os velhos walkmans bem alto, bem alto mesmo, bons tempos. 

Ouvir o Day Trip é como entrar numa capsula e voltar no tempo, esse one man band de Honolulu no Hawaii é um negócio pegajoso e que traz aquele frescor saca, só que tudo modulado nos tempos de hoje, loops, guitarradas e temos a formula perfeita.

Ah como eu amo guitar bands.

***** Interview with Day Trip *****

Q. When did Day Trip starts tell us about the history...
I started tinkering with the idea of starting something sometime late last year. Day Trip didn't really start in earnest until early this year. I just wanted to do something myself since it's so hard to get people together and synchronize schedules and be on the same page musically. This way I can do it at my own pace and not hold anybody up.

Q: Who are your influences?
There's a bunch, but off the top of my head there's My Bloody Valentine, Ride, Drop Nineteens, Slowdive, the Stone Roses, Oasis, Teenage Fanclub. the Jesus & Mary Chain. Some influences may not have come across in the sound so far but they are influences none the less.

Q. Made a list of 5 albuns of all time
the Sundays "Reading, Writing...."
the Stone Roses "The Stone Roses"
Velocity Girl "Copacetic"
Sleater Kinney "Dig Me Out"
eenage Fanclub "Bandwagonesque"

Q. How do you fell playing live?
Day Trip is a bedroom project with just me. I really don't see any live shows happening. I don't care for them. I get way too nervous and anxious playing them so I'd like to avoid them as much as possible.

Q. How do you describe Day Trip's sounds?
I'd describe Day Trip's sound as shoegaze-y pop or poppy shoegaze. I like catchy poppy songs with hooks and I hope that comes across or at least will come across more the more this project continues.

Q: Tell us about the process of recording the songs ?
I usually mess around on the guitar while watching TV or something, if something catches my ear I try to play it over and over to get it ingrained into my brain. If i feel satisfied IÕll set up my recorder and pedals and try recording whatever other things like bass lines or whatever else usually comes along during this time while recording.

Q. Which new bands do you recommended?
I think Alcest is great. Their album "Shelter" is amazing. So is Wildhoney's latest ep "Seventeen Forever". I can't stop listening to it.

Q: Which bands you love to made a cover version?
If I could I'd like to do a cover of the Monkees song "Saturdays Child" off of their first album.

Q: What´s the plans for future....
To continue recording. To (hopefully) write catchier songs and just have fun with it.

Q: Any parting words?
Thank you for the interview Renato. Thank you friends for the support and encouraging words.

Living With the Ghosts with This Forever Sky - An Interview

Projeto multifacetado em cores pinceladas do arco íris, envolto em atmosfera shoegazer e dreampop, este é o This Forever Sky aka Nathan Thompson.

Em setembro de 2012 lançou de forma DIY Years, um caleidoscópio que além das influências citadas tem cheiro de acid house, trip hop e madchester, e a partir daí o TFS vem periodicamente soltando suas composições inteiramente com um odor adocicado e dançante.

Que Nathan continue trilhando o caminho do arco íris.

***** Interview with This Forever Sky *****

Q. When did This Forever Sky start tell us about the history.
A. TFS started back in June 2012. I had released music under a few other names but never really took any of the projects that seriously and it was more of something I did in my spare time. I rarely promoted anything. It was recorded, I made a website and that was it. With This Forever Sky I really wanted to create something long term, for the future that I could work on for years to come. I bought some recording software and a midi keyboard and released the first EP "Years" in September 2012. It was a very fast EP to make as everything was done electronically including the bass and guitars. After that I decided that any future recordings would involve a lot more live guitars and bass. So far I'm about three quarters of the way through the new record which has taken many twists and turns over the last 15 or 16 months, but after a short break away from writing everything is starting become much more productive. I'd like to think it will be fully finished maybe before the end of 2014 or perhaps early 2015 at the very latest.

Q. Who are your influences?
A. My influences range really far and wide. My father made me listen to the likes of Pink Floyd, Led Zeppelin, Rush, etc when I was growing up and I would definitely say out of those that Floyd has probably had the biggest influence on me when I’m writing now. They sounded unlike any other band. I imagined that if you travelled into space then that's what it would sound like somewhere up there. When I was going through my teenage years I got into the likes of My Bloody Valentine, Catherine Wheel, Ride and all of those kinds of bands who were around in the 1990’s. I was a bit late getting into them but I didn’t leave school until 1999 so was just starting to really discover music at that time. One of my biggest influences which I can’t not mention would be the Deftones. They were around at the time when all these Nu-Metal bands were coming on to the scene but sounded a little different, more together and refined. They’ve never released an album that was just average, they’ve always been exceptional in every way.

Q. Make a list of 5 albums of all time.
A. This is probably one of the simplest yet hardest questions as there are so many albums I could choose. I could probably pick 50 off the top of my head but I'll try and stick to five:

1.Pink Floyd - Dark Side Of The Moon.
2. Hammock – Chasing After Shadows… Living With the Ghosts
3. Explosions In The Sky – The Earth Is Not a Cold Dead Place
4. Deftones – White Pony
5. Slowdive – Souvlaki

I could talk for hours about each album and why it’s on the list ahead of any other but I’ll leave it like that for now. Those stories are for another time I think.

Q. How do you fell playing alive?
A. I’ve never taken This Forever Sky to the live stage as yet. I would love to in some capacity at some point in the future but would want to do everything live. Given how many guitar parts are in some of the songs it would probably require a lot of loop pedals or quite a few guitarists. I think it would not be doing the music justice if I took a laptop on stage and played one or two of the parts whilst the machine did everything else. I would love to play live again someday though. Many years ago I was the lead singer and guitarist of a punk band and I really couldn’t sing or play guitar that well but being on stage and performing no matter how big the audience was always a lot of fun. If This Forever Sky does expand maybe it will happen again in the future.

Q. How do you describe This Forever Sky's sounds?
A. I try and make every song sound as big and as loud as possible. Like it has to grab your attention straight away or I try and build up to some mass explosion of sound. Depending on the song I will mostly have the guitars as the loudest part with every other instrument or sound falling underneath them. This album is the first time in many years that I’ve recorded any vocals which I never set out to do with This Forever Sky. I don’t have a great singing voice and the one that I do have I really don’t like. I really wanted to find a way to use my vocals because I feel they could bring something else to the songs so I am experimenting a lot with delay and reverb. This is going to be very clear in a few of the newer tracks that I’m in the process of recording.

Q: Tell us about the process of recording the songs ?
A. A lot of the songs will start off really slow and basic. I’ll find perhaps four or five chords that work well together then experiment with them as much as possible and keep adding as the song progresses. “Guardians” which is probably my favourite track off the album so far is only 3 chords and started out a really chilled out track which is why I did the acoustic version of it. Once I have the guitars taken care of I’ll move on to changing the drum beat as and where required which can be a little bit time consuming as I would love to have the facility to have live drums on all tracks but when working with a drum machine it can be quite time consuming. After the overall structure of the song is complete I will then go back and make further additions. I love the idea of putting orchestral instruments into this strange shoegaze, post rock sort of sound that I have. I’ve started to experiment on the more recent tracks but only if it works. From there I’ll add the vocals in as the last thing.

Q. Which new bands do you recommended?
A. These are a few artists that I know from the internet and I think are definitely worth a mention. Chromadrift, Laundry League, Evolv, The Echelon Effect.

Q: Which bands you love to made a cover version?
A. I’ve tried to do a few obscure cover versions before but never really done them justice. I played with the idea of doing a shoegaze version of the Avicii track “Wake Me Up” which sounded really good but I simply couldn’t get the vocals correct. It’s something I may come back to in the future though. As early as last week I started working on “Forever Young” by Youth Group. I may record the guitars for this and see how it goes after that.

Q: What´s the plans for future....
A. I really want to finish this album and get it put to rest. I feel like it’s a long time overdue and if it hadn’t been for family, work and various other commitments it would have been finished a long time ago. I’ve started writing tracks for a new EP that wouldn’t really work on this record so they have been set to one side for now but the plan is to write more, record more and continue to make as much music as possible. 2014 has certainly been the slowest year that I’ve had musically for a long, long time. As well as more TFS tracks I’m going to be working on another project Thought Processes For The Eternal Minds which is a lot different to TFS. It’s quite dark and abrasive and much more Post-Rock orientated. So yes, the end of 2014 and 2015 are going to be very busy.

Q: Any parting words?
A. Many thanks to Renato for the interview, it’s been a privilege. Much love, peace out.
Nathan x
Thanks Nathan

terça-feira, 21 de outubro de 2014

The five wounds of Francis Minor with Trappist Afterland - An Interview

Trappist Afterland vem de Melbourne, Austrália e contempla-nos com um folk tribal psicodélico, que vai penetrando profundamente nas entranhas.

Um verdadeiro ritual cabalístico guiado por violas elétricas, citaras, tabas, um verdadeiro convite para adentrarmos a seita do Trappist Afterland.

Um extensa discografia a ser desvendada e apreciada com cuidado e calma, porque em qualquer momento você pode se pegar fazendo seu próprio ritual interno.

***** Interview with Trappist Afterland *****

Q. When did Trappist Afterland starts, tell us about the history...
1-I started Trappist originally with Adam Casey who I had known for years through Adam's other musical project "The Boy Who Spoke Clouds".I was looking to find another guitarist in the style of Fahey , Basho and Sandy Bull and Adam fitted the bill perfectly. I had always really loved the first wave of '70s acid folk and was especially interested in the "Trees" community album The Christ Tree and the "Can Am des Puig" album Book of Am. So with those albums in mind Adam and I went to his parents house on the coast in Portarlington and Recorded The Round Dance of the Cross. Shortly after Adam Casey left Trappist I was lucky enough to meet Phil and Andrew from Melbourne Band Anatman. we began playing shows around Melbourne along with an old friend of mine Brett Poliness(Hugo Race and the true spirit,Silver Ray)on Harmonium and Vocals.Brett and Andrew left the band and Nick from Melbourne band Dandelion Wine joined on Bell Citern,Hammered Dulcimer and Bowed Psaltery.

The band now plays as a three piece with myself ,Phil on frame drums ,Vocals and Nick. The new Album Afterlander features the new lineup and the guys have been irreplaceable,we are very excited about the new album and it is because of those two guys that the album is sounding so great.

Q: Who are your influences?
2-So many amazing bands to mention but I guess our biggest influences would be Stone Breath,In Gowan Ring,Comus,C93,Shirley Collins,Joseph Pusey,Psychic TV.We all listen to so much stuff but for me personally Itend to listen to a lot of sixties /seventies psych,Acid folk and Prog stuff .As well as a lot of Free Jazz etc etc

Q. Made a list of 5 albuns of all time…
3-Tough Question but I'd say
1-Comus -First Utterence
Robert Wyatt-Rock Bottom
Six Organs of Admittance-Dark Noontide
In Gowan Ring- The Glinting Spade
Psychic TV -Dreams less Sweet
This Heat -Deceit whoops!

that's 6.

Q. How do you fell playing live?
4-We love playing Live and there are many great places to play in Melbourne although unfortunately for us not a lot of bands play the kind of music we do, so putting together lineups can be difficult. We are hoping to play more folk festivals this year, but we still play pubs and clubs when we can. There are a lot of new psych bands popping up around Melbourne, so it has been good playing with those bands. We are definately playing in the UK and Europe September next year which we are very excited about.

Q. How do you describe Trappist Afterland´s sounds?
5-I guess for me Trappist is essentially a folk band and our influences range from bands from every corner of the world.My greatest wish is that we are able to make Sincere and timeless music.

Q. Which new bands do you recommended?
6. So many great new bands to recommend-Moongazing hare from Denmark are Amazing! Neil Sweeney is a songwriter from Baltimore who has been a massive influence on our stuff,Hopefully he will have an album out next year and I will also be doing an album with him again soon.

I 'm also a big fan of Will Z member of the fantastic band Cosmic Trip machine.He has a new album out that is great called the Dark Tales of Will Z .Trappist will be touring Europe with Will's band in September which should great. I'm also pretty excited to hear the new Bauldin and nine shields albums which will be coming out via Sunstone Records very soon.

Q: Which bands you love to made a cover version?
7. I have always wanted to cover the song Opel by Syd Barrett,One day we will do it I hope.

Q: What´s the plans for future....
8. As for the future we have a new LP coming out called Afterlander through UK label Sunstone Records .It will be a limited edition vinyl with Artwork by the Amazing painter Norbert H Kox .We will also be touring Europe next year and hopefully recording an EP to coincide with the tour.It will be kind of a brother album to Afterlander and I'm pretty excited about the songs but we ran out of time to record and put them on the Afterlander Album.Im also planning on recording an album with Baltimore musician Neil Sweeney.It will be a kind lof Kraftwerk meets Genesis folk album.

Q: Any parting words?
9. thankyou very much and cheers to you my friend Adam xxoo
Thanks Adam

Who Cares with Jessica 93 - An Interview

Pós punk pra gente grande, sem aquele lado etéreo muito pelo contrário, aqui as guitarras machucam, o lado sombrio e cinzento dominam tudo aliado logicamente ao clima shoegazer clássico, Who Cares o segundo álbum dos parisienses do Jessica 93 ao lado de Fate do Soviet Soviet são dois exemplo de que o resgate do pós punk pode soar mais intenso do que se imagina.

Dia 03/11 vem ao mundo Rise, terceiro disco deles e o barulho esta indo mais para baixo ainda, porções negras evocadas do inferno estão mais intensas e presentes do que nunca.

Pra deixar os meninos do Interpol morrendo de medo, podem acreditar.

***** Interview with Jessica 93 *****

Q. When did Jessica 93 starts tell us about the history...
As far as I remember this project started summer 2010, I was playing in several bands, Mobylette Facile, Louise Mitchels, Missfist and Comité Défaite. A good friend of mine, David Snug and singer of Comité Défaite at that time, was my roomate and was telling me I should start a "solo-project" to be able to play whenever I want, as I was a bit complaining I always have to wait availability of every members to do shows, tours etc.. (I 've always been kind of the one who doesn't have studies or job, completely into music.) Solo project is easy to say but doing it was not obvious, being solo meant to me folk music or blues.. I always refused the idea of computers on stage, or any big devices that allows pre-recording for lives etc. I come from Rock- Punk Music, and everything has to be "Live".. It s when I found back a old loop station pedal in my room; I was suppose to sell but never did; that things get clearer. Then I did my first small shows in Paris, in some small bars in front of friends, just me, a guitar and a loop station, and then It started to grow, more and more opening for foreigner bands in Paris, as I was always available for promoters and my shit was so easy to set up, no huge backline etc..

Q: Who are your influences?
I like to say my main influence comes from Evil haha, no metter the kind of music, or even if it's music or not, if I can feel Evilness it works, I'm inspired. I need to feel some kind of devotion, passion, and sincerity. But musically speaking, I really come from the 90's indie rock music, what we call grunge, post punk, noise rock etc.. Then a lot of other stuff, metal, not nu-one haha, cold wave, pop, punk, harcore punk, hip hop, but as I said, if it's evil - fine with me. Then I get a lot of influences from the bands I'm playing with, the French scene first, and european. I feel lucky about the french scene, a lot of really good shit around here, to name few of them, Headwar, The Dreams, Teledetente 666, Mr Marcaille, Bonne Humeur Provisoire, La Secte Du Futur, Dame Blanche, Delacave, Usé, Noir Boy George and it s only the top of the iceberg..

Q. Made a list of 5 albuns of all time…
It would be albums which I think the band was reaching a self point, transcending their own style Nirvana - Nevermind
Lunatic - Mauvais Oeil
Velvet Underground w/ Nico
Dead Can Dance - The Serpent Eggs
Burzum - Filosofem

Q. How do you fell playing live?
I feel Alive indeed haha. The feel of being on stage is hard to explain, it is kind of timeless moment, everyone would tell you when you express yourself, you lost yourself, you can feel like a whole, I can compare it with having sex with your soulmate, or taking a shitload of drugs haha

Q. How do you describe Jessica 93's sounds?
I never did Jessica93 thinking of a specific kind of style or sound. All went by itself, according to the equipment. I agree with people who says it is a weird mix between the spirit of the 80's with the sound of the 90's. As if a grunge band wanted to sound like the cure, or a cold wave band like nirvana.

Q: Tell us about the process of recording the songs ?
I record since 2012 with my friend Vincent Gregorio, who also makes my sound on stage, at his home studio in Drancy, suburb of Paris. The recording sessions has to be simple, straight to the point, as I always run Jessica93 more as a live project than a studio one. That means we don"t add anything more than what I'm doing live, I see recording as a frozen picture of a live event. So we start with drum machine, then bass or guitar loops. This is for the basics. Then we had the lead guitar or bass line, which makes the structure of the song, and finally the vocals. We prefer to focus and work on the "sound" than trying to complicated things adding parts I couldn't do live. Most of the time, the first take is the good one, except if we think it could "sound" better with another amp or pedal or room..

Q. Which new bands do you recommended?
I have to separate french ones from the others cause well you know, this is what I see the most and even if some plays for ten years now, it s not obvious you ever heard about them; I would recommended all those french bands i quoted above, adding Warsaw Was Raw, Dorcelsius.. When it comes from international, the dannish band The Woken Trees, the finnish band Lighthouse Project, the croatian Popsimonova, and Pharmakon from NY.

Q: Which bands you love to made a cover version?
I don't know, I did only 3 covers so far with Jessica93, Nirvana's Something In the Way, The Cure's Pornography and Abner Jay's St James Infirmary Blues. I'm actually thinking about doing Enigma of the Absolute of Dead Can Dance.

 Q: What´s the plans for future....
My third album Rise is released on 3rd of november, now I want to tour Europe as much as I can, and work on the next one. I'm also taking the drum in a friend's band call Retsar Bai Naim since not long ago, power violence band which is physical as hell haha. Also release the third album of Missfist, my band with Julia Judet, and I would also like to make a new band with some friends, more basic rock oriented one, with real drum, no machine

Q: Any parting words?
Nah no parting words, I wanna come in Brazil to suck your brain sooner than you think

segunda-feira, 20 de outubro de 2014

Bloweyelashwish with Fiorella 16 - An Interview

É fato que o Peru tem uma cena extremamente experimental vide os trabalhos de gente como Wilder Gonzales e seus inúmeros projetos de exploração noise, e também principalmente pelo altamente difícil e experimental Fiorella 16.

Trabalhos como LeS NOms, Laura en su Laberinto, Entra..Entras são exercícios poderosos de exploração máxima de efeitos pedais, casiotones, frequências de rádio, tudo misturado de forma a ecoar o maior expressionismo ruidoso e barulhento possível

O Astrobrite começou com essa tendência e o Fiorella 16 levou tão a sério que beira o limite do inaudível, definitivamente os estudos do wall of sound que o Fio 16 faz é pra perfurar os tímpanos sem dó nem piedade.

Simplesmente, não deve ser exposto a fãs da Sarah Records ou do Belle & Sebastian, eles não entenderiam.

***** Interview with Fiorella 16 *****

Q. When did Fiorella 16 starts tell us about the history…
Fiorella16 is a solo project, started in october 2003 with some recordings in tape, using radios, casitones, guitars and microphones with effects and no input system. It was an attempt to reproduce the same feelings you experience hearing those bands that you liked, who used the noise as a resource in their compositions.

Q: Who are your influences?
I remember three basic influences for me in the first years of the project: Sonic Youth with the album “Bad Moon Rising”, My bloody Valentine with “Loveless”, and The Peruvian band El Aire with their first album. After this I recorded the first Ep (Entra., entras) and some other recordings. I received a very strong influence by "harsh Noise", when I met Ignacio Ruiz and heard his project 886VG. He produced a big interest on me for flirting with harsh and ethereal sounds and as result a second EP called "Hola Puto!" was recorded.

By now my influence comes from guitar projects like Grouper or the guitar presentations of the mexican noise act Los Heraldos Negros.

Q. Made a list of 5 albuns of all time…
Bad Moon Rising – Sonic Youth
Lobed – Cranes
Bloweyelashwish - Lovesliescrushing
Home is in Your Head – His Name Is Alive
Loveless – My bloody Valentine

Q. How do you fell playing alive?
At the beginning I tried to avoid the live presentations, because the way to do the project was very intimate at home. That changed when I began to concentrate myself in the atmospheres that you can produce in several (close) amplifiers. I love the spooky feedbacks of my actual live set!

Q. How do you describe Fiorella 16's sounds?
Like oniric melodies with a harsh corrupted sound

Q: Tell us about the process of recording the songs ?
In the recordings, things depends too much of the coincidences, instruments and effects I have at the moment, and where do I do it. My first recordings were made in tapes at home, after I used to work in very simple computer programs. I like the lo-fi sound and I think my work has too much of that.

Q. Which new bands do you recommended?
Registros Akásicos ( ),
S.I.N ( )
and Senana Missions ( ).

Q: Which bands you love to made a cover version?
Really I would like to do a cover of Billie Holiday's version of "Gloomy Sunday". I don’t remember what other cover version i'd like to do with Fio16.

Q: What´s the plans for future....
Last year I released an EP called “NoMundo Fiorella”, now I'm working on a long version of this for the record label "Musica Dispersa", after that, I hope to do some live shows.

Q: Any parting words?
tudo legal !!
muito obrigado a voce!!
Thanks Josemmmmm

Show of Strengh with Mode Moderne - An Interview

New wave moderna com ares requintados é a faceta dos canadenses de Vancouver do Mode Moderne que soltou Occult Delight segundo ábum lançado no início deste ano com no mímino três pérolas do pop moderno, ecos de Smiths, Chills, Bunnymen permeiam Strangle de Shadows, She, Untamed e Baby Burn, mas a história deles vem desde 2009 quando soltaram o debute Ghost Emerging, outro belíssimo exemplo da finesse dos caras.

Pro futuro prometem um álbum inteiro de covers, sera? 

A única saída é acompanhar atentamente a trajetória dos caras.

***** Interview with Mode Moderne *****

Q. When did Mode Moderne starts, tell us about the history.
A very cold, very snowy Canadian Winter. Locked in a basement studio. Smoking marley-marls and black tea with evaporated milk and brown sugar. Drum machines and photography.

Q: Who are your influences?
Girl Groups, Echo & the Bunnymen, the Smiths, and live nude sex

Q. Made a list of 5 albums of all time…
The Smiths – Queen is Dead,
Scott Walker – Scott 3,
Magnetic Fields – Holiday,
Fresh & Onlys – Long Slow Dance,
Jeru tha Damaja – Sun Rises in the East

Q. How do you feel playing live?
Envigorated & Humbled

Q. How do you describe Mode Moderne´s sounds?
Leather jackets and cardigans

Q: Tell us about the process of recording the songs ?
We are going to record our next album entirely through emails

Q. Which new bands do you recommended?
Grave Babies (USA), Flowers (UK), Black Marble (USA), Chai Khat (GER)

Q. What's the plans for the future?
A full album of cover songs

Q: Any parting words?
Never bow down, Don't ever slow down

Spacious Mind with Evening Fires - An Interview

Kevin Moist é um dos caras mais bacana que eu conheci no submundo dos bons sons, podem acreditar, Kevin é um lorde, um verdadeiro gentleman, gentil e atencioso isso sem contar que ele é o fio condutor de uma viagem sem limites as profundezas de lugares ainda não habitados, o Evening Fires, sua banda com quatro eps onde todos seguem uma linha hipnoticamente psicodélica guiando-nos através de arranjos eloquentes e viajantes, um verdadeiro passeio por mundos distantes, onde só uma viagem de ácido é capaz de nos levar.

O Evening Fires finalmente debutara com seu primeiro álbum cheio via Sunrise Ocean Bender e preparem as passagens porque a viagem esta apenas começando.

***** Interview with Evening Fires *****

Q. When did Evening Fires starts tell us about the history...
Hmmm, let’s see… need to wake up the memory banks here… It was back around 2005/06, Nathaniel was helping me digitize some 4-track tapes of my old band the Clear Spots, and we started goofing around and making some music on the side of the production activities. Other friends would occasionally pitch in too if they were around. It was pretty rudimentary and there was no great goal in mind, but eventually we realized we had developed some material we kind of liked, and that became the first Evening Fires release.

That beginning kind of set the stage for how the group still functions. It’s usually some of us working on some music, and then others might come in and add to it at different stages ‘til we feel like it’s finished (or as finished as we can make it; or just until we lose interest and want to move on to something else). Lots of folks have played with Evening Fires over the years, probably upwards of 20, coming and going as interest and circumstances allow. I guess the seeds of that arrangement were there from the start.

Q: Who are your influences?
I have no idea how to answer that one, sorry! Everybody who plays with the group brings their own background and interests with them, so it might be possible to sort that out at an individual level, but collectively we have never once discussed such a thing. For sure there are reference points that come up from time to time – someone will say, “Let’s do more of a Can thing here…” or something – but that’s always in the context of specific practical matters – so that would mean “Let’s play it rhythmic and minimalist…” rather than “Can are an influence on this piece” per se… No matter what format we’re working in at any given moment, we’re just channeling the sound – we’re happy enough to all find the same key & make it to a stopping point at more or less the same time, rather than thinking about where it’s coming from or what box to put it in…

Q. Made a list of 5 albums of all time…
This was a tough question, because I didn’t want to just pick personal favorites, since this is about the group; and trying to poll the whole gang isn’t overly practical… So while I do think these five are classics, I selected them because for me at least they have some kind of triangulation point for Evening Fires’ music – not that we sound like them or are anywhere near as good, but something about what they play, or how they play it, or something, seems to resonate in some way with what we do. So, in reverse chronological order for no particular reason:

*Spacious Mind – Live Volume 1: Do Your Thing But Don’t Touch Ours (2002)
Sweden’s Spacious Mind are the greatest, every fan of cosmic psychedelic rock should hear them. Unfortunately their classic releases from the ‘90s and ‘00s are out of print and increasingly hard to find; somebody should do something about that. The studio albums are all essential, but this disc captures how they really take off in a sympathetic live setting, fantastic group playing.

*Pelt – Ayahuasca (2001)
Massive double CD documenting the VA trio’s transmutation from noise-rock deconstruction into avant/drone/folk shamanism. Jack Rose was getting deep into his fingerpicking thing by this point, and combined with everything from banjos and organs to hurdy-gurdy, zither, esraj, and singing bowls, it’s like the album John Fahey and Taj Mahal Travellers never made together. A feast for the ears, you can get lost inside.

*Ghost – s/t (1st album) (1990)
As much as I like the later Ghost albums, the early ones (up through Lamarabirabi or so) still sound like the masterpieces. The first couple especially just felt totally out-of-time-and-space when they came out in the grunge-belabored early ‘90s. Ethno-tribal rites leading to fragile acid-folk with excursions into communal psychedelic heaviness; nobody has done it better.

*Agitation Free – Last (1976)
For whatever reason, Agitation Free remain under-heralded in the Krautrock pantheon, but all their records are superb. Malesch and 2nd might be more obvious, but the posthumous Last is on a different plane. Time-dilating acid-rock improvisation on the version of “Laila” on side 1, while the “Looping” electronics on side 2 take them out into Ash Ra Tempel or Tangerine Dream territory. I can play this over and over and it always feels new.

*Lula Côrtes & Zé Ramalho – Paêbirú (1975)
Classic double LP of northeastern Brasilian folkloric roots, psychedelic jamming, freeform craziness, and perfectly arranged pastoral pieces; all built around the alchemical theory of the four elements, in case the metaphysics weren’t obvious from the sounds. Pernambuco had a lot of incredible music at the time – Lula and Zé solo & in other configurations, Geraldo Azevedo, Flaviola e o Bando do Sol, Alceu Valença (especially Molhado De Suor, such a beautiful album), Ave Sangria (anyone with a spare copy of their LP please contact me) – but Paêbirú in particular seems like it could have been released last month as easily as in 1975.

Q. How do you feel playing alive?
We used to play live more often than we get to these days. There have been periods when we operated almost like a conventional “band,” but those aren’t necessarily the norm. We certainly enjoy playing live, and when we do so we put a lot of thought and planning into what we’re going to play, but in the actual instance it’s still basically improvised. It feels great when it works, like we’re collectively floating on air; but we get the same feeling whether that’s happening at a concert or in the practice room or while recording. And of course, improvising is always kind of a high-wire act, so there are no guarantees.

Q. How do you describe Evening Fires sounds?
Mostly I try not to! I think that kind of thing is probably better left to others. I know what it sounds like to me, but others might hear totally different things, and that’s great – I don’t have any interest in putting my interpretation on anyone else’s ears. Mostly, we’re too busy with the doing to worry a whole lot about the labeling. If you’re familiar with the old tale about the blind men and the elephant, I think there’s some of that in most attempts to describe what we play…

Q: Tell us about the process of recording the songs?
Well, that can take lots of different forms, depending; there isn’t really one set procedure. Much of what we do is built around improvisation, which is part of the recording process too. So we might record some assortment of people – could be the whole band, or various smaller sets – playing, improvising, or maybe working on a piece (though even our “composed” pieces are essentially more structured improvisations); and then we’ll take that and add to it further, or come up with fun things to do in the mix or production. It can set up a lot of interesting possibilities; sometimes you’ll have one group of people starting a track, more of us adding to it later in a different setting, and others finishing it yet elsewhere… It might all be basically improvised, but not necessarily all at the same time. The results mostly seem to come out sounding pretty organic, and can be hard (even for us) to tell the “overdubs” from the “basic tracks,” especially since a lot of that can get turned around in the mix anyway. All that said, sometimes it’s just nice to get folks together, crank everything up loud, and make a big racket. That’s part of it too.

Q. Which new bands do you recommended?
There is so much good music around right now in so many different styles – psychedelic stuff, and folk, and African music, it’s hard to name just a few (and hard to keep up with it all). I’ve been listening to a lot of new South American psychedelic rock, bands from Chile like Föllakzoid, Holydrug Couple, La Hell Gang, all very cool. Montibus Communitas from Peru too, they do this great communal jam thing. I mentioned Spacious Mind up there somewhere, they just released a totally righteous new album called Greazy Green and the Stoney Lonesomes, so wonderful to have new recordings from them. I don’t want to start plugging here, but I’ve also been spending a lot of time with music we’re working on for Deep Water; the new United Bible Studies disc is almost finished, and it is just magnificent, can’t wait to share that with the world.

Q: Which bands you love to made a cover version?
Because of what we do and how we do it, I’m not sure that cover versions (as most people would understand the term) are quite in our wheelhouse. There’s a track on one of our CDs that started when a couple of us (apparently spontaneously, it wasn’t planned) tried to play the chord progression from the Beatles’ “Dear Prudence,” but we couldn’t quite figure it out on the spot and the rest of the group didn’t pick up on it, so we all took off on a tangent away from that starting point… The released version picks up after the initial fumbling, and to my knowledge no one has ever made the connection. So I guess we nailed it!

Q: What´s the plans for future....
It looks like a bunch of things are set to become tangible in the relatively near future. There will be an Evening Fires LP (our first LP release!) out later this year via Sunrise Ocean Bender records. It’s called Where I’ve Been Is Places, and What I’ve Seen Is Things, and we are incredibly excited to be working with the label on it. Around the same time we’ll be releasing a CD of entirely different material on Deep Water; working title is Incredible Adventures, though there’s always a chance that could change. There will probably be yet another separate release sometime soon after that on a very cool label, but I don’t want to get ahead of ourselves. With so much production going on it’d be nice just to play some music too, hopefully we can work that in somewhere.

Q: Any parting words?
Thanks for getting in touch and doing the interview! We dig the blog, keep up all the great music coverage.
Thanks Kevin

sexta-feira, 17 de outubro de 2014

Where Does A Body End? with Zeroine - An Interview

Extrema melancolia, guitarras densas, vocais demonstrando fragilidade, sofrimento, amores, desilusões, ansiedades, Stine e Christian formam o duo dinamarquês Zeroine, um pequeno detalhe, ambos também fazem parte do grande Tales of Murder and Dust, mas o Zeroine vai fundo na alma, por vezes me vem a cabeça um mix de Codeine com Underground Youth.

A exuberância do Zeroine é absurda, um dos grandes vícios recentes deste que vos escreve, a música do ep Pale Clouded Yellow levam as profundezas da alma, aquele sentimento de isolamento mesclado com certa pureza vem a tona, um slowcore gazer para caminharmos lentamente perante nossa fragilidade.

Simplesmente ACIMA.

***** Interview with Zeroine *****

Q. When did Zeroine starts, tell us about the history...
A: Realizing that we had actually formed a band maybe took us 4-5 months. This process started with one night drinking with the guys from Tales of Murder and Dust and letting them in on my, then, secret that I had recorded som songs. I was very shy about it but Christian and Kristoffer pushed me to share them. From then onwards, they really encouraged me to keep making more stuff and share it. Later on, Christian offered to help me record some tracks and do some guitar overdubbing, and as he got more and more involved we kind of found ourselves being a band. So we came up with a name and turned our efforts into our first EP.

Q: Who are your influences?
A: I don’t really have any clear musical influences that are obvious to me. Writing music is something that keeps happening as a sudden and quick process where I have no time to think about what I am doing. All the songs I make have had the core structure and lyrics written in less than 15 minutes, and as a completely parallel process. Often, spurred on by a malign psychological process that squeezes out the songs from my head - and usually - during spates of heavy anxiety, mixed with red wine and a really bad day. Sort of a “perfect storm” for me, that always results in some kind of creative output.

After our first EP, I stopped writing songs for a long time. But for “Animous” I have gradually found a new way to write. I have become a more active listener and pick up more inspiration now, opposed to when making music was an auto-poetic thing I did for myself. Ambition has opened up the gates for influence, I guess. Now, I get very inspired by acts like Low, Swans and Slowdive in a way that is visible to me in my writing. I also get very influenced by the profound feelings that come from realizing that all the empathy and disgust that I feel, as a human being, when witnessing human tragedy all over the world from the relative comfort of my living room, is eminently useless. This line of thinking usually ends with a song…

Q. Made a list of 5 albuns of all time…
Sonic Youth – Washing Machine
Slowdive – Souvlaki
Swans – The Great Annihilator
Rowland S. Howard – Teenage Snuff Film
PJ Harvey – Let England Shake

Q. How do you feel playing alive?
We haven’t done many live shows yet, but it’s definitely a rush. For Christian it’s more like stepping into the office, but he loves being forced to play in a different way than he is used to with ToMaD. The best experience I have had so far was seeing a couple make out during our concert. I still find it weird being on stage as I had never sung to an audience before our first concert a year ago. As a kid, I was once told I couldn’t sing so I got shy and stopped singing in public, and only resumed singing when we formed the band. I really enjoy singing my songs to an audience and singing exactly the way I do. And I’m still discovering more and more about both my abilities as a singer and guitarist, so each live performance feels like a new adventure. Also, I like the fact that someone seems to be able to stand there, listen and just seem to understand something from the music that I often don’t. It puzzles and excites me.

Q. How do you describe Zeroine´s sounds?
It’s the sound of melancholia, lonely nights, anxiety, disillusion, and dystrophy. Someone once told me it lowers his heart rate, so we thought “low-core” was a good description. Some people say there’s a bit of shoe-gaze, and slow-core too. They could be right. Our live performances are significantly noisier than our recordings, so we are also borderline noise-rock if you catch us on the right day.

Q: Tell us about the process of recording the songs?
We do everything at home. I usually record a demo and add some ideas for the different instruments to it. Then we layer as much on as our imagination allows, and then we start stripping off the layers again, until we have as few instrument tracks as possible to create the right sound and feeling that I had in my mind when writing the song. Then we mix it and then it’s off to mastering.

I use a lot of imagery and colours to explain each song to Christian, who then interprets my abstracts to apply his ideas and sound to it. If the feeling’s not right, if the imagery that we have produced doesn’t match what was in my head at the beginning, I don’t feel good about releasing it. This is of course a challenge for Christian, as I obsess about very specific details, that he has absolutely no grounds for guessing, based on an abstract pencil drawing. Then we don’t talk for a few hours and we start all over again. We can both be very stubborn which prolongs the process but also distils the music really well.

Q. Which new bands do you recommended?
They may have been around for a while now but we definitely recommend you check out Distortion Girls, Guerra Despues De la Fiesta. Weyes Blood has her moments – she’s also worth checking out.

Q: Which bands you love to made a cover version?
We would probably never do a cover, but personally I would love to give Nina Simone’s – ”Go to Hell” a slow and fuzzed-out treatment. Galaxie 500 – ”tugboat” is always fun to play in the rehearsal space, but I think we’ll keep it there.

Q: What´s the plans for future....
We are putting the final touches on our debut album ”Animous” right now and the first single, the title track, will hopefully be out soon.

Then we will have a short hiatus while we are both undertaking the next Tales of Murder and Dust European tour where I’ll be helping them out on keys. I think the entire album may be ready for release in January.

Q: Any parting words?
Yes: Do follow us on Twitter and Instagram!
Thanks Stine

Two Days from Eden with Breathless - An Interview

Certa vez Ivo Watts-Russel o dono da 4AD disse assim: "Sem exageros, Dominic Appleton é meu cantor favorito em atividade, sua voz triste transmite uma beleza sem tamanho junto com as melodias....".

Bom, depois disso basta dizer que Dominic Appleton é vocalista de uma das bandas mais injustiçadas dos 80´s e 90´s, estou falando do Breathless, pós punk, dream pop, shoegazer com uma rara beleza melódica que fascinou não somente o Sr Ivo, mas Kramer, notório produtor do Galaxie 500, outro fã confesso da banda.

O Breathless lançou seu primeiro álbum em 1986, o angelical The Glass Bead Game e desde então tem nos presenteado com pérolas fascinantes guiadas por Dominic e Ari, caso do deslumbrante Between Happiness and Heartache.

Aos mais inteirados, deverão saber que Dominic participou do álbum Filigree & Shadow do This Mortal Coil emprestando sua belíssima voz em três músicas.

O último álbum do Breathless é de 2012 e conta com a participação mais do que especial Heidi Berry musa das gravadoras Creation e 4AD que só por curiosidade era namorada de Peter Astor e cantou no terceiro álbum do This Mortal Coil, Blood, ah nome da pérola do Breathless é Green to Blue.

Por fim, com honra total e sorrisos e mais sorrisos o TBTCI apresenta talvez a primeira entrevista do Breathless para o Brasil, e surpresas durante ela ocorrerão....


***** Interview with Breathless *****

Q. When did Breathless starts, tell us about the history...
Ari: We formed in the 80s. Dominic and I were briefly in band together with a school friend of mine. We really liked what each other were playing, but were becoming more and more frustrated with what the rest of the band was doing so decided to form our own band instead. We started writing songs with Dominic just playing keyboard, but he soon started singing too and once we had a few songs, we asked Gary, who Dominic had played with in a previous band, to come and play with us. That first rehearsal was amazing, I loved Gary's playing from the first note and it all just came together perfectly and fell into place from that moment.

Soon after that, after only a couple of rehearsals with Tristram we went into the studio to Record 'Waterland' (which we just intended to be a demo at this point). Tristram was the brother of a friend of mine at the Virgin Megastore where Dominic and I worked, and again the chemistry was immediately there from our first rehearsal with him.

We went to see a few record labels with 'Waterland', but got a really negative response. We were talking about making albums like Pink Floyd but the labels keep talking about 3 minute hit singles. At the same time Dominic and I used to play 'Waterland', in the Virgin Megastore and a lot of customers came up and asked what it was and where they could buy it, which is when we realised there was a market for our music and decided to start our own label.

After 'Waterland' we worked with Cocteau Twins engineer/producer Drostan John Madden, on our next couple of EPs and eventually with John Fryer at Blackwing for our first album, which lead to Ivo asking Dominic to sing on a number of songs on This Moral Coil's Filigree and Shadow.

And introduced Breathless to a whole new audience which was fantastic

Q: Who are your influences?
Ari: We all have different influences, which is probably what keeps our music interesting. And for me there are a lot of things I listen to that I love but that don't find their way into our music, like say Funkadelic, or Barry White or Hole. At least I can't hear them!

But other people that I really like. like Neil Young, Richard Hawley, Brian Eno, John Barry, Ennio Morricone, Pink Floyd, Galaxy 500, Joy Division and The Velvet Underground are a lot easier to hear echoes of in our music. Especially Joy Division from the bass playing point of view as Peter Hook is my biggest influence, along with Carole Kaye, who also influenced Peter Hook .

Dominic: Well, when I was at school I was listening to Patti Smith, Japan, The Only Ones, Heroes by David Bowie and then post punk stuff like Wire, Mass, Felt, This Heat and Pere Ubu. It was an incredibly exciting time in music and it had a massive impact on me. Punk was too rocky and macho for me. it was fantastic that it shook up the industry in the way it did but it was the post-punk stuff that has shaped me as a musician.

After I left school I started working at Virgin and was introduced to earlier music like Can, Joni Mitchell, Pink Floyd, Eno, Velvet Underground, Roxy Music and Nick Drake. It's funny but at school, because of punk, it was really unfashionable to look back at music. Working in a record shop and being exposed to so much was incredible. I was overwhelmed, in absolute heaven, just trawling through the past as well all the new music. I'd say the way Can and Pink Floyd approached music was very influential on early Breathless.

My favourite lyricists are Peter Perrett, Bjork (sometimes) and Mary Margaret O'Hara.

I have a massive amount of respect musically for Kate Bush (from The Dreaming onwards) and her incredible imagination. Bjork too.

Mark Cox from Mass is my favourite keyboard player.

Gary: As a guitarist, my main influences would be Neil Young, David Gilmour, John Perry from the Only Ones, Maurice Deebank from Felt, Tom Verlaine and Jesus Acedo from Black Sun Ensemble. At the start of Breathless I was hoping that we would make music that was a cross between the post-punk music that Dominic was talking about and Pink Floyd. I think some of the music ended up a bit like that but we soon found other directions to go in too. I also loved This Heat, Japan, Patti Smith, Velvet Underground, Can and I was also involved in very harsh, discordant electronic music which didn’t influence Breathless at all I don’t think but who knows? There was just so much music washing over us, it’s not always easy to know what influences you the most.

Q. Made a list of 5 albums of all time…
Ari: This is by far the hardest question of all. These are just the 5 albums that I would take if I was going to a desert island tomorrow.
Music For Films Brian Eno
Everybody Knows This Is Nowhere Neil Young
Coles Corner Richard Hawley
The Look Of Love The Burt Bacharach Collection
The Velvet Underground And Nico

Heaven or Las Vegas - The Cocteau Twins
Miss America - Mary Margaret O'Hara
Even Serpents Shine - The Only Ones
The Dreaming - Kate Bush
Quiet Life – Japan

Gary: This changes virtually daily but the ones I keep coming back too would be:-
Y – The Pop Group
Even Serpents Shine – The Only Ones
Hex Enduction Hour – The Fall
Future Days – Can
This Heat – This Heat

Q. How do you feel playing live?
Ari: It used to really terrify me from start to finish! But I have recently got over my stage fright and really enjoy it. Even when it terrified me there were parts of it I enjoyed. It is lovely to look out into the audience and see the pleasure one's music is giving people. And for that joy to feed back into our performance.

Dominic: I hate it slightly less than I used to. In recent years there have been the odd moments when I've enjoyed myself but I'd rather be in the studio.

Gary: I hate the build up to the show during the day and about the first 5 minutes on stage. Then I calm down and by the end I want to go straight back on.

Q. How do you describe Breathless sounds?
Ari: Melancholy, melodic, rich, textured. Our press release describes us as 'Space Rock Melancholia' - which I like.

Dominic: Melancholy, melodic, rich and textured. Well done Ari, beautifully put, I must remember that for when people ask me. Romantic as well.

Gary: I can’t describe it better then that.

Q: Tell us about the process of recording the songs ?
Ari: We always try and record as many of the instruments as possible together in the studio, to give the records a live organic feel, whereever we can.

Our most recent album 'Green To Blue' was a bit of an exception as we wrote and recorded a lot of the tracks without a drummer, using drum machines and then added real drums last after everything else had been recorded.

It was a different process for me too, as usually I do my bass parts right at the beginning before the vocals have been recorded and then don't play anything else for the rest of the session, but with Green To Blue, I also played E bow, which I added to the songs right at the end, which was really inspiring for me as it gave me the chance to emphasize Dominic's really melodic vocal melodies.

But on previous records we all played together to give our drummer the vibe until we got a good drum take, and often kept the bass, some basic guitar and keyboards, and then overdubbed the guitars and vocals. But whatever is happening in the studio, we all like to be there even if we aren't actually playing, so we can give our input on what the others are doing.

Q. Which new bands do you recommended?
Ari: I really like Josh T Pearson. I know his debut album came out a couple of years ago now, but I still think of him as being new. Also I really like Death And Vanilla , John Murry and Gemma Ray.

Dominic: I absolutely love Radio Dept, Deptford Goth and Perfume Genius and really look forward to their new releases. Tim Hecker has been going for a while but I saw him live a couple of years ago and it was one of the best gigs I've ever seen. I just had a look on my computer and My Maudlin Career by Camera Obscura and Pavillon D'Armide by Scanner are my most played albums of the last five years.

Gary: I really like Chris Forsyth, Cian Nugent and the Cosmos, Goat, Moon Duo, Wooden Shjips and Sun Araw at the moment.

Q: Which bands you love to made a cover version?
Ari: We have so far only done one cover version and that was of The Only Ones 'Flowers Die'. The reason we chose this song in particular, is that The Only One's version was only a demo, so we could hear ways it could be improved upon, or interpreted in a different way, whereas with something like 'Another Girl Another Planet' which I think is a better song, the original version is just so perfect, there would be no point in trying to better it.

My favourite cover versions by other people are where they really change the songs mood radically, like Grace Jones did with 'She's Lost Control' and 'Nightclubbing', by turning them into Disco songs, or John Cale's version of Heartbreak Hotel and Johnny Cash's interpretation of 'Hurt' where they completely strip down the songs to the bare basics, so that lyrics one has heard a 100 times, now ring out with a pain and suffering, previously obscured by the complex musical arrangements.

I would love trying to cover a Lee Hazlewood song or some classic country song, something one could strip down and re interpret.

Dominic: Ari's completely right and she use all the examples I would have. Cover versions are hard to do well. You have to improve the song or completely reinterpret it. Ivo real understood that with his This Mortal Coil project.

I'd really love to cover Run To Me by the Bee Gees. I think breathless could do that beautifully. I'd love to ask John Grant to duet with me on it as I love his voice and we'd make it a beautiful gay romance.

Gary: This Mortal Coil “Song to the Siren” is about the best I can think of. You have to make the song your own.

Q: What´s the plans for future....
Ari: We have recently recorded a single which we plan to release next year, along with more remixes of songs from 'Green To Blue', by Tim Gane (Stereolab), Ken Lockie (PIL, Cowboys International) and Jeremy Kimberley (Readers Wifes) and we are currently writing new songs for our next album.

Dominic: Yes, let's do another album!

Gary: Hopefully more quickly this time!

Q: Any parting words?
Ari: We would love to play Sao Paulo!!!

Dominic: I was in Brazil last February and it blew my mind. What an amazing country and what wonderful people. My plan is to travel all over it now. If I have to, I'll play live too!

Gary: I’ve never been to Brazil. I would love to play there too.
Thanks guys