terça-feira, 24 de maio de 2016

Blood Dancer with Crown Larks - An Interview

Ok, vamos fazer o seguinte, caso você espere algo sonhador ou talvez, digamos, de fácil absorção, fica aqui o aviso, o que esta por vir, certamente, não é recomendado a ouvidos não iniciados, ou calejados.

Não que soe, presunçoso ou arrogante, longe disso, o fato é que a música do Crown Larks, freaks de Chicago, ultrapassa qualquer rotulação ou classificação. 

A partir do momento que é dado play, por exemplo, em "Blood Dancer", ultimo trabalho deles, fico explicitado, que estamos diante de uma subversão sonora. Pense em "Funhouse", "Autobahn", ou qualquer álbum do Faust, e por aí vai, todavia, veja bem, são apenas referências ok.

Prepare-se porque o Crown Larks pode te levar a lugares que você jamais imaginou existir.

***** Interview with Crown Larks *****

Q. When did Crown Larks start? tell us about the history...
Lorraine: We started jamming and coming up with ideas that made their way into the band in the summer of 2012 and were playing shows regularly by 2013. For three years, the band’s had a solid core trio of me (keys/vocals/sax/flute), Jack (guitar/vocals/keys), and Bill (drums) with a lot of different friends and collaborators coming through, playing everything from trumpet to synth to piano. Matt joined last year on bass and has been the most stable fourth member we’ve had, kind of enabled us to do a lot of things we couldn’t before.

Jack: Part of what’s been fun about this band is that a lot of the songs are written in an open-ended way, with room for different musicians to jump in as long as they can follow cues. The newer stuff is way more structured and rhythm-focused now that we have a dedicated bass player, so that’s changing, but we still want to keep some of that spontaneous energy of the jam space. And we’ve been touring a ton from the get-go, so that influences it too.

Q: Who are your influences?
Jack: The music’s all over the place because our influences are. Originally, before I found so many new bands through touring, it was a mix of old favorites. So we wanna have the visceral energy of a band like The Stooges or Big Black mixed with the brutal minimalism of Oneida or CAVE, the unpredictability and adventurousness of free jazz and the personal, eccentric vibe of someone like David Bowie or Neil Young. Other influences, not all of which you can hear probably, would be Faust, Suicide, Dark Magus-era electric Miles Davis, Albert Ayler, Roland Kirk, poppier stuff like New Order or Deerhunter. The way early King Crimson or Pink Floyd swings between pop songs and freakout jams… noise and experimental stuff like Black Dice, crazy shit happening in basements everywhere…

Lorraine: Yeah, which is really the main influence now – I mean, the new music we’re encountering on tour all the time, and at home. So some of those would be Guerilla Toss, Horse Lords, Toupee, Cloud Becomes Your Hand, Guardian Alien, Health&Beauty, Matchess, Goodwill Smith, CAVE, BAMBARA, Yonatan Gat.

Jack: And we’ve discovered a lot of stuff on the west coast tour we’re on now… bands I really dig like Slow Rose, Media Jeweler, Temple Echoes, Sunn Trio, Empty Guest, Spencer Owen, Galaxy Research, Mugen Huso. But then again, some of the influences that keep us wanting to play music at all, you can’t necessarily hear in our own music, whether Jimmy Cliff or John Fahey or Isaac Hayes or Mobb Deep or Vladimir Horowitz.

Q. Make a list of 5 albums of all time…
Jack: Tonight’s the Night (Neil Young), The Black Saint and the Sinner Lady (Charles Mingus), Low (David Bowie), Entertainment (Gang of Four), Paranoid (Black Sabbath), Hot Buttered Soul (Isaac Hayes). That’s more just a list of 5 of the top 100 that come to mind but yeah. It’s also 6.

Lorraine: Hmm, how about Forever Changes (Love), In a Silent Way (Miles Davis), Spirit of Eden (Talk Talk), Shape of Punk to Come (Refused), Night Beat (Sam Cooke).

Q. How do you feel playing live?
Jack: The environment plays a big role, I feel like the goal live is to conjure up this magic for people, but you’re channeling what’s already there too. A sweaty, packed, tiny basement in Albuquerque is different than a big festival stage. But always, the idea is to have something raw, visceral, unpredictable in the mix while at the same time being tight and hard-hitting. So to me, that puts you in this trance-like state… you’re alert, but not so alert that you can’t hear the music happening independently of your hands. If I think too much about what I’m doing, I play like shit.

Lorraine: Yeah, trying to be fully present… it’s an ego thing because you’re on stage with people staring at you, but you don’t want to be detached at all. That’s why the best shows often happen when you’re playing on the floor and can’t hear shit, just because everyone’s so plugged in.

Q. How do you describe Crown Larks sounds?
Jack: I try not to! Usually I just tell people to listen to the record. Like I don’t know how I’d describe the albums I listed above really. To me, it’s kind of experimental noise rock with a lot of that minimalist krautrock vibe thrown in and some harsher spazzy punk or no wave inflection. A lot of the time we get compared to jazz just because we have horns, but anyone who listens to jazz knows our music isn’t really jazz at all haha. The songs are pretty strictly structured, have a lot of vocals, repetitive and even mechanical grooves. But some of the energy and vibe is there.

Lorraine: The live show now is a lot more focused on lots of rhythms happening at once, very driving with a lot of changes, but hopefully not in that showoff prog kind of sense… yeah, they’re still structured songs with vocals, you can follow what’s happening without having to count or something. Hopefully people can jam it whether they just sit back and let it flow or whether they decide to dig deeper into the technical side.

Q: Tell us about the process of recording the songs ?
Lorraine: We try to live-track as much as we can and keep the live band energy and spontaneity, leave some “mistakes” in and everything, not pro-tools the shit out of it… then again, we just finished a second LP, and it was way more intensely produced and mixed than Blood Dancer. Jack and I got a lot more into that aspect. It’s still basically the sound of our band playing live though, not too clean and polished.

Jack: Often we’ll jam in the basement for hours, listen back, find some good stuff we want to develop further, go from there… lyrics get written, stuff gets structured over time. This time, things developed further in the studio since I took more time in the production phase, so some songs are now played live like they are on the record, as opposed to how they were when we went in, if that makes sense.

Q. Which new bands do you recommended?
(We just put the answer to this in the “influences” question above)

Q: Which band would you love to made a cover version of?
Jack: I’d wanna do something not very obvious to people who know our current sound. Maybe New Order or Television, something sparse and rhythmic or really dancey, maybe LP #3 will be more like that.

Q: What are your plans for the future?
Lorraine: Keep doing it! We’ve got this new record we’re looking to have released, more tours coming up, new spark plugs in the van, it’s good to go. We’re finishing up a long tour right now, driving through Montana back east as I write this. We’ve got our homecoming show with Besnard Lakes, then a couple east coast tours this summer and hopefully it just keeps flowing.


Hope For Disappointment with Thula Borah - An Interview

Uma excêntrica combinação entre Pixies, Smashing Pumkpinks, Radiohead e Mogwai com fortes doses de melancolia e claro barulho. Doses cavalares de experimentações, mudanças de andamentos, quebras rítmicas contínuas, esse é o quarteto de Glasglow Thula Borah.

Os caras já estão na quarto álbum, "Hope For Disappointment" é do ano passado, e pode ser perfeitamente sua iniciação para o peculiar mundo sonoro do Thula Borah, onde todas as grandes qualidades de suas referências foram filtradas e expurgadas na mesma intensidade.

Grande banda.

***** Interview with Thula Borah *****

Q. When did Thula Borah start? Tell us about the history...
We started in late 2009. I had trouble putting a band together to play the songs I had been demoing so our bass player Matt actually learned the instrument just to give me a platform to play them. We initially started jamming with a drum machine before getting a friend in to help with the drums. As our first gig approached it became obvious to us that we needed another guitarist in the band to round out the sound.

Q: Who are your influences?
Our key influences would be the likes of 90s alternative rock like Nirvana, Smashing Pumpkins, Tool, Low, Red House Painters and Radiohead alongside post-rock acts like Mogwai, Isis and Sigur Ros. Although just about anything and everything we like from not only music but the likes of literature and film can influence our writing.

Q. Make a list of 5 albums of all time…
In no particular order:
Tool – Aenema
Smashing Pumpkins – Siamese Dream
Radiohead – OK Computer
Mogwai – Come On Die Young
Isis – Oceanic

Q. How do you feel playing live?
I used to feel really nervous but now normally I feel a sort of ‘autopilot’ or a slightly out of body experience that is hard to explain but many artists have explained better, such as Iggy Pop on the sampled interview at the start of the aforementioned Mogwai album ‘Come On Die Young’. It is best if you don’t feel anything, that way the music and lyrics just flow from muscle memory and you can let the experience wash over you.

Q. How do you describe Thula Borah sounds?
I would say our sound is best described as a mixture of alternative-rock and post-rock, drawing influence from the likes of 90s guitar bands such as Smashing Pumpkins, Nirvana, REM and Radiohead merged with the dynamics and ambience of Mogwai, Sigur Ros and Isis but with some subtle slowcore influences of Low and Red House Painters too.

Q: Tell us about the process of recording the songs ?
Generally, we did a couple of takes playing together to get the drums down and from there we just layered the tracks up, usually finishing with the vocals. We were working with Andy Miller who has worked with a lot of Scotland’s best bands and he was always on hand to make helpful or unorthodox suggestions to get the best out of us.

Q. Which new bands do you recommend?
If you like us, then I would recommend a new Scottish band called Halo Tora, in that they are similar to us in being a dynamic alternative rock band. Also, Future Dysopian Movies were one of the best new bands we have played with for a while.

Q: Which band would you love to made a cover version of?
The bands I’d like to cover most are Red House Painters and Isis. We have played around with covering some of their songs in rehearsal but have never taken it as far to cover any other bands’ music live.

Q: What are your plans for the future?
We are going into the studio next month to record a new EP which will be out later this year and we will be embarking on our biggest UK tour yet to promote it.

Q: Any parting words?
Just thank you very much for your support and look out for our next release later this year.

(All questions answered by Thula Borah guitarist and vocalist Lloyd Fay)


segunda-feira, 23 de maio de 2016

Wake Me Up When Its Over with The Planets Collide - An Interview

Stephen Dunham é o responsável pelos delírios psicodélicos do The Planets Collide.

Após um EP e um single o cara retorna agora com mais uma especiaria finíssima intitulada"Wake Me Up When Its Over". Ao melhor estilo neo psicodélico leia-se, o 2nd álbum do Telescopes ou o Methodrone do BJM, ou qualquer coisa do Spacemen 3, a canção gera espasmos ácidos em roupagem shoegaze ou quase isso, ou talvez tudo isso ao contrário.

Escute com fones de ouvido e preferencialmente alto, em todos os sentidos, que certamente você vai captar a essência.

***** Interview with The Planets Collide *****

Q. Hello Stephen, first congratulations on the new single, it's really brilliant, what is your analysis after conclusion of it, are you happy with the result?
Well it's been a week since I got the master version back so I just had another listen and it's still sounding pretty good to me. I have a tendancy to like something I do one week and then dislike it the next, so will see how things go. All round it probably turned out better than I expected and on the whole I'm pretty pleased with the results.

Q. How was the process of creating Wake Me Up When It´s Over?
The process was a little different this time round, I recorded the track at home. Basically I started off with the main guitar riff and it progressed from there, adding layers of organ and acoustic guitar, yet still trying to keep the track as minimal as possible. I really wanted to make it easier to play live when the time comes. Once I finished tracking everything and was happy with the results I sent off all the separate tracks to my friend Ben Simms of Violet Swells for mixing and to put the tracks through tape separately. We have worked together for years on music so he has a pretty good knowledge of how I want the final mixes to turn out. Once that was done it was ready for Mastering and to be released.

Q. What are the main differences between Wake Me Up When It´s Over and last releases?
I think the main difference between this and the other releases is that it was recorded at home, on my own instruments with no timeframe to get it finished, Leaving me with plenty of time to re-do takes until I was satisfied. I've been working on building my home studio for the last couple of years, Its kind of lo-fi but I think that added to the new single more than anything else. Another major difference is my music has turned more towards a guitar driven 'Real band' kind of sound as opposed to the more Electronic/Dance vibe of the past. However those elements are still there. I broke my wrist about 6 months ago and couldn't play anything for about 3 months. The first thing I started playing again was guitar, Since then I've been leaning more towards that as the primary instrument for The Planets Collide.

Q. What were the influences for creating the new single?
Stuff like My Bloody Valentines 'Isnt Anything' and the track 'Wasted' By the Brian Jonestown Massacre among so much more. I was trying to kind of sum up that feeling of being really drunk and having the spins, that kind of music always gave me that impression. Ive also been listening to Ambient House stuff like The Orb and have been trying to add a little bit of that vibe to my music as well.

Q. What are your plans for 2016?
Next step is a new EP. I have quite a few tracks written for it already. I am presently trying to piece together what tracks will fit the best. I've also got a couple of new electronic projects that I'm working on with some friends, which will be cool! Other than that I'm hoping to finally get this project playing live soon as well.

Thanks for taking the time to read this and I hope you like the new Track!


Tame with Purs - An Interview

Seguindo a máxima do TBTCI, "Uma Viagem ao Submundo dos Bons Sons", aterrizamos em Londres para acompanhar os primeiros passos e o nascimento do Purs.

Tame, primeira música deles disponibilizada ao mundo, é um doce shoegaze remetendo ao Lush e outras clássica da Scene.

Deliciosamente sexy e viciante, Tame é um ótimo aperitivo e cartão de visitas para o que o Purs poderá nos ofertar em um futuro não muito distante.

Para acompanhar de olhos e ouvidos atentos, que venha muito mais.

***** Interview with Purs *****

Q. When did Purs start? Tell us about the history...
PURS started as a recording project in July 2015 and has developed into a full band with Serra Petale - vocals/guitar, Andy Becker - guitar, Chris Prosho - guitar/synth, Marie-Anne Cavache-Bass and Mattias Bhatt - Drums. Andy met Serra and Mattias playing bass for their other band Kid Wave before leaving to study at the Royal Conservatoire in The Hague.

Q: Who are your influences?
We listen to a lot of different music, though you could say we’re influenced by bands like MBV, Cocteau Twins, The Smiths, Lush and P.J Harvey.

Q. Make a list of 5 albuns of all time…
5 albums of all time
Loveless - My Bloody Valentine
Siamese Dream - The Smashing Pumpkins
Monster - R.E.M
Rid of Me - P.J Harvey
Experimental Jet Set Trash No Star - Sonic Youth

Q. How do you feel playing live?
We haven’t played a live show together yet, so far we’ve been busy recording and rehearsing. We’re aiming to get out playing live later this year.

Q. How do you describe Purs sounds?
Big, sexy guitar music with swagger.

Q: Tell us about the process of recording the songs ?
So far we’ve recorded everything ourselves either in our bedrooms or at various studios in London and The Netherlands. It’s been quite chaotic. We’re looking forward to getting into the studio and working as a full band in the very near future.

Q. Which new bands do you recommend?
TVAM, Algiers, Thee MPV’s, Minor Victories and Palace Winter.

Q: Which band would you love to made a cover version of?
I would personally love to do a cover of ‘Luna Park’ by The Pet Shop Boys but I can’t speak for the band as a whole on that one ;)

Q: What are your plans for the future?
We want to record an album and then do a tour, ee’d love to play some shows in Brazil!

Q: Any parting words?
‘Live long and prosper’.


Fear Is The New Self​-​Awareness with The Spouds - An Interview

Diretamente de Varsóvia, Polônia, o quinteto, The Spouds, apresenta um urgente e pesado mix de pós punk mesclado com um certo pós hardcore shoegaze, ou algo mais ou menos assim. O ponto é que, em seu último trabalho, o ruidoso, "Fear Is The New Self-Awareness"ouve-se ecos de Fugazi, Swirlies e Joy Division simultaneamente ou se alternando entre a urgência das dez chineladas despejadas bem no meio dos tímpanos.

Melancolia, desilusão, auto reflexão, caos, tudo preparado com altas doses de berros e barulhos.

Bem vindo aos fins dos tempos, o The Spouds te saúda. 

***** Interview with The Spouds *****

Q. When did The Spouds start? Tell us about the history…
Mateusz (guitar): That’s a funny story. We’ve met Kuba way back in middle school, but we were induced to play together later, by our mutual friend. He was a keyboarder that listened to bands like Lordi. As you can imagine he didn’t stay in the band for long. After many rehearsals and changes in lineup our squad stabilized after Grzesiek (bass) and Tomek joined in. Later Tomek left the band and Lodi is drumming for us for a very long time now. I hope it is going to stay this way.

Paweł (guitar): Mateusz asked me if I wanted to play in The Spouds, cause he wanted to thicken the sound. And well, this what I do today — I thicken the sound. I remember that I attended their rehearsal sometime in 2008. Kuba’s vocals made a good impression on me, and besides that Mateusz had a very interesting style of playing the guitar and composing tracks. I thought that this band has a lot of potential.

Grzesiek: I remember (it was maybe my 3rd rehearsal with them) that when Paweł came to play he almost immediately made a most polite comment toward me: “Hmm, maybe you would like to try playing that with a pick? At the time it was a true revelation to me, as I just switched to playing bass. I quickly dumped the finger-style technique to never really try it again, and I really don’t trust bassists that overuse it.

Q Who are your influences?
Paweł: Kurt Cobain

Mateusz: Marx, Adorno, bell hooks, Wallerstein, Balibar, Kowalik, Brzozowski, Welzer, Virginia Woolf, Albert Camus, Simone De Bevauoir, Żołądkowa Gorzka (polish herbal vodka), hc-punk scene, improvisational scene, Brecht, Strzępka, Demirski, Koltès, friends (of all genders), my complexes, work and leiseure. And that is only a small cut out of it all.

Grzesiek: Now that you say it, bell hooks seems to be relevant to me, at lest musically. Things she had to say about pop music are golden. I could add some guys that seem to be content with what they achieved musically and are pretty much quite happy. Guys I kinda look up to: Steve Albini, Fat Mike or Bill Stevenson. Quiet guys after 50 that generally make more good than harm.

Q. Make a list of 5 albums of all time…
Mateusz: I listen to way too much music to be able to compile such a list. This is my top 5 from last month:
1. Evvoles - Mosses
2. Protomartyr - the agent intellect
3. diiv - Is the Is Are
4. Camp Coala - demo
5. Kamil Szuszkiewicz - Robot Czarek

3. All-time favourites? Done it already. How ’bout list of records that just came to my mind?
1. Duster - Contemporary Movement (2000)
2. Nortt – Ligfærd (2005)
3. The Hunches – Exit Dreams (2008)
4. Swirlies – They Spent Their Wild Youthful Days In The Glittering World Of The Salons (1995)
5. Salvia Palth - Melanchole (2013)

Grzesiek: Well, I hate this kind of stuff, and it is not a recommendation or something, but today at work I listened to:
Toro y Moi - Anything in return
2) Diary of Laura Palmer - Never fall asleep (https://diaryoflaurapalmer.bandcamp.com/releases)
3) [peru] - Ktoś z nich (https://perulbn.bandcamp.com)
4) Wipers - Is This Real?

Q. How do you feel playing live?
P: We play together for some time, so we get to know what to expect from each other. I lately started to do more of a stupid stuff on stage, just for fun. Stuff like banging my head on the wall, or pushing the crowd. Some big guy lifted me up against the celling and upside down. I continued playing till a plug fell off my guitar. Generally it is fun to break the concept of the “scene”. To do something to take somebody out of their comfort zone of being a “listener during a concert”. To engage someone, or piss him off in different manner than by simply talking between songs.

G: Well I try to be in a moment and stay confident. We hardly never mess things up during shows and those are almost exclusively technical issues. We learned how to cover up for each other. We almost exclusively play new, unrecorded material during shows so it is cool to see other people’s reactions to those fresh songs. I guess we like to confuse.

M: I feel good. So long as we do shows and somebody attends it — it’s cool. Last year we broke our record of times we played live.

Q. How do you describe The Spouds sounds?
M: Post-punk / hardcore for sad people. Soundtrack for lack of hope ,and leaves falling form the trees, drinking with your own reflection in the mirror when you’re ugly.

P:. Post-hardcore Radiohead/sounds that don’t meet each other/“If I were to be happy, I would write no songs”. Last time we played with a band that had those big, expensive stacks of amps. And it got me thinking about Gang of Four, because they also played on shitty solid state amps. They thought they sounded more cold and sad that way.

G: This band is not exactly following any particular genre. Some of our songs surely sound like it, but the sound of the band is mostly built on lack of lead/rhythm guitar division and being noisy. Bass sometimes acts as a link between guitars and vocals, and rarely overdubs other instruments 1 to 1. It only adds chaos.

Q. Tell us about the process of recording the songs
P: We’ve recorded 3 albums and we always try to make it better or different, than the last one. For sure we are not a studio band, that would try to make achieve some kind of extra quality using the sound of the band. I do think that sound we are after has to reflect what we sound on stage, so I don’t think there is much more sense in talking about technicalities of our recording process.

G: Sure, I agree. I just want to add some things about our mindset. I recorded our last album as if I played it live on concert. I was totally relaxed and tried to add this kinda sloppy flavor to it. Maybe my performance wasn’t perfect, but I can easily listen to this album without hearing flaws or fuck ups all over. So my little word of advise is to perform as naturally as you can in studio environment.

Q. Which new bands do you recommend?
P: I was at a show of Girl Band. I’m a fan now, but they are kinda recognized, aren’t they? Besides that, I do not listen to lot of new bands, but rather some random bands from bandcamp.

Q. Which band would you love to made a cover version of?
M: None. Once we’ve done a cover of The Cure and it sounded so bad. We are really scared that we could harm someone some more, so we will never do another cover.

G: Yeah, and to make matters worse we opened for a band that made a proper cover of a very same song. We pay homage to the bands we love in other ways.

Q. What are your plans for the future?
G: I hope to play even more shows outside Warsaw. Tours are fun.
M: To hit studio this year.

Q. Any parting words?
P: I could say something about condition of humanity, but I don’t want to be perceived as gloomy misanthrope.

G: Try to find your place and not force things. You don’t have to be the best to be happy.
M: Love is all you need, so fight capitalist exploitation and gender roles; do shows of amazing bands in your hometown; and support your local Antifa.

domingo, 22 de maio de 2016

Cinematic Views with Frankenstein Bolts - An Interview

Justin Cullen e Dan Comerford formam o duo irlandês Frankenstein Bolts, um pequena bela preciosidade com altas doses de um algo como um dreampop conduzido por camadas de synths e lirismo folk.

Uma discografia a ser apreciada e principalmente degustada calmamente, saboreando sem pressa as nuances sempre elegantes, sofisticadas e com aquele ar de doce inocência.

Experimente iniciar pelo belíssimo Cinematic Views, e prepare-se para um verdadeira relaxamento de corpo e alma.

***** Interview with Frankenstein Bolts *****

Q. When did Frankestein Bolts start? Tell us about the history...
Frankenstein bolts are 3 years old. We met playing the Irish circuit many years before and always wanted to work together. We have common interests in audio engineering and a similar taste in music . Over the past three years we have released an album, two singles and an EP. We have gigged extensively in Ireland including major festivals.

Q: Who are your influences?
We have a vast range of influences. We listen to everything from Irish traditional music to heavy rock, but mostly we like shoegaze/dreampop acts like Beach House and Cocteau Twins. We love Grant Lee Buffalo right now too.

Q. Make a list of 5 albuns of all time…
That’s a tough question, but at the moment (today) it’s these:
Smashing Pumpkins - Siamese Dream
Cocteau Twins - Heaven or las Vegas
Red House Painters - Down Colourful Hill
Tears For Fears - Songs From The Big Chair
Wild Nothing - Nocturne

Q. How do you feel playing live?
We love playing live. We particularly love playing to new audiences who don’t know us. There’s often a point in the gig where you feel the audience getting on your side and that’s a lovely feeling. Dan also has a particular liking for sweaty basement-style gigs.

Q. How do you describe Frankenstein Bolts sounds?
Although we use synths and drum loops our music is still very focused on the song. We enjoy verses choruses, melodies and hooks. The songs are lyrical and dreamy. Its good music for a sunny day (which we don’t get many of in Ireland)

Q: Tell us about the process of recording the songs ?
We record most of our material ourselves in our home studios. We both have a background in sound engineering and though we have recorded in other studios we enjoy this process the most. We don’t stick to any single method of recording. Sometimes we record together, sometimes we record separately and email our parts back and forth. It’s nice to be able to do this as it saves time and money and allows us to make more music.

Q. Which new bands do you recommend?
Ireland has a pretty cool music scene. We’re an island full of musicians. Right now some Irish bands we’re listening to are Malojian, Windings, Saint Sister, and Super Hyper Giant. They’re all excellent.

Q: Which band would you love to made a cover version of?
In the past we’ve covered Pet Shop Boys, Hall And Oates, and Flaming Lips (and Chris Rea last Christmas). Next we may do a cover of some Slowdive songs, or maybe Prefab Sprout. I think that sound might suit us.

Q: What are your plans for the future?
We’re currently writing a new album which we plan to have completed by the end of this year. In the meantime we’ll be playing some festivals in Ireland and going to Europe to do some gigs. We’ll also be releasing a remix of our track ‘The Bay’ by Northern Irish producer, Grim. We’re pretty busy. It’s nice to be busy.

Q: Any parting words?
We’d just like to say thank you for your time. If any fans in Brazil would like to say hi you can visit our website and send us a message. We’d be delighted to hear from you. http://frankensteinbolts.com/


sábado, 21 de maio de 2016

Young Vagabonds with KinZie - An Interview

De Birmingham, Alabama, vem o trio lo-fi guitarreiro KinZie.

Young Vagabons é o ep de estreia dos caras que soa como uma paulada mesclando Sebadoh e Melt-Bananas, tudo de forma curta e grossa sem firulas ou enrolações.

O negócio aqui é diversão, ouvir alto, sair pra curtir, e mandar um foda-se bem grande pra preocupações e responsabilidades.

Afinal, a diversão é o que conta, certo!?!

***** Interview with KinZie *****

Q. When did KinZie start? Tell us about the history…
P. Ori: KinZie started in 2011 as a recording project. The band has gone through many line-up changes before settling on the power trio of today

Q: Who are your influences?
P. Ori: We’re all influenced by different things, but I think as a band we look up to Bloc Party, Descendants, Melt-Banana, and Fugazi.

 Q. Make a list of 5 albums of all time…
P. Ori: Oh boy that’s tough. It rotates constantly, but I would say right now:
Moms by Menomena,
In Portuguese by Hello Ocho,
Our First American Friends by Tubelord,
Reptilian by STRFKR,
and X’ed Out by Tera Melos

 Q. How do you feel playing live?
P. Ori: Playing live is a very powerful experience for us. We play loud and want our shows to be felt as much as heard. Besides, who doesn’t like poppy noise rock music thrown at them?

Q. How do you describe KinZie sounds?
P. Ori: I call it a loud psychedelic experimental punk rock. We’ve also have been compared to fast paced anime music as well

 Q: Tell us about the process of recording the songs ?
P. Ori: We recorded in our buddy Dury’s house where he engineered the EP. We wanted to go for a live feel while performing in a small house.

Q. Which new bands do you recommend?
P. Ori: I would highly recommend Hello Ocho and Linear Downfall is you want your brain to melt

 Q: Which band would you love to made a cover version of?
P.Ori: We use to do an awesome cover of Indiscipline by King Crimson. I personally wouldn’t mind tackling Tapir’s Flown Away by Melt-Banana.

Q: What are your plans for the future?
P.Ori: We’re actually working out some kinks for our debut album. We’ve got 8 songs so far!

 Q: Any parting words?
P. Ori: if you dig our stuff, go to our bandcamp: kinzie.bandcamp.com


sexta-feira, 20 de maio de 2016

Numbers with Nightblonde - An Interview

De Nashiville vem o quarteto Nighblonde, em vias de lançar seu debute intitulado "Numbers", que pelos dois aperitivos, os singles "I Belong in Your Arms" e o mais recente "Vanishing" já fica explicito que "Numbers" será mais uma das belas preciosidades lançadas neste belo 2016.

Um shoegaze com um ar glam e dançante, para fazer os sonhadores de plantão flutuarem sob camadas de reverbs e delays aliados a vocais deliciosamente sensuais, algo como se o MBV colidisse com o Mamas and The Papas

Que venha junho rapidamente.

***** Interview with Nightblonde *****

Q. When did Nightblonde start? Tell us about the history…
Megan and I were in a glam punk band, and when that ended we decided we wanted to make an entirely different kind of music. Something beautiful, but powerful. Like a rocket ship. Less words, longer songs, more mystery. We asked Jill to join us, and then Jill recruited Ben, and the line-up was complete. It’s been a complete dream ever since.

Q: Who are your influences?
Lyrically, we are fascinated with 20th century authors who wrote about the future as they saw it, usually a warning for society to change its ways before the world destroys itself. And I don’t know if anyone really listened. Writers like Ray Bradbury, Anthony Burgess, Aldous Huxley, George Orwell, many others — they foresaw things that have become reality for us today. Surveillance, genetic testing, reliance on technology, basic human rights being threatened, the list goes on. Looking at the future through the lens of the past is a big theme for us.

Musically, the songwriting of Slowdive and My Bloody Valentine; you could strip away the effects and you still have very well crafted songs. We love the hypnotic repetition of Neu!, which went on to be furthered by Stereolab. We are very moved by the harmonies of lots of 1960’s groups, The Free Design, Mamas and The Papas, The Byrds, Crosby Stills, Nash and Young. I also love incorporating strange sounds into the songs, very Radiophonic Workshop or like the French band Air would always do. And we adore reverb and delay.

But design and image are also such an important part of what we do. It is important for us to have a uniform look on stage. Megan works very hard to have all our publicity threaded with a specific Orwellian voice. And Jill came up with the cover art for our debut record Numbers using dots and dashes from Morse code which ended up having a very striking Factory Records / Peter Saville look to it.

Q. Make a list of 5 albums of all time…
The Nightblonde sound is best represented by these records which we play endlessly:

My Bloody Valentine - Loveless
Air - Moon Safari
Brian Eno - Here Come The Warm Jets
Cocteau Twins - Head Over Heels
Broadcast - Ha Ha Sound

Q. How do you feel playing live?
Oh it’s heavenly performing the songs, always such a thrill.

Q. How do you describe Nightblonde sounds?
We are the band the fireman’s wife from Fahrenheit 451 would watch perform on her TV walls as she drifts into a haze from taking too many pills.

Q: Tell us about the process of recording the songs ?
We were recorded by Jeremi Morris in a house in the Green Hills area of Nashville. We put the songs together, piece by piece, and had fun coming up with new sounds to add to songs we already knew so well. Ben especially enjoyed trying lots of percussive ideas. He brought twelve different tambourines into the studio one day.

Q. Which new bands do you recommend?
I honestly don’t care for too many new groups, I find most of them very ordinary and lackluster. But there are a few bands in Nashville who seem to be expanding on the basic idea of the pop song and what pop music can do, and it’s very exciting. Bands such as Wildfront (https://wildfront.bandcamp.com), and two bands who are performing with us for our record release show in June, Soft Bodies (https://softbodiesmusic.bandcamp.com) and PANGS (http://pangsband.com/).

Q: Which band would you love to made a cover version of?
We would enjoying turning all the songs from the classic film The Room into 10 minute long krautrock anthems. Having said that, we are recording a Cure song later this year for a tribute record that a great guy in Nashville called Heath is putting together.

Q: What are your plans for the future?
Our debut record is coming out in June on a label called yk records, the brainchild of Michael Eades, one of the most passionate music lovers I have ever met. And we are thrilled to be playing the triumphant return of the Athens Popfest in August.

Q: Any parting words?
More reverb and delay, please.


The Light with Monographic - An Interview

Seguindo a trilha aberta pelos conterrâneos do The Blue Angel Lounge e do Alpha Waves, chega a vez de desembarcar nas páginas do TBTCI também de Hamburgo na Alemanha, os comboio neo psych Monographic.

Os caras estão prestes a debutar com seu álbum homônimo em 10 de Junho. O aperitivo é The Light, um poderoso dark psych evocando Sisters of Mercy e Black Angels simultaneamente.

Não os perca de vista de forma alguma, o TBTCI esta com o disco em altíssima rotação por aqui já há alguns dias e digo o seguinte, facilmente o Monographic com seu debute, coloca no mercado um dos destaques psych do ano, fácil.

***** Interview with Monographic *****

Q. When did Monographic start? Tell us about the history...
The current line-up started playing together by late 2014. Until then, Björn, Ric and Lothar played with another drummer who got replaced by Moids. We gave the band the name "Monographic" and the rest is history.

Q: Who are your influences?
Ufff, that´s a tough one... We have thousands of influences in our music; punk, post-punk, brit-pop, 60's, garage, shoegaze, psychedelic... We don´t really think too much about it. We know each other´s influences and respect them because all of them are really tasteful and so far they are cohabiting really well in this mixer that Monographic is. But if you want a name which we all agree with; Iggy Pop (from The Stooges to his latest band with Josh Homme)

 Q. Make a list of 5 albuns of all time…
- The Stooges "Raw Power"
- David Bowie "Ziggy Stardust"
-The Jesus and Mary Chain "Psycho Candy"
- The Smiths "Hatfull of Hollow"
- Rebel Motorcycle Club "Take Them, On Your Own"

 Q. How do you feel playing live?
Comfortable, really comfortable... We love playing live especially when the audience is smiling and headbanging at least a little bit.

Audiences need to realize that a concert is not only a band entertaining them, it is a communion of the souls of everyone involved in the gig. The more warmth a band feels the better the band is gonna perform.

And yes, this is a claim applicable to every kind of concert.

Q. How do you describe Monographic sounds?
Like the Hiroshima bomb landing into the Versailles palace in 1750 while the Royal Family is having tea.

 Q: Tell us about the process of recording the songs ?
Normally is Björn or Ric who come with an idea, we jam through it adding/arranging parts and then we record a demo of it that we listen one million times. After we feel the song is 100% ours we keep it but if we don´t feel 100% into it, we discard it.

Our soon-to-be-released first album was recorded on December 2015 at Brazil Studios in Madrid (Spain). We went totally analog and we couldn´t be happier with the result.

Q. Which new bands do you recommend?
Strato from Hamburg

 Q: Which band would you love to made a cover version of?
We spoke of covering The Police or Bowie in the past but we just don´t see how.

Q: What are your plans for the future?
A lot!!! First of all a video single of "The Light" is coming out next week, then on June 10th the 12" of the album is coming out on Manic Depression records from Paris and Cat On The Howling Moon records from Glasgow, it will also come out on every digital platform. After that on June 17th we are organizing the release concert party together with our friends from Strato, we both will present our releases on that date. Then we will play Berlin in July and by september/october we are organizing our first european/UK tour.

So yes, we are quite busy and fucking excited at the moment.

Q: Any parting words?
Do your own shit, don't wait for others to help you. A band is worth what each member of the band can do for it.



quinta-feira, 19 de maio de 2016

Floriography with Painted Zeros - An Interview

A origem do nome Painted Zeros diz muito sobre e o que é Floriography, debute deles, ops dela, já explico o porque. Mas voltando a origem, o nome Painted Zeros foi extraído nada mais nada menos do que da letra de "Teenage Riot" (That's the hero / we paint a zero / on his hand". Dito isso, talvez seria desnecessário maiores referências, mas ainda vale dizer que temos uma discípula da escola Pixies, Pavement Yo La Tengo. 

Sim, uma discípula, o Painted Zeros é Katie Lau, a garota toca tudo, grava tudo no disco, e ao vivo conta com dois amigos para fazer a alegria e, claro, fazer os tímpanos da rapaziada arder um pouco.

Escute alto, se apaixone, e escute mais alto ainda, disco espetacular, só isso.

***** Interview with Painted Zeros *****

Q. When did Painted Zeros start? Tell us about the history...
Painted Zeros is the name I chose for my main recording/songwriting outlet. I started writing songs under Painted Zeros almost 4 years ago when I was finishing up college. The name comes from a Sonic Youth lyric in Teenage Riot (That's the hero / we paint a zero / on his hand). I always loved composing and writing songs when I was a teenager, but didn't feel confident enough to share them with the world until I was ~20 years old.

Q: Who are your influences?
My first instrument was violin, so a lot of romantic classical composers like Tchaikovsky, Brahms, Beethoven, then I got into minimalist and contemporary composers like Philip Glass, Steve Reich, Ingram Marshall. I really liked punk and screamo when I was an angsty pre/teenager, so City of Caterpillar, Saetia, Rites of Spring, Jawbreaker, Choking Victim. Also always loved Elliott Smith and his guitar playing, as well as Bright Eyes and Oberst's lyrical themes/the interesting instrumentation they used.

Q. Make a list of 5 albums of all time…
Tough question! But if I had to choose:
Elliott Smith -- Either/Or
Yo La Tengo -- Painful
Kanye West -- My Beautiful Dark Twisted Fantasy
Broken Social Scene -- S/T
Beach House -- Bloom

...but also recently I've been obsessed with Fleetwood Mac's Rumours ! And also Built To Spill's There's Nothing Wrong with Love is perfect! This question is too hard!

Q. How do you feel playing live?
I used to get nervous playing shows, but I really love playing live now. I love connecting with an audience and feeling like we are having a special, transient shared experience together. It can be an amazing feeling. We just went on tour across the country for 35 days, and we played a few shows with another Brooklyn band Haybaby in El Paso, Phoenix, and San Diego, and we were all really sick and exhausted from SXSW, but they still fucking killed their set each night. They were seriously inspirational to me and to Jim (bassist) and Jared (drummer). I feel like we're a better band from seeing Haybaby refuse to let their health problems or a bad turnout get in the way of playing their hearts out every single night.

Q. How do you describe Painted Zeros sounds?
Dreamy, melodic, layered, deceptive.

Q: Tell us about the process of recording the songs ?
I write and record everything in my practice space. I normally make a quick shitty demo first, then start a new session on my laptop where I record drums first, then the guitars, then bass, and finally vocals. I mix while I record, and add auxiliary instruments like synth, violin, tambourine etc after the bare bones are laid down.

Q. Which new bands do you recommend?
Japanese Breakfast just released an incredible and moving album called "Psychopomp." Everything Michelle makes is gold. Bethlehem Steel are our super homies and Becca is an amazing songwriter. Haybaby, Infinity Girl... I love Stove a lot (Steve's old band Ovlov was amazing) Pile,--all of the Exploding in Sound bands that Dan Goldin releases are great. Love love love Mitski, Izzy True (our label-mates), Vagabon, Eskimeaux, the list goes on and on.....

Q: Which band would you love to made a cover version of?
Pixies! Doolittle is 4ever. I would be Black Francis. Or Pavement!

Q: What are your plans for the future?
I've already started writing the next album! Perhaps a split 7" in-between, since albums take a long time to release, even when they are completely "finished."

Q: Any parting words?
Thank you for writing me about this interview! I enjoyed your questions :)


Asleep/Awake with Ikiryo - An Interview

Ikiryo é um quarteto sueco, que pega a barulheira de gente como Mars Volta, Smashing Pumpkins, Sunny Day Real Stat e afins transportando tudo para os nossos dias.

Uma pancada melancólica, barulhenta e gritada, esta prestes a vir ao mundo, trata-se do debute dos caras, Asleep/Awake, 10 chineladas bem no meio dos tímpanos, que para o ouvinte mais desavisado poderá soar como algum álbum perdido dos 90´s ou ainda como uma das novas bandas que seguem a linha do Nothing.

Mas não se esqueça, Ikiryo, "Asleep/Awake, suecos movidos a melancolia barulhenta e em esporros bem altos.

***** Interview with Ikiryo *****

Q. When did Ikiryo start? Tell us about the history...
We started in 2013 when Jonas joined the band. Me (Dante) and Victor had already played together in the band that was the precursor to what would become Ikiryo, so when we all came together was when the sound of the band started to solidify. Pontus joined us a year or so later when we realised we needed another guitarplayer in the band.

Q: Who are your influences?
We have very eclectic tastes in music, but some shared loves are: Deftones, the mars volta, radiohead, aphex twin... and so on

Q. Make a list of 5 albums of all time…
Fear Before - the always open mouth
Smashing Pumpkins - Machina
Coheed and Cambria - Second stage turbine blade
Frou Frou - Details
Crystal Castles - II

Radiohead - In Rainbows
Venus Outback - Spiron Johd
Shnabubula - Free Play
The Mars Volta - Frances The Mute
Infected Mushroom - Classical Mushroom

Sparklehorse - It's a wonderful life
Pixies - Surfer Rosa
Cold Specks - Neuroplacticity
Noah and the Whale - First Days of Spring
Wu Lyf - Go Tell Fire To The Mountain

The mars volta - Deloused in the comatorium
rage against the machine - evil empire
the mars volta - amputechture
tim hecker - virgins
radiohead - in rainbows

Q. How do you feel playing live?
Dante: I feel like I need to tear of my flesh, it's a beautiful blend of an intense self-loathing and complete euphoria

Jonas: Like an awkward waste of space

Victor: Playing live is a completely different thing than playing in a studio. Within the walls of a studio composing and playing an instrument tend to become a very clinical exercise, while playing live is in a sense more genuine because the audience gets to see both your flaws but also spontaneus variation in the songs. I appreciate this aspect of playing music because it seems to have a natural resonance with how are ordinary lives are and how we operate. In conversations for example we tend to imagine what we´re suppose to say, but it comes out in different way and sometimes we convey a message even though we haven´t said anything. These analogies seem pretty apparent when it comes to music.

Pontus: What I find interesting and compelling about playing live is really the non musical performance. Creating a visceral experience on stage that lifts the music beyond playing my instruments well. It ultimately comes down to a lot of preperations, and an amount of work that isn't always possible, but often worth the effort when you get it right.

Q. How do you describe Ikiryo´s sounds?
A euphoric nimbus-cloud of whispers and the last throes of summer

Q: Tell us about the process of recording the songs ?
For our debut album we recorded the drums in a local studio and then we recorded the rest of the tracks in our rehearsal space. Jonas mixed the entire record in his home. In the end we payed for the record with nothing but our time

Q. Which new bands do you recommend?
Nisennenmondai is a great Japanese band, they used to play noise rock but now they're doing some kind of trance-but-with-instruments.

Tennyson, trip-hop cat-fusion
The Red & The Hidden Language, amazing folk-psych from our home town of Växjö
Mr Bill
Death grips, innovative and brutal
PWR BTTM, queer and acoustic-math-punktastic

Q: Which band would you love to made a cover version of?
We have a couple of ones we've talked about; mixomatosis by radiohead, sunflower meadow by melina borglowe, let go by frou frou. We're not really the kind of band who does covers, but we'll see.

Q: What are your plans for the future?
We are soon to release our debut album "Asleep/Awake" and later this may we're going to Croatia for a small tour.

Then when we come home we're going to start recording our next album, and some videos for the debut is also in the making, so it's going to be a busy summer for us.

Q: Any parting words?


At Peace, Overlook with Tomoreaux - An Interview

Jogue no mesmo caldeirão, Slowdive, Panda Bear, Blonde Redhead, Sparklehorse e Radiohead, e extraia daí a parte mais experimental de cada um deles, o resultado dessa experimentação certamente geraria o Tomoreaux.

De Buffalo, NY, os caras debutaram com um belo, e intenso álbum de estreia, "At Peace, Overlook", com vastas passagens instrumentais e melódicas, mas mesmo assim ao meu ver eles se distanciam do rótulo de post rock, as criações estão mais para o chamado som "kranky" do que propriamente para o post rock.

At Peace, Overlook é um álbum que sugere introspeção, e funciona melhor ouvindo em um mundo fechado sem interferências externas.

Tranque-se em algum lugar, coloque seus headphones e boa viagem com o Tomoreaux.

***** Interview with Tomoreaux *****

Q. When did Tomoreaux start? Tell us about the history...
Tomoreaux began last May in 2015. We were lucky enough to play with Spoon at one of Buffalo’s big Canalside events. I believe that was our second show as Tomoreaux. Prior to that, Kevin and I had been playing in various bands together since high school. This was the first band that felt promising enough to really pursue. As of right now, Tomoreaux solely consists of Kevin Stuitje and I, with a handful of different drummers that we’ve been playing live with.

Q: Who are your influences?
This list could go on forever. I’ll try and keep it short, though. Slowdive is probably our biggest influence. This might be cheating considering they’ve influenced pretty much everyone in music, but Velvet Underground for sure. As for the live show, seeing Blonde Redhead last summer was a revelation to me: how they carry themselves and how they treat their music was incredible. True artistry. As of now, our most recent tour has been a huge influence on what I’ve been working on for our next release. The whole DIY scene is this big beautiful counter culture that we’ve been lucky enough to be immersed in for the last few months. The sounds and aesthetics of that whole scene have made a huge impact on our approach to new material.

Q. Make a list of 5 albuns of all time…
Wow, this is a tough question. There are hundreds of albums that could make this list. I’d say 5 albums that have made the strongest impression on me would be:
Slowdive’s “Souvlaki,”
Panda Bear’s “Person Pitch,”
Attic Abasement’s “Dancing is Depressing,”
Sparklehorse’s “It’s a Wonderful Life,”
and Radiohead’s “Kid A.”

Q. How do you feel playing live?
When we play live, I go to another world. We’re generally hoping to do the same for the audience, as well. Whether it actually works is beyond me, but I think if you’re loud enough you can push through into that state where the music just swallows you whole. That’s the goal at least.

Q. How do you describe Tomoreaux sounds?
What’s the name of that movie? Extremely Loud and Incredibly Close?

Q: Tell us about the process of recording the songs ?
Recording “At Peace, Overlook,” was an unforgettable experience. We recorded at Temperamental Recordings in Geneseo with Stephen Roessner and Mike Brown. The building used to be a Methodist Church, so we got to record the whole album live in what was the sanctuary, which played a massive part in giving the album that big, airy feeling. Another big factor in that was the mixing board. Most of, if not all, of Mark Linkous’s Sparklehorse records were done on that board, and you can really hear it. It just had this dreamlike quality to it, very open-sounding. There’s a lot of space in its sound. The studio is essentially in the middle of nowhere, with beautiful scenery. Really just the perfect place to record an album like this. I think that that environment really bled into the atmosphere of the album. We actually wrote one of the tracks, “Roads,” there from the ground up to really capitalize on injecting those vibes into the record.

Q. Which new bands do you recommend?
This is a fun question cause I get to promote all my friends now. There’s a lot of really cool music being made in Buffalo at the moment that no one really knows about because we’re such a small city. Some of my favorite Buffalo acts would have to be Space Cubs, Deadwolf, and Humble Braggers. Coral Collapse, too. I saw them for the first time last week when they played at our house venue, Little Baltimore, and they blew me away. There are dozens more, as well, including our Admirable Traits Records family. We’ve met some really fantastic bands on tour as well. Slowshine and Bye from Albany, Slight and Pee Wee from Montreal. Emmett Drueding from Philly is an incredible songwriter as well. On a national level, Life of Pablo is absolute brilliance; I’ve been listening to the new DIIV record over and over again too.

Q: Which band would you love to made a cover version of?
We’ve covered Pink Floyd’s “Breathe” a few times, and that’s a real fun one to play. I don’t know if it’ll ever happen but I’d love to rework “What a Wonderful World,” too. That song is beautiful.

Q: What are your plans for the future?
We’re in the process of booking some tour dates for the summer. I’m itching to get back on the road again. We’re also in the process of writing the follow up to “At Peace, Overlook.” No idea what the timeline is gonna look like on that, but it’s on the way. All I’ll say is that it’s going to be quite different from our last record. I never want to be a band that makes the same record twice.

Q: Any parting words?
We greatly appreciate you reaching out! I’ve been a fan of TBTCI for quite a while now, very stoked to be a part of it.

quarta-feira, 18 de maio de 2016

ADozenDifferentVoices with NurseOnDuty - An Interview

Caos, confrontação, shoegaze, riot, beats, loops, ruído, tudo multiplicado a décima potência, tudo isso aí mencionado deve ser atribuído ao duo Ad e Kat ou se vocês preferirem, NurseOnDutty.

Dois EPs nomeados como "1" e "2" igualmente brutais em sua composição e alucinantes em suas exposições dão a temática do que esses dois ingleses 

Esqueça tentar rotular o NurseOnDutty, não existe basicamente algo que os prenda em um lugar único, aqui a esquizofrenia sonora impera, só existe uma única coisa que pode dizer deles, barulho, barulho, barulho.

***** Interview with NurseOnDuty *****

Q. When did NurseOnDuty start? Tell us about the history...
Ad: myself and Kat have been partners for about 12 years, I had been in a few bands before and NurseOnDuty was the original name we gave to our home recording project when Kat was learning to play guitar/make music,we were kind of just making songs for ourselves and friends on a old analogue 6 track. NurseOnDuty went on the back burner for a few years once we formed SugarMouse which is a band with me and Kat with two other guys. Last year various personal issues stopped the other guys in SugarMouse for rehearsing for a bit and this coincided with me and Kat moving into a new place where I was building a home studio/ practice space from scratch. One thing lead to another and as I was learning to use the new studio gear I was buying, we started writing more and more songs together. At this point we decided to revive NurseOnDuty as project and formed it into a live gigging entity as well. People seem to like it so we started doing it more and more.

Q: Who are your influences?
When we revived NurseOnDuty we went back to the drawing board, me and Kat are both massive music geeks. we kind of looked to the sounds we liked, I've always gravitated to shoegaze, noise rock, anarcho punk, hip hop and industrial music sonically, but nobody really combines those sounds and most people tend to pigeon hole themselves into often cliched small corners.

I absolutely adore shoegaze and noise rock sonically but the at the same time I've always been miffed that more bands from shoegaze'y scenes don't draw upon social commentary and politics in their lyrics. We are going through a bit of a tough time in the uk at the moment with a right wing conservative government that is very similar to thatchers time in the 80's where society is being dissolved and those with the least are being encouraged to turn on each other, so therefore it made sense for this to be an influence in the mix, as I believe all art should be a product of what you are living through. The other major influence on us is guitar pedals and equipment in general. we are always looking at pushing the boundaries of equipment drawing out unique combinations of sounds that they were never designed or intended to make, this often takes us down strange rabbit holes, I had never intended to venture down .

Q. Make a list of 5 albums of all time…
Ad: Only five ok, I'll try
1,my bloody valentine, Loveless
2,crass, feeding of the 5000
3,sonic youth, daydream nation
4,A place to bury strangers, exploding head
5, Godspeed you black emperor! F#A# infinity

Though I want to add
Dalek, absence
JAMC, psychocandy
Pissed jeans, honeys
Shellac, excellent Italian grey hound
Subhumans, worlds apart
Nirvana, muddy banks of the wiskah
Joy division, unknown pleasures
NIN, hesitation marks
plus probably a 1000 more including pretty much every release from the above bands.....

Oh dear that was lots more than 5, I did say I would try......

Q. How do you feel playing live?
Ad: I both love it and hate it! There is nothing better than being on stage with the guitar fully turned up and 'riding' the feedback, physically feeling the air push behind you and the stage vibrate under your feet. However we use a lot of equipment and the physically lugging it to venues alongside the whole host of technical faults that always want to emerge at the last second, leave me with fear, however the first point always wins out and the faults are always resolved often with luck and gaffa tape!

Q. How do you describe NurseOnDutty sounds?
Ad: Anarcho Noize pop or I think someone used the term 'RiotGaze' which I kind of liked especially as the riotgrrrl scene is a big influence on me and Kat.

Q: Tell us about the process of recording the songs ?
Ad: I tend to make a demo on my own, I'll come up with a set of riffs and record drum machines, bass and guitar. Kat then writes lyrics around this. During this process I normally come up with new layers and textures of guitars and synths. We then start fresh with everything, laying it all down again and end up with the finished song after a few days of tweaks and reworks, all that is left then is working out how to play it live. Everything is recorded, mastered and produced in our home studio so far, as that allows us time for experimentation and risks which are key to the creation process

Q. Which new bands do you recommend?
Ad:Again this list could be endless for me internationally, the kvb, Dalek (noise hip hop, just reformed), spectres are definitely worth checking, as is a lot of the stuff coming out on fuzz club records and sonic cathedral. Locally there isn't a great deal going on in experimental music terms here, it's still very much singer song writers in coffee shops and generic dull indie bands on the whole, I think we scare the the local scene a little bit! There is a guy called sukoshi who plays intense electro inside a child's pop up play house that we love and our drummer in SugarMouse has a cool side project called the Noise pollution Project.

Q: Which band would you love to made a cover version of?
Probably a place to bury strangers tune or maybe a really shoegaze'y slowed down version of a crass tune, 'owe us a living' would be great reverbed up

Q: What are your plans for the future?
To keep recording and to get out there and play live as much as possible, hit us up if you want us to play your town!

Q: Any parting words?
Thanks for checking us out and support your local D.I.Y scene


The Flow In Between with Tales of Murder and Dust - An Interview

Não é de hoje que a Dinamarca definitivamente tem se tornado uma meca da nova geração psych, apresentado ao mundo verdadeiros tesouros da nova era psicodélica, bandas como Get Your Gun, Road to Suicide, Woken Trees, Spökraket e inúmeras outras demonstram o real motivo desta psicodelia gélida e mantrica perpetuada em doses cavalares.

Todavia, a mais intensa e impressionante de todas é o Tales of Murder and Dust, algo como um encontro de All Tomorrow Parties e Swans em ritmo desacelerado, extremamente denso, caótico e doentio.

Os caras recém lançaram The Flow In Between pela referência e cultuada no assunto, Fuzz Club. Seguinte os exercícios de insanidade dos seus últimos trabalhos, "Skeleton Flowers" de 2013 e do apocalíptico "Hallucination of Beauty" de 2012, "The Flow In Between" é ainda mais experimental, com tonalidades negras e talvez nos momentos menos perturbadores as cores sejam cinzentas.

Se você quer psicodelia flower power, com florzinhas pra lá e pra cá, mantenha distância do T.o.M.a.D porque aqui o negócio é barra pesada.

Simplesmente acima.

***** Interview with Tales of Murder and Dust *****

Q. When did Tales of Murder and Dust start? Tell us about the history...
We grew up in a remote part of the country, with not much happening. We met over a shared interest of music. We started playing together in 2003 and in 2007 we relocated to Aarhus and formed T.o.M.a.D. Our sound has evolved through different sounds and genres but has always had a leitmotif of dystopia, as is evident when listening to our previous releases. This is also the centrepiece of our new album “The Flow In Between”. It really feels as the culmination of all we have done so far. Creatively this is T.o.M.a.D at the peak of the mountain.

Q: What are your influences?
“The Flow in Between” was under way for a very long time, so we went through different periods of listening to different music. Bands that have stayed with us though, as a continuous source of inspiration, are “The Velvet Underground & Nico” and “The Warlocks”. But a band that really has taken presence during the creation of this album is “Swans”. The heavier sound and stagnating compositions of “Swans” has really crept into our sound. This is especially evident in our song: “Sisters”.

Q. Make a list of 5 albums of all time…
As influences vary, so does the idea of which 5 albums are greatest.

* The Velvet Underground & Nico – The Velvet Underground and Nico
* Godspeed You! Black Emperor – Lift your Skinny Fists Like Antennas to Heaven
* The Warlocks – The Mirror Explodes
* Swans – Great Annihilator
* Leonard Cohen – Songs of Love and Hate

Ask us again tomorrow, and we’ll give you another answer. ….…. Actually in the time it took us to finish this interview we already changed our minds, so here are 5 others:

* The Cure - Pornography
* Dead Can Dance – Dead Can Dance
* The Blue Angel Lounge – A Sea of Trees
* Nico – Desertshore
* Crime and the City Solution – The Bride Ship

Q. How do you feel playing live?
We love playing Live! We are all fairly introvert people, so it may seem like we have difficulties communicating it to the audience while playing, but the truth is that we really enjoy it, in our own quiet way. We hope that the music and the sensation of the performance express the joy we feel playing, that we don’t necessarily express in words.

Q. How do you describe Tales of Murder and Dust sounds?
Atmospheric, Symphonic, Wet, Dense, Weightless, Chaotic, Shaped, Endless, Bound, Sincere, Constructed, Unique, Imitated. There is no limit to the amount of adjectives we can use to enclose our music and all of these, more or less contradictory words seem to fit in, thinking about our sound. We experience it as Endless and Unique but it also, without a doubt, bound by traditional form and in many ways a reproduction of what has been heard before. What runs through this album though, is a relatable sense of angst and melancholia that we all experience, when life is at the stage of the space between the carefree youth and the impending sense of knowing that it will end at some point.

Q: Tell us about the process of recording the songs?
We always start with a sketch of a song, more or less finished in its composition. We repeat it over and over in our rehearsal space, until we find the right sound and dynamics. When we have a few songs, we head for the studio to record drums and bass. After this we take the tracks home and start filling in the blank spaces ourselves. Christian usually spends days recording different guitars, synths, percussion or whatever instruments end up on the song. Every song will end up having 20-30 different tracks of dubbed instruments and sounds which we then take out or adapt to the mix. This approach allows us to really explore in depth, the different moods and sounds each composition can offer.

Q. Which new bands do you recommend?
Check out Nils Gröndahl. One guy with a violin and a bunch of pedals. Amazing!

Q: What are your plans for the future?
We are going on a three-week tour through Europe in June and we are going on our first small tour on the west coast in U.S.A. in August. Between our concerts we are hoping to get started on a new album of which we are currently writing material.

Q: Any parting words?
Just another list of 5 important albums. 5 are never enough!
* Michael Gira – Drainland
* Sonic Youth – Washing Machine
* Yo La Tengo – Prisoners of Love
* My Bloody Valentine – Loveless
* P.J. Harvey – Let England Shake


terça-feira, 17 de maio de 2016

See How They Run with whenyoung - An Interview

See How They Run / Show Me How é o single de estreia dos ingleses do whenyoung, isso mesmo tudo em letras minusculas, e já de começo, o TBTCI aconselha, aumente o som.

As músicas canções soam como se o Blondie fosse uma guitar band noventista com cheio dos nossos tempos.

Modernos, sexys, barulhentos, grudentos e altamente, sim altamente pops. Impossível dizer se Se How They Run é mais poderosa que Show Me How ou vice versa, ambas te pegam de jeito.

Uma estreia daquelas que se o mundo dos bons sons quiser, o whenyoung pode estourar em todas as rádios, pena que os tempos que vivemos são outros, caso contrário, já estariam nas capas de todas as publicações mundo afora.

Deliciosamente viciante.

***** Interview with whenyoung *****

Q. When did whenyoung start? Tell us about the history...
We started playing together late last year. We were writing lots of songs and we wanted to start recording them to document all our work. We haven't played the songs live yet so we're really excited about doing that.

Q: Who are your influences?
We have so many musical influences but I think the most prominent, mutual ones would be The Velvet Underground, Blondie, Yeahs Yeahs Yeahs, Television, No Doubt. We love pop music too like Rhianna is fab.

Q. Make a list of 5 albuns of all time…
The Velvet Underground and Nico
Fleetwood Mac - Rumours
Blondie - Parallel Lines
Yeah Yeah Yeahs - Fever To Tell
Patti Smith - Horses

Q. How do you feel playing live?
We haven't played live yet. Our first show will be at The Alternative Great Escape on the 19th May in Brighton. We're really excited to play the songs for a crowd!

Q. How do you describe whenyoung sounds?
Alternative pop. Our songs are really catchy, energetic, they sound cheerful but lyrically they have an edge to them.

Q: Tell us about the process of recording the songs ?
We recorded our single "See How They Run" with two different producers which was really interesting for us as we got to see how different people work with sounds. We're really happy with the end result.

Q. Which new bands do you recommend?
Listening to Cullen Omori at the moment and Christine and the Queens.

Q: Which band would you love to made a cover version of?
I'd love to cover Pablo Picasso by The Modern Lovers

Q: What are your plans for the future?
We are going to be playing lots of gigs and hopefully get to tour our music. We hope to release another single later on in the year.

Q: Any parting words?
Parting is such sweet sorrow