sexta-feira, 22 de março de 2019

Out In with Sander and Melody - An Interview

Conheci o projeto francês Sander and Melody por indicação de um desses maníacos das redes sociais, um entusiasta da música, Sr. Fabrizio Lusso e desde então tento desvendar o mistério por trás do projeto.

O TBTCI até tentou, mas não obteve lá muito sucesso. O cara por trás do projeto Yannick apenas centra-se em expurgar seus demônios através de perversões sonoras.

O que se ouve não é shoegaze, experimental, cold wave, pós punk, punk, é tudo isso, de forma aleatória e sem haver lógica alguma.

Resumidamente o Sander and Melody é um caldeirão ruidoso prestes a explodir a qualquer momento, então, são apenas duas opções, ou aumentar o som, ou cair fora, não há espaço pra meio termo por aqui.

***** Interview with Sander and Melody

When did Sander and Melody begin? Tell us about the history...
Hi Renato,

In reality, I created Sander and Melody in order to see more clearly in my various personal musical projects. I created MAUP a little more than 20 years ago, at the time, I was playing in a band where mainly did joy division covers, the cure and some compositions.

I wanted to do things on my own, but with no real connection to cold wave and its derivatives. It’s kind of a trick, like a box of ideas that allowed me to experiment.

About a year ago, I decided to refocus on a new project called “Triple Sun”. But again, I soon found myself integrating all my desires into it, and therefore, there was no consistency in the various pieces; I was passing from a coldwave songs to concrete music while passing through more shoegaze/indie compositions. So I thought it might be easier to create a specific identity to bring together what I think is related to this last movement.

Q: Who are your influences?
The main musicians/groups that inspire me come from a wide variety of musical backgrounds: joy division, the legendary pink dots, my bloody valentine, Pierre Schaeffer, Daisy Chainsaw et les projets de Katie Jane, Herbie Hancock, the cure, throbbing gristle, coil, Michael Gordon, les pink floyd, blur, bauhaus, lush, David Bowie, Scott Walker, the psychedelic furs, Amon Tobin, Lalo Schifrin, Brian Eno et Harold Budd, Wire… No, really, there’s too much to make choices.

Make a list of 5 albuns of all time…
Only 5 ? really hard to make choice…
Joy Division : closer
Throbbing Gristle : - D.O.A. the third and final report
David Bowie : low
MBV : loveless
The Legendary Pink Dots : Malachai (Shadow Weaver Part 2)

Of course, this list would probably be different if I did it again in a week.:-)

How do you feel playing live?
I hate playing live… and haven’t idea about how to play this project live. I’m not sure there would be any real interest in playing these songs live.

Q: How do you describe Sander and  Melody´s sounds?
Right now, I’m still in the research phase.

Of course, I’m very attracted to the sound of Kevin Shields, Martin Hannett. The premises are mainly found in a song that I recorded about 10 years ago «Childhood». It blends old sonorities of old synthesiser (Roland sh-2), guitar, samples, etc. it’s pretty repetitive and evolutionary. It’s kind of the guideline. For the intervener, I consider the project to be in construction phase.

Q: Tell us about the process of recording the songs ?
It’s really about moods. It can come from the weather he’s doing, from a work I’ve seen, from a discussion.

There is never any real preparatory work. Often, the base is simple and then improvised elements are added. The only thing I have to do is try to have a unity, a logic in the choice of sounds. The point is really to try to reflect my current state of mind. So sometimes some moods aren’t compatible with the project, so it becomes an idea for Triple Sun, so right now I think this is really at the research stage and it will evolve over time. First, I enjoy playing and later I will see the whole thing again to give it a color and a sound.

Q. Which new bands do you recommend?
I listen to many things and discover many groups that may be recent or older.

The last group that really scored for me was THE KVB, but it’s already starting to date when you look at it… Exploded view, I like it a lot. Maybe more electronic things like Ochre, Deru, yasume, subheim, Lorn. I also like free jazz influences like «oui mais non» recently discovered as well as Emile Parisien.

Q: Which band would you love to made a cover version of?
I have already done a lot of cover (the cure, joy division, Colin Newman, Tones on tail, Coil, François de Roubaix, etc) but I would like to one day let myself tempt by a cover of Scott Walker. It might be interesting.

Q: What are your plans for the future?
We have a project with a good friend for a musical/visual live performance called «twenty years».
nothing to do with Sander and Melody. wait and see.

Thanks a lot for interest and have a nice day.

Find Yourself Along The Way with The Meeting Places - An Interview

Houve um determinado momento na música que aconteceu uma certa mesmice, até mesmo no submundo dos bons sons ocorreu uma estiagem, a força criativa havia se dissipado, tudo isso aconteceu durante a ressaca e o oba oba do famigerado brit pop e a ascensão de bandas do cenário independente para o mainstream, coisas que catalizaram um período de entre safra criativa.

Obviamente que haviam grandes momentos mas, a magia, o charme, entre outros adjetivos que alimentam os maníacos por música haviam ficados de certa forma distantes.

Mas, no final dos 90´s, algumas bandas foram surgindo como Skywave, Alcian Blue, e mais adiante, Whimsical, The Emerald Down, Air Formation, The Daysleepers, Airiel, entre outros, e, ao lado dos citados, surgiu em Los Angeles uma preciosidade que surgiu e desapareceu, ou melhor entrou em um hiato que parecia não haver mais término. Estou falando de Chase Harris, Dean Yoshihara, Arthur Chan e Scott McDonald ou para os iniciados The Meeting Places.

Dois álbuns, o primeiro, uma peça absolutamente fundamental para a revitalização, isso quase uma década depois, do shoegaze. "Find Yourself Along The Way" de 2003,, é um disco atemporal, que escutado hoje, soa mais atual do que quando foi lançado, ou ele poderia ter sido lançado no apogeu da primeira geração gazer, ou até, poderia ter sido lançado hoje, não importa, pérolas como "See Through You", Wide Awake", ou "Take The Sun" são puro ouro.

Depois desta pequena obra prima perdida o The Meeting Places soltou "Numbered Days", outro pedaço de pequena grandeza cristalina, isso em 2006, e depois, bem, depois mais nada.

Mas, o mundo dá voltas, como diz o ditado, e o The Meeting Places, esta de volta, com EP prometido para este ano, e quem sabe, shows, e o que mais vier pela frente.

Para você quem não os conhece, faça um favor a si próprio e inicie sua paixão imediatamente, para você que é fã, bem, pegue seus discos e morra de amores novamente.

***** Interview with The Meeting Places *****

Q. When did The Meeting Places start? Tell us about the history...
We started around 2001. Chase and Dean met in college at the University of Arizona, Arthur and I have been friends since high school. Arthur and Chase net through mutual girlfriends and we all just went from there.

Q: Who are your influences?
We all have a mutual admiration for the usual suspects when it comes to shoegaze (MBV, Ride, Slowdive) but we also have a lot of influences over the years ranging from Spacemen 3 to the Smiths, Velvet Underground, Stereolab, Deerhoof, Flying Saucer Attack, Yo La Tengo...

Q. Make a list of 5 albums of all time…
5 is difficult to sum up but for me I would start with...

MBV - Loveless
Medicine - The Buried Life
Smiths - Meat is Murder
Siouxsie - Juju or Tinderbox
Depeche Mode - Music for the Masses

Q. How do you feel playing live?
It’s the best part of being in a band and connecting with people. Very fun to play loud and meet our fans in person.

Q. How do you describe The Meeting Places sounds?
Atmospheric, heavy, poppy...We’re very simple and methodical but rooted in huge guitar sounds and feedback. A mix of traditional songwriting and massive reverberated/distorted guitars.

Q: Tell us about the process of recording the songs ?
We jam out ideas/chord progressions/melodies at rehearsals until we feel we come up with something worth working on. Chase will come up with the vocals and lyrics. We all collaborate pretty closely on melodies and overall structure.

Q. Which new bands do you recommend?
Drab Majesty, Our Girl, Topographies, Slaughterhouse...

Q: Which band would you love to made a cover version of?
Differs all the time. Personally, I’d love to do Til Tuesday’s “Voices Carry” but the band might not agree with me on that hahaha.

Q: What are your plans for the future?
We are currently mixing a brand new EP to be released this spring/summer then will focus on live shows and writing/recording album #3 all year long. The new EP will be 3-4 songs.

Q: Any parting words?
Thanks to all the people and fans for being patient and writing us and also spreading the word. Truly appreciated!

quarta-feira, 20 de março de 2019

Darkswoon, "Bind" - Track by Track

Bem, para quem acompanha as páginas do TBTCI, o nome Darkswoon não é nenhuma novidade.

O, hoje, trio de Portland, e seu poderoso mix de electrodarkgaze. Desde o excelente "Year One" de 2015, passando por "Silhouettes" de 2016, que aguardamos ansiosamente o próximo passo do Darkswoon.

A espera enfim teve seu fim no dia 9 de Fevereiro, dia que o mundo conheceu "Bind".

Uma passo gigantesco na sonoridade da banda, que apesar de permanecer em seu ambiente soturno, começa a sinalizar, mesmo que sutilmente alguma presença de luz. Mas a luz no mundo do Darkswoon vem de um sentido rítmico dançante, não feito especialmente pra pistas, mas para o cérebro.

Situar o Darkswoon, como alguns fazem de gótico, é um limitar a capacidade criativa de Jana, Andrew e Rachel. Obviamente que fantasmas de sonoridades clássicas da 4AD ou da Beggars Banquet exalam pelos poros do disco, mas existe muitos outros segredos e mistérios que envolvem "Bind", na realidade o álbum deve ser degustado sem pressa, e por inúmeras vezes, só assim é possível absorver cada detalhe desta pequena maravilha do submundo dos bons sons.

E para obras deste quilate, como de praxe, o TBTCI tenta sempre desvendar um pouco mais, e para isso convidamos Jana Cushman para elucidar "Bind", faixa a faixa.

Apague as luzes e boa viagem.

***** Darkswoon, "Bind" - Track by Track *****

I wrote ‘Bind’ over the last two years. I wasn’t really setting out to write a specific kind of album but I did have some specific intentions and then some unexpected pieces that fell into place. Previously, I was using Ableton Live to write the electronic elements in my music. I love computer music but I entered into this stage of songwriting feeling adverse to my laptop after it had caused problems and inconsistencies with my live performances. Sometimes technology just does it’s own thing. I wanted to have more control so I wrote all of ‘Bind’ on live hardware, drum machines/sequencers and synths. Our electronic set up is actually still fairly basic but there is more control. Between that decision and bringing Rachel (Ellis) and Andrew (Michael Potter) into Darkswoon, the sound shifted and evolved into what is heard on the record. In the studio, we had some of the usual challenges and some new. It’s always a learning experience. Our engineer had a very different approach to tracking than I’d ever experienced before. It was not a very encouraging environment but in the end, I am very satisfied with the results regardless of how we got there.

I chose to call the album ‘Bind’ and it means a couple different things. When I started writing lyrics for the first few songs that materialized, I was using some of the same creative energy and inspiration I’ve always gravitated towards-talking to ghosts, both literally and figuratively, re-examining relationships and experiences, writing mostly in or of the past. But some things changed in my life that forced me to live more in the moment, finding new challenges and inspiration through self exploration and self preservation under the new US administration. It’s a scary time for a lot of people in America. I made a decision that with the shifting political/social climate I wanted to be more open about who I am and more visible as a queer person. I also found myself really falling into gratitude and love during this time. The word Bind is to be taken both metaphorically and literally. It is about binding spells to protect loved ones and that which is sacred from harm. It is about feeling pressure and constraint. And in a literal sense, about chest binding, battling dysphoria, and finding self love and new forms of gender expression. It’s also about the urgency of life.

The themes, although different from song to song still have a common thread that pulls them together
- Jana Cushman

Red Ferrari
This song began with lyrics that I wrote down after waking from a dream. In the dream, I got a phone call from my first love. She passed away in 2005. I dream about her now and then, have conversations with her ghost who is sometimes judging me, sometimes teaching me.

When we were together and friends beyond our relationship, she was full of life. Everything was extreme, extremely fun, intense, Aries fire, she was hilarious, violent, tortured, brilliant. We weren’t talking anymore for about 8 months before she passed away of a heroin overdose. So I think I will always dream of her and always write of her. I am still searching for closure.

The title of the song comes from a kind of ecstasy (the drug). Lyrically, there is a conversation happening, reminiscing with her in death while reliving moments we shared in life.
I struggled with finding the music. It was a mercurial process, changing forms every time I approached it. Finally, I had a breakthrough. Usually I write alone but my previous band mate, Christian Terrett, and I approached it together one day. We used a beat he wrote on his Arturia Drumbrute and I just kind of broke through with the guitar lines and a vocal melody that stuck. The drumbeat was slightly adapted onto a Korg Electribe for the current version but it was a really important moment with him that I really value.

This Flesh
For being complex in layers, the music came easily. The beats had been around for a while when I added the guitar. I brought back a style of playing I had all but abandoned. I don’t do a lot of faster, flat picking anymore but it used to be my go to and it just worked for this song. With Rachel executing the arpeggiated synth line and Andrew’s rhythmic chugging fuzzy bass, ‘This Flesh’ turned into a hard-hitting, dynamic piece of music.

Lyrically, the song is pretty personal. I am having an ongoing discussion with myself about mental health, gender fluidity, non binary queerness, and what it takes to be comfortable in my own skin.

Human faults
I began ‘Human Faults’ as a possible song for a movie I was working on throughout the entirety of the writing of this record (‘My Summer As A Goth’). And then it kept becoming something else. Since I was the acting music supervisor for the film, I had to veto my own song. It just wasn’t becoming something I wanted for the movie.

It took forever to write. Maybe longer than any song in my music career. I don’t know why. There were so many different forms before it became something I was satisfied with musically. Then Andrew added that killer bassline, Rachel applied the synth swells and it became complete. The song itself is about toxic love, a reoccurring theme throughout the album. Knowing that someone/something is bad for you and almost loving it more because it connects with some dark part of you. Connecting with the darkness in others and seeing it for what it is. Exposing vulnerability, owning it and pouring salt on the wounds.

Maybe the quickest to write with some complicated subject matter. I was reflecting on the vulnerability of my childhood and some of the things that happened to me. I grew up fast and feeling pretty invisible at times, not feeling heard. I think that a lot of people can identify with having experienced that as a kid. But then sometimes we get lost in that place, bad things happen and it goes unnoticed. Kids don’t have the vocabulary to describe the trauma they experience and they often blame themselves. So ‘Emoto’ became a bit of a poetic call out to those who were supposed to protect me. But you can’t protect people from things that you don’t see/hear. Not being heard feels like drowning under water to me.

The title comes from Masaru Emoto’s study of human consciousness and the molecular structure of water, how the two are related. I have had this idea for a while about waking up, drinking water that’s absorbed my dreams and subconscious thoughts from sleep. Drinking my dreams, so to speak, and having them heal me. “I drink my dreams, they don’t drown me” is the opening line to the song. The two ideas melded together.

I had a few different versions of this song rolling around for a while. One version was very slow and sad but I didn’t really want this song to be slow and sad. The final version started as a mess. I didn’t know if it would work. I think it was the very last song I finished for ‘BIND’. We were very fresh with it in the studio. Somehow we pulled it together-I can’t remember when it started to actually sound good. The middle break/bridge lead in is one of my favorite moments of the album. The arppegiating synth line, strong bass punch that punctuates the song and the rising melodic sequences syncopated with a slow crescendo on guitar. Thematically, it is an anthem for protecting those that are vulnerable, animals and human animals alike. It’s a vision for reimagining myself as someone strong enough to be this hero.

‘Fireplace’ is about cutting the cord of a bad relationship while also seeing the value in it. I was angry when I wrote it. Can you tell? Haha! It became the most aggressive track on the album but is now just so much fun to play. It’s really about resolution more than discord. The idea that if a relationship is no longer serving anything positive, time to let it burn. I really am most proud of the way that it was mixed. It’s just a swirl of vocals and distortion, hard pounding industrial drums of a Korg Kaossilator with the modular sounding growl of the Minilogue.

Parting Embrace
This song came together after a series of events that happened in the summer of ’17. There was a month where I felt stalked by death and destruction. I felt like I was in a Final Destination movie. First, a tree fell on my car minutes after I left it. Then, very tragically, I was riding my bike home from work when I came close to a speeding car that crashed into a pole in front of me. I was the first person on the scene for a fatal car wreck. Then I had a go-cart almost run me over at full speed (I’m not kidding!). It knocked things out of my hands as I almost stepped in front of it and went full speed through a picnic table and into a tree that it toppled. And lastly, I was standing about ten feet away from and active shooter at my work. If I was at 12 o’clock, a bullet struck at 3, just feet away. Amazingly, no one was hurt during this incident.

I came out of this strange cycle with ‘Parting Embrace’. It is literally about embracing the cycle of life while existing with gratitude, love and acceptance. Remembering to tell people you love them and knowing that this is all too short.

Musically, it might be the most shoegazey song on the record. I wanted to keep the guitar, drums and synth sequences simple. Andrew plays a really nice melodic bass line that sounds more like a guitar and Rachel’s keys add brightness in the end, cutting through the distortion and rising wall of sound.

Love is a Warm Dark Cave
I wrote this song early on in this process of creating ‘Bind’. It was the first song I finished. It was also one of the first songs I’ve ever written for Darkswoon where, initially, I could perform it solo. Although that all changed in the studio once I had decided to add several layers of guitar. Even though this song was older than the rest, it had been neglected, only played live once prior in a premature state. This neglect carried onto our first run of studio time and I was left having to figure out how I was going to finish it. The keys and beats I tracked at home. For the rest of the song, I was lucky to work with my friend Erick Scheid, from the band Mercury’s Antennae, who helped me capture the more soulful bits of the song. We did several takes on the guitar and three or four on vocals. The finished product is layered but not overdone, leaving room for the melody to move in and out of step with the more mechanical bolts of the song.

The theme was initially something I meant to keep private. Rachel of Darkswoon is my partner of many years but she is still a relatively new band mate. We operate really well together within our music dynamic so the transition has been easier than I ever imagined, despite lots of hard work and separate sensitivities to be gentle with. The song is about feeling bored and also boring in my relationship and life. Feeling time pass and recognizing personal stagnancy. The statement about everything being ordinary is more about knowing that love and life is so sacred and magic but taking it all for granted by somehow finding boredom in something magnificent. Feelings of emptiness and a simultaneous gratitude, appreciation for what I have while also feeling domesticated and unsatiated.

I am so grateful to live in a world where I’m able to create music on my own terms and have a creative platform with a supportive network. I couldn’t have made this without the support, love and talent of Rachel and Andrew. Many thank to everyone who worked on the record and everyone who has helped me at Icy Cold Records mainly Jl Martel and Évi Ké. Thank you for reading and I hope you enjoy the music. - Jana Cushman

terça-feira, 19 de março de 2019

Another Day is Wasted with Solitarion - An Interview

Solitarion é o projeto paralelo de Derrick Lin do Voyage in Solitude,

Sonoramente Derrick se complementa, com o Voyage in Solitude, o peso e a agressividade do que se costumou rotular de blackgaze conduzem o lado escuro e possessivo do cara. Já com o Solitarion a situação se inverte por completo, sai o lado obscuro e denso, entrando os sonhos e a luminosidade do rapaz.

"Another Day is Wasted" é o debute do Solitarion e flui sem maiores experimentos ou devaneios, sejam de peripécias freaks ou deveras etéreo, na realidade o Solitarion fica exatamente no centro dos extremos, digamos que é um som que fica "em cima do muro", sem pender pra lado algum.

Uma audição simples, sem maiores ambições, mas que serve e atinge perfeitamente o objetivo de seu criador, simples assim.

***** Interview with Solitarion *****

Q. When did Solitarion begin? Tell us about the history…
I am Derrick Lin from Hong Kong and I started Solitarion in October 2018 and it is my another solo music project.

I started a blackgaze project called Voyage In Solitude first in 2016 and has recorded a couple of songs. But some of the songs were not that heavy as metal and therefore they were not on the EP finally.

They are indeed good songs in my opinion and I didn't want to waste them. So I decided to found a new project which dedicates to "lighter" side of myself. That's how Solitarion begins.

Q. Who are your influences?
I have lots of music influences. Generally speaking, my influences fall into the spectrum of punk rock, indie rock, shoegaze and post-anything. My music projects are inspired by these genres.

Bands such as the Clash, Rancid, the Jesus and Mary Chain, Sonic Youth, Slowdive, My Bloody Valentine, Ride, Yuck, The Pains of Being Pure At Heart, Daughter, Caspian, Sigur Rós, Alcest, Deafheaven, God is an Astronaut and many more inspire my music.

I start listening to punk rock when I was in high school and put together a punk band with my school friends. During my university study, I discovered shoegaze music and the experience is unforgettable when I first listened to Slowdive and I decided to make music since then.

Don't get me wrong, I'm still a avid listener of punk rock music but I think shoegaze and it's introspective character is more suitable to myself when it comes to songwriting because I'm a introvert myself. Shoegaze music's atmosphere is matching my personalities better.

Q. Make a list of 5 albums of all time...
The Clash - Give'Em Enough Rope
Slowdive - Just For A Day
The Jesus and Mary Chain - Psychocandy
My Bloody Valentine - Loveless
Deafheaven - Sunbather

Q. How do you feel playing live?
I would describe live music as an extra sensory experience to both performers and the audience. There are something you can't produced inside a recording studio like the pure energy delivered by performers and the real, chaotic sound reflection bouncing inside the live house. The wall of sound created by my guitar inside the live house is totally different from that in studio. it's louder, more powerful and permeative. Feel like travelling in another dimension.

Q. How do you describe Solitarion's sounds?
I would say its sound has a shoegaze foundation with different genre "blocks" built upon it. For example, the typical shoegaze sound may be filled with more upbeat and pounding drums, psychedelic synth, guitar wall of sound. Of course I will keep experimenting with different sounds, trying to create a unique and personal shoegaze flavour.

Q. Tell us about the process of recording the songs?
My writing process is kind of mingling with recording process. As a solo musician, I have to record to see if all musical parts fit right.

I usually start with chords first when writing songs. If the chord progression still sound great with an acoustic guitar, I can go ahead further. Then I lay drums for arrangement. Bass and vocals are done to connect all the dots. Guitar leads are the last.

I repeat the process again to refine the composition in demos such as using better-sounding chords, adding more drum fill-in and refining lyrics.

Once I am satisfied with all songs, I record again, mix and master them and ready to release.

Q. Which new bands do you recommend?
Twisteralla* - a shoegaze band from Hong Kong releases their debut album. Great sound and blend with different genres. Worth to listen.

MØL - blackgaze band from Denmark. Their debut is phenomenal and keep me looping on their songs.

Q. Which band would you love to made a cover version of?
It's an interesting question. I would choose the Clash. Joe Strummer is always my hero. Their songs inspire me both musically and politically. It's going to be special to me if I made a indie rock/shoegaze cover of their songs.

Q. What are your plans for the future?
I may have some gigs but it's really difficult to find similar bandmates and do live shows together.

I guess I will keep writing new songs and release them if I can't put together a full band.

Q. Any parting words?
Thank you for checking out Solitarion. Internet allows us to do something that we couldn't do years ago, like doing a interview half the globe away. And technology really redefines what musicians mean with more affordable equipment. I wonder there will be more solo and bedroom musicians in the future, producing their most sincere works.

By the way, I hope I can keep making music, bringing more good songs for people!

segunda-feira, 18 de março de 2019

Dreams Are Real with Surf Friends - An Interview

Existe uma máxima, ao menos, uma máxima para o TBTCI, ela diz: não existe música ruim feita na Nova Zelândia.

Basicamente eu nunca ouvi nada ruim que tenha saído daquelas terras, e os caras do Surf Friends vem endossar a máxima.

Herdeiros diretos do The Clean, heróis da cena kiwi, o Surf Friends, pega elementos da clássica "Dunedin Sound", um certo punk lo fi primitivo, com dissonâncias e experimentações vindas da motorik alemã,.

Um pop minimalista que aproxima-se por vezes das idiossincrasias do Deerhunter ou da paulada do No Age, mas aqui tudo é filtrado com o peculiar e característico selo de qualidade kiwi.

E a máxima segue, jamais foi feito música de qualidade duvidosa na Nova Zelândia, que assim seja.

***** Interview with Surf Friends *****

Q. When did Surf Friends begin? Tell us about the history...
We initially formed in 2009 as a three piece, but really became the band we are now (two piece) late 2009 as Pete broke his wrist and our drummer went back to Australia so we started using samplers, keyboards, drum machines which really formed “Surf Friends”. Me (Brad) and Pete have been friends and surfed together since we were about 12 years old so it made sense to call the band “Surf Friends”.

Q: Who are your influences?
The Clean, Woods, No age, Deerhunter, Fugazi, The beach boys, yardbirds and the easy beats, the list goes on….

Q. Make a list of 5 albums of all time…
Tricky one ! Ok this is really hard !

1. The Clean- Anthology
2. No Age- Nouns
3. Deerhunter – Cryptograms
4. Fugazi – The Argument
5. The Beach Boys – Greatest Hits

Q. How do you feel playing live?
We love it, we go full noise and hold nothing back. We’re definitely all about having a good time and if others amp up on it and get into it, we’re stoked on that for sure as well.

Fugazi and No Age have been very influential and inspirational in our live show and the way we think as a band and beyond that too.

Q. How do you describe Surf Friends´ sounds?
Pop combined with, noise, fuzz, reverb and the ocean

Q: Tell us about the process of recording the songs ?
Generally varies from one of us coming up with the whole song, or simply by jamming together, this might start with a bass, or guitar riff, or a style of drum beat. We will generally record it , add better drum beats, change a few things around, record new vocals then send it to Mark Howden who will mix it, add some of his ideas maybe extra keys, drums, guitar and then master it all !

Q. Which new bands do you recommend?
The Naenae express
Roy Irwin
Rolling blackouts coastal fever

Q: Which band would you love to made a cover version of?
The Clean

Q: What are your plans for the future?
Keep at it ! Full froth!!

Q: Any parting words?
Take your time to slow down time, turn up your favourite tunes and do the things that get your heart beating and your lungs hootin’!!

sexta-feira, 15 de março de 2019

Corrections, "Projection" - Track by Track

Sam Peters é a mente por trás do projeto Corrections, que se você acompanha as páginas do TBTCI, já esta mais do que familiarizado com o mix de pós punk com sutis inserções de elementos que vão da C86 passando pelo universo sonoro da Sarah Records, mais especificamente de bandas como Field Mice.

Hoje, o novo trabalho do Corrections, "Projection" veio ao mundo, e de cara nota-se um certo distanciamento dos citados elementos da C86 dando enfoque primordial a verve pós punk de Sam.

Fantasmas sonoros de gente como Chameleons, Comsat Angels, The Sound e The Wake permeiam o trabalho, dando aquele ar melancolicamente soturno.

Sam, a pedido do TBTCI, desvenda os mistérios e as peculiaridades de "Projection", em detalhes quase sórdidos.

É, coloque seus fones de ouvido e escuto alto, solitariamente, dentro do seu próprio casulo.

***** Corrections, "Projection" - Track by Track *****

I spent Christmas this year in Canberra, Australia – the ‘bush capital’, or ‘forgotten capital’ as I like to call it. I was spending loads of time with my best mate Marcel at his somewhat bohemian share house. He’s going through a lot of shit at the moment, but still manages to remain positive in the face of great adversity. He’s pretty great.

Anyway, we decided one evening to dine with this fascinating couple, who just seemed to emanate cognitive dissonance. They lived with a set of grandparents, who kind of reminded me of my own parents, but way more left-leaning, and likely just as wealthy. Bookshelves were lined with political history, and the kitchen was absurdly well-stocked.

They’d been together for years, and seemed so simultaneously at ease and at war with each other. I’m not being critical, it was just an observation. They were as content as they were slightly unhappy. I find the maturation of love fascinating—when the fire burns out and only the smouldering embers remain.

Everyone was chain-smoking cigarettes. Marcel was mostly succeeding in sleeping with this girl he’d just met, which made be a little envious, but only for his lack of inhibition, rather than wanting to be in his position. We opted to watch ‘Moonstruck’, a terrible rom-com starring Nic Cage and Cher. I retired early to the guest room which was super hot and stuffy. I slept poorly and woke up two hours before everyone else.

While I was waiting, I penned some nonsense, and composed O.H.P on the piano in their living room.

Urban Dictionary, ‘rack’. Definitely is not referring to breasts in anyway. More evidence on the second page.

Man in the Moonlight
Also written in December. Took my portable recorder with me when I was staying with my parents over for Christmas, and spent most days recording on real cheap gear. I’d had a minor falling out with my dad, but also noticed that I’d inherited most of my drive and ambition from him, which made me stress a little. I recorded a lot at this time, due mainly to by frequent desire to be alone.

They live in Mt. Coolum, Queensland, which is this picturesque beach comber paradise. It’s humid, sunny all the time, and everyone is tanned. I got a blood test which revealed I wasn’t dying anytime soon, and drank a fair bit of coffee in the sobriety of staying with your parents over the holiday period.

One balmy evening, while working on the artwork for the album, I had this sudden inclination to do some writing on the beach. I was listening to ‘Rain on Tin’ by The Ocean Party, as I penned some melancholia and got eaten by mosquitoes. I thought about what I should be doing, and ended up taking a few photos.

The moon was so clear in the sky compared to London, which is polluted and often grey.

Pleasure Principle
I was on my to Toledo, when I became lost in my own reflection in a train window. I couldn’t stop thinking about what it would be like to love someone too much, and fail to purge entirely a toxic memory.

I also hate flying which explains the last few phrases; “Vision of dread seem to impeach my head.”

Not There to be Around
One of the first tracks I ever wrote was called ‘Not There to be Around’, which I penned at the suitably angst-laden age of 19. This track bares no resemblance to the original, except for the subject of the song.

The recording at the end is of a man in his 60s called Nick, who unloaded on me, the last few years of his life during an extended conversation in a school music room. He told me about his life as a teacher who desired to be a performer, and even did an Elton John cover! Asked for feedback afterwards and everything. His storytelling revealed a lot about his personality and submission to the illusion of celebrity. I found it quite harrowing, but also weirdly uplifting. All he wanted to do was get paid to play music.

This all happened when I was working at what they call a ‘behaviour school’ here in the UK. It’s a place where kids who are expelled too many times have to go. Many of the students suffer from some kind of mental illness, so the stories I heard were mostly shocking, and you essentially get paid to have abuse hurled your way for six hours. One kid took a leak in the bin, and I’d get shoved multiple times daily. Some kids needed to be physically restrained.

I found solace in a really de-tuned piano in the music room. I recorded it in 22khz (AM radio quality) on my phone.

Theme for Great Parties
First track I composed when I moved to East London. Wanted to make a dance track, about my struggle to tame sordid memories, which should be obvious by now.

I guess it’s about the nasty side of a failed relationship, and all the futility of attempting fix something that was damaged beyond repair a long time ago, and has since been scrapped and turned into a product.

Dark of the Pillow
That horrific moment where you know you don’t love somebody anymore, but still want to sleep with them.

Sweet Lust
One my best mates is a guitar virtuoso, and a pretty good looking one at that. This song is my interpretation of how he was feeling in the year 2018. He’s not great with feelings, so I hope I’ve done them justice.

Also really pleased that I managed to include ‘apothecary’ in a song.

Anna in Season
An homage to Asylum Party. I remember listening to ‘Together in the Fall’, and recording the structure of it on a notepad. I think it’s the ultimate French Cold Wave song.

In a more straightforward manner, it’s about how memory holds you back and can send you into a state of paralysis unless you decide to face your fears, and just hope for the best.

It’s a heavy burden that is now a lot lighter with the release of Projection.
Thanks for reading, and thank you Renato for all the support.


quinta-feira, 14 de março de 2019

Jeremiah Foundation, "Longevity" - Track by Track

Para quem acompanha as páginas do TBTCI, o duo Jeremiah Foundation de Wichita no Kansas, não vai se tratar de nenhuma surpresa.

A eletrônica freak experimental dos caras continua a gerar preciosos trabalhos, caso do mais recente, "Longevity". 

Acidentalmente os caras por vozes evocam fantasmas esquecidos do Wolfgang Press e Cabaret Voltaire, todavia o mix de outrora onde, no caldeirão tem espaço para fritações gazers, experimentos krautianos dentre outras esquisitices, tudo em doses não lineares.

"Longevity" é talvez o trabalho mais intenso e denso de Jason e Justin, e para melhor entender os segredos e curiosidades do álbum, os caras, a pedido do TBTCI, explicam em detalhes quase sórdidos, as sete canções, ou melhor, os sete exercícios sonoros do disco.

Música para dançar com o cérebro.

***** Interview with JEremiah Foundation *****

This album is properly named in a lot of ways. My first thought on calling the album 'longevity' because we have been a band for about 18 years and have seen a lot of bands come and go in our local music seen in Wichita, Ks.. A lot of that is because we are brothers and we just do what we love without pressure of making it a living, but we also take our music writing and performances very serious. Music is what we do and who we are. It took time for us to figure that out and I think it was a lesson that I have been learning from a friend of mine in the Record Label Industry. Phillip Kim once told me that being a professional musician or a group, that he would look into, would be a person or group that has perseverance and longevity. Looking back it took time for us to build our sound and we have a better idea of who we are. Our songs on this album are also songs that took time for us to write. Many of the songs were parts from other songs, songs that didn't work or just wasn't the write time for them and now is that time. We hope you enjoy and get some kind of inspiration from this play by play of 'longevity'.
Android - Is the first song written by Jason for this recording. His writing style has changed a lot from when we first started. Jason use to write a song with his guitar parts complete and have all the lyrics written out, but now, and this song is an example, he will have snippets of different things that he and Justin will work out together. This song started out with the sample “This is how you make an Android.”, a sampled beat to use behind a four on the flour beat and the idea of having a keyboard bass line that is filtering out as an arpeggio keyboard line that is filtered out is coming into what you hear. These things were all put together in a looped sequence and we began to jam. Jason started with a blues type riff that he wanted to also have bend type sound, so he would play the normal note and slide down to make the note flat. Jason could’ve just used his tremolo bar, but he liked the sound of slide his finger down better; the tremolo bar is used in the chorus. For this song lyrics came last and Jason had to think about what he was saying with the sample of “This is how you build an Android.”. We can’t remember what Jason was reading at the time, but this idea of time being burnt by the sun struck a chord. So, “Sun keeps on burning, Time, Time keeps on burning, ‘Til it dies.” was penned. That brought the idea of people wanting to live forever and not wanting to die, so much as so to build an android and transfer life into this other robot type being. In essence it’s about the human condition and dealing with death.

Phonecalls - This song is a revision of a song entitled ‘long distance phone calls’ from our third album ‘fall of the roman empire’. ‘long distance phone calls’ came about from a long hiatus due to our jobs. jeremiah foundation was on hold, as we were working out of town and only home for the weekends, as well we were kind of in the middle of recording. Justin was going through a dry period for writing songs, he had a lot of ideas for lyrics but nothing was working and he couldn't write any guitar parts that he was happy with. While working out of town and writing little snippets of lyric ideas, this song came through as a break through. ‘long distance phone calls’ was influenced by "Turn on the Bright Lights" album from Interpol. Although the revision only uses the chorus, second verse and bridge lyrics, yet it still holds its meaning. Which is being honest that the person in the song doesn’t want to stay. Even though staying would be better for them, they are leaving regardless.

Rumors - Is two songs that Justin wrote, both songs had nothing to do with each other, but they were kind of the same chord structure. Justin decided he had to drop one but couldn't choose so he took his favorite parts from each song creating what would become ‘rumors’. Since ‘rumors’ was already finished and was shown to Jason and made ready for his parts, it could have been added to ‘unknown author’; the last recorded album. We were in the early stages of ‘unknown author’ and decided to let the song grow, which took three more years for this song to transform, by that time Justin felt the song was no longer relevant so he changed the lyrics and the ending was added as a group collaboration. The ending of the song Jason was going crazy on the keyboards. When it came time to record Jason’s keyboard parts Jason was frustrated that he was messing the part up while recording, with the other worldly guitar line, like it belongs somewhere else. After taking a listen to the song before taking another take, Jason’s keyboard line worked, which is fitting to the song, Justin says it reminds him of Radiohead ‘The King of Limbs’ album. ‘rumors’ was also one of the first to be played live, but it didn't go over very well, which landed it as a b-side on our singles album, wasn't meant to be a part of the album, but ‘rumors’ recording was so nice, it had to be on the album and took some extra love to make it ready for live shows. We also did some experimentation with drums sounds on this song. Jason played drums, at Adam Phillips house ( He’s a really good friend and owner of Spektrum Muzik, the best record store in Wichita, Ks.. ), that was recorded onto an 8 – track cassette recorder set to a higher pitch, then we took the recorded material and sampled it from the tape at normal speed.

Hello ( it’s time to come home ) - This song was created from another song Jason wrote back in the 90’s, which became the chorus. Using what was then a guitar line for the versus. The next part was the drum machine parts which was created partly on the GameBoy DS cartridge of the Korg MS-10, called DS-10, and partly on Boss Dr. Rhythm. Jason on this project made a rule to try to not use the same drum sounds or keyboards sounds on any song, so everything had to be created. It was great making our own drum sounds on the DS-10. The chorus was then made and the lyric of “hello, how are you?” came to Jason as he was fleshing out the chorus with the beats. Once the chorus was made it was time to make it into a working song. Jason chose not to play anything during the verse, except after singing to echo what ‘New Order’ would do. Justin also fixed a broken Juno 106 that the band stopped using about 11 years ago, because we love the sounds that we can create with that synth. With the Juno Justin added some great atmospheric drones that bend and squelch. The drones aren’t constantly droning to leave room for space while using a lot’s of reverb and delay. At the time that this song was being made ‘The National’ released ‘Sleep Well Beast’ and there is this line about your head in the speakers that Jason really liked. This song became an answer and response type song, with the chorus being the answer, but the response is always about being self - absorbed. The answer again then is “it’s time to come home.”.

Brother - This song started with the idea of sampling a guitar playing one chord or note and bending that sound on the keyboard to make the other notes. Jason liked what he could do with it, so he took an acoustic guitar and dropped the 6th string to d and put a capo somewhere on the guitar, leaving the 6th string open, then tuned the 1st string to d. After all of that Jason sampled the guitar with a condenser mic and a sm57. The condenser going into the sampler and the sm57 picking up the guitar, then going into a mixer with reverb and coming out of a speaker for the condenser mic to pic up. While Justin and Jason were working on making this an actual song, Jason came up with the lyrics. The idea of all human kind being brothers and not understanding why do we have to fight. Raising the question “Why can’t we love one another?”. The drums from this song are a combination of a sample from the ‘Black Keys’ that is chopped up and other parts from the Dr. Rhythm. At the end of the song the Dr. Rhythm parts were put through guitar effects pedals and a bass amp, then the pedals were turned on, off and manipulated as the song was recording. The Dr. Rhythm was also going straight into the board to mix both of the sounds together. The keyboard pads were recorded into a 4 track cassette recorder and then played back into the digital recorder. There is a lot more tweeking that went on with this song, but we can’t give away everything.

Leave it all behind - This song, like rumors, was a totally different song when Justin wrote it, he was writing a lot of songs on his acoustic guitar around 2011. Jason and Justin played around with the song in some jam sessions making ‘leave it all behind’ a must, but we had to wait as we just started our "unknown author" album. In the end Justin changed his lyrics, as he seems to do a lot, from a song about longing to something a little different. An example of the changes can be seen in the first verse "it's been years since we have seen the sun, we haven't talked in miles friend" to "forget your laws, burn your books" which was a line in an older song that will never see the light of day. This may seem to be an anti-establishment statement, Justin wants people to know that is not what he means by that line. This song is a prelude to going on a journey, tying into the near end of a journey with his song ‘this is not about you. Love’ on ‘unknown author’. When going on this journey it’s about not letting things hold you down, this song expresses some bitterness on the second verse "I like you where you are, at a distance" this line fits in as a reflection, the journey Justin talks about is more of a spiritual journey, as in, to find himself. In the recording Justin felt like the music of a spaghetti western should fit, kind of like getting ready for the show down, although it might seem like the end, but the show down was to start the journey. Listening to this song you can hear his acoustic guitar lines, Justin recorded those as scratch tracks, to follow along with and then delete them, but found they sounded nice with the song; the scratch track stayed. The drums were sampled by Jason playing on a live set at his practice space, using mainly room mics to capture a trap type sound.

Watchers - Is most likely the simplest song on the album. ‘watchers’ moves through progressions of drum tracks, long reverbs on the guitar track capture the haunted emotions with help from heavy swells from a long decay on the delay. One of Justin’s guitar tracks also has a phaser added to it post recording, he hates phasers but a lot of shoegaze bands in the 90's used them and he wanted to add another layer, that wasn't there yet. And Justin was inspired to play around with his track digitally to reach what he felt the track might be missing. Needless to say; Justin owns a phaser now. Really, though, this song is the same thing over and over, until the end and it is almost as close to the same thing still. This song came late in the recording and is the only song Justin wrote during the recording. It is safe to say that this is the newest of our songs. Justin meant for Jason to add something more to ‘watchers’ but the heavy pad keyboard lines, the drum track and the bass line seemed to move and work fine on its own without adding anything more. Note the whistle. Also, some nice “ooo's and ahh's” which seem to work as a keyboard in the start that also come in when Justin isn't singing. Justin thinks of Chvrches, Jason being inspired from cut/copy. This song is close to Justin's heart and comes hard for him, as he has written many songs in the past on the subject, he says this song finally puts it to rest, at least for now he feels. Justin has written his emotions on this subject before and this time got it right. He says this is a song with multiple meanings that all weave and tie into each other.

Here's The 101 On How To Disappear with Dakota - An Interview

Senso melodicamente pegajoso, música concebida para ouvir com os olhos fechados, feita sob medida para agir como um tranquilizante do cotidiano caótico e brutal em que vivemos.

Assim é o efeito de "Here´s The 101 On How To Disappear", debute da meninas holandesas do Dakota.

O disco conheceu o mundo nos primeiros dias de Fevereiro e tem recebido merecidos elogios de publicações ao redor do globo.

Submeta-se ao prazer de desacelerar, o Dakota te ajudará certamente.

***** Interview with Dakota *****

Q. When did Dakota begin? Tell us about the history...
Dakota began in 2011 at the Consevatory of Amsterdam. At that time Lana and Annemarie had been playing together for a while in a high school project, and they met Lisa and Tessa at the Conservatory.
After playing together for a couple of years, Tessa left the group and Jasmine took her place in 2017.

Q: Who are your influences?
We are influenced by many different artists and genres. The four of us listen to very different artists. For instance Lisa listens to Fiona Apple, Lana to Meshell Ndegeocello, Annemarie to Brian Blade and Jasmine to Khruangbin.

Q. Make a list of 5 albuns of all time…
In random order:
- Gemma Hayes - Bones + Longing
- Robert Plant and Alison Krauss - raising sand
- Sonic Youth - Daydream Nation
- nina simone - live at town hall
- Menahan street band - make the road by walking

Q. How do you feel playing live?
Playing our songs on stage has always been something we really enjoy. We are all very at ease and having fun together!

Q. How do you describe Dakota´s sounds?
Many different blogs have their own interpetation of the genre, which is very entertaining for us to read. We think our sound is best described as melancholic alternative pop. We have a dominant rhythm section and very melodic guitar parts with soothing vocals.

Q: Tell us about the process of recording the songs ?
When we started recording the album we didn’t actually have all of the songs yet. We recorded the songs in different sessions with our producer David Hoogerheide whilst writing the other songs in our rehearsal space. We recorded the instrumentals at the Church studio, which is an old church in a small town in the Netherlands that has been transformed into a beautiful recording studio.

After recording the instrumentals we seperately recorded the vocals with John Sonneveld.

Q. Which new bands do you recommend?
Most new bands that we are familiar with are Dutch. Some of them are: Tape Toy, Dave Budha and Feng Suave.

Q: Which band would you love to made a cover version of?
At the moment we are actually trying to play some covers hahaha The ones that we are working on right now are: Chic - forbidden lover and Tim Christensen - time is the space between us and some instrumental tracks.

Q: What are your plans for the future?
The future is still uncertain for us. We just released an album, but our singer Lisa needs to take a step back because of mental health issues, so we do not exactly know what to future has in store for us.

Q: Any parting words?
We hope you enjoy the album! Xxx thanks for the interview

quarta-feira, 13 de março de 2019

Alone with Fine Cult - An Interview

Luke Woodson é a mente por trás do soturno projeto, Fine Cult.

Navegando por caminhos que nascem no pós punk de caráter sombrio, passando por paisagens gazers, com inserções de um certo psych negro....assim é a viagem a ser desbravada....

O debute aconteceu no ano passado com o primeiro álbum, homônimo e, de lá pra cá, o prolífico projeto já soltou mais dois EPs e u novo single, "I´ll Go Missing".

O Fine Cult é altamente indicado para ser degustado a noite, com fones de ouvido em um volume intenso, afim de que todos os detalhes possam ser devidamente saboreados e absorvidos.

Boa imersão...

***** Interview with Fine Cult *****

Q: When did Fine Cult begin? Tell us about the history...
LW: Fine Cult began posting as such on SoundCloud last summer in 2018, but I was experimenting in 2017 with nothing but an iPhone, GarageBand, and a tiny interface. It wasn't until last year that I was able to pull together all my influences and drive, and churn it into something pleasing to the ear. The start to record was I think a matter of time, technology, and persuasion to get serious about the craft. Also, there's been an incredible amount of personal goings-on over the past three to four years that just drove me to have to express in one way or another.

Q: Who are your influences?
LW: Bands all over the place and time. Lush, Slowdive, St. Etienne stuff, The Cure, Siouxsie, Wire, XTC, but also Kraftwerk, The Pink Dots, Renegade Soundwave, industrial acts as well.

Q: Make a list of 5 albums of all time…
LW: Impossible, but I'll take to the grave:
The Cure's 'Pornography,'
Love & Rockets' 'Express,'
The Tear Garden's 'Tired Eyes Slowly Burning,'
Wire's 'A Bell Is A Cup...,'
and OMD's 'Crush.'

Q: How do you feel playing live?
LW: Funny because I've recently thrown together a relatively decent pedalboard with eight or nine pedals. I have a Vox AC15 and Marshall Origins 50w both taking up space and collecting dust in the apartment. I think what I'm doing is planning ahead for inevitable gig but haven't taken that leap yet. My focus for now is high quality recording, and possible soundtrack work down the road.

Q: How do you describe Fine Cult´s sounds?
LW: The signature Fine Cult tone is a mix of Post-punk beats with almost always a drone of harmonics/reverb/flange guitar at some intensity or another in the background. It reminds me of being inside a jet engine, or in a wind tunnel or wavy beach sounds. I tend to use bass lines as much as a six string guitar to give enough lead to carry songs forward. My goal with Fine Cult is not to force anything down the listener's brain. I make music you can either stop the world and focus heavy into it with a pair of headphones, or you can put Fine Cult on while you have your buddies over on the back patio for beers and a bonfire. A friend of mine says she likes to listen to it when she's driving on the road. It's often soundtracky (in a good way) and repetitive (also in a good way), and the lyrics are intentionally minimal -- just to conjure up pictures for the audience.

Q: Tell us about the process of recording the songs ?
LW: I find some time at night and start 99% of the time with a rhythm guitar line in any particular key and bpm. The songs grow from there. In the past five or six years I've picked up mostly Fender electrics and they inspire me in one direction or another from the beginning of a sound. Some tracks take weeks and weeks to grow all of the layers, where others I've nailed out in one or two sessions. Vocals are always the last piece.

Q: Which new bands do you recommend?
LW: I can tell you who I'm listening to now. Anna Calvi, FTR (aka Futures), The Soft Moon, and Wooden Shjips.

Q: Which band would you love to made a cover version of?
LW: The B-52's or OMD.

Q: What are your plans for the future?
LW: Keep crafting out new material. I'm going to work harder when time allows it to get Fine Cult up on Spotify and farther into the grid -- YouTube, etc.. A photographer friend in northern Indiana is working with me on cover art moving ahead. The first physical release from Fine Cult are coming out soon in a very limited cassette release of the 'White Glasses' EP through out of Virginia.

Q: Any parting words?
Yah, keep tuning in to Bandcamp and Facebook to see what's the latest. Most new and older Fine Cult demos can be heard still at the SoundCloud page before eventually going into either the trash can, or post-production!

terça-feira, 12 de março de 2019

Tomb with Tired - An Interview

Definitivamente, o Nothing e o Whirr são responsáveis por uma imensa e interessante safra de novas bandas que unem barulho à melancolia, com peso e sempre em andamentos lentos e intensos.

A mais nova a despontar é o Tired. Quarteto de Waco no Texas.

"Tomb", primeiro single dos caras, é exatamente como descrito acima, um exercício melancolicamente estridente.

Obviamente que tem-se a impressão de que já ouvimos isso antes, mas, estamos falando de uma novíssima banda que tem um caminho a ser trilhado, assim esperamos, e que pelo cartão de visitas, agrada instantaneamente.

Aguardemos os próximos passos dos caras do Tired.

***** Interview with Tired *****

Q. When did Tired begin? Tell us about the history...
TIRED began in early 2018 with original member Richard Ruiz( guitar/singer) and Billy Pomykal(guitar) with bass player changes came Kevin Hutchison and Jacob Barr on drums. But with recent change on drums came Beau Robbins.

Q: Who are your influences?
I (Richard) have always been a fan of heavy music. I came from a hardcore back round that i played in multiple bands with that sound. We mix heavy guitar tones with very gazy noisy guitar leads.

Q. Make a list of 5 albums of all time…
white Pony-Deftones
Tired Of Tomorrow-Nothing
Lost In The Sound Of Seperation-Underoath
Changes- For The Fallen Dreams

Q. How do you feel playing live?
PLaying live as a front man is all new to me. Ive been playing drums my whole life in bands. I still get nervous but a few beers in me, Im good to go. haha

Q. How do you describe Tired´s sounds?
Our sound is dark, sad, heavy. Hard hitting drums, thick guitar tones, technical bass lines that cut through, breathy, soft vocals, and love stricken lyrics with no happy ending.

Q: Tell us about the process of recording the songs ?
No solid process. We do what is comfortable for us. Our buddy Dustin Sovern( Open Heart) from Temple, Tx is recording us for our next single.

Q. Which new bands do you recommend?
Ovlov, Nothing, Narrow Head

Q: Which band would you love to made a cover version of?
Deftones for sure. Maybe a Sade song.

Q: What are your plans for the future?
Just play as many shows as possible. Reach as many people as we can. Record an E.P on all platforms.

Q: Any parting words?
Just want to thank anyone who has ever supported us and continues to do that. Keep your eyes peeled, we have a lot in store. And thank you Renato Malizia for this interview!

7 Veils of Fantasy with Nonnie Parry - An Interview

Doses raivosamente estridentes e soturnas exalam das caixas de som durante as 7 pedradas do debute "7 Veils of Fantasy" do combo de Illinois, Chicago, Nonnie Parry.

Liderados pela guitarra e voz de Rae, o que sente-se é um darkpunk bruto. As sombras estão por lá, mas a angústia, o caos e a raiva dominam os sentimentos. Das sete canções apenas duas ultrapassam o limite dos dois minutos, resumidamente, a pancada é curta e grossa, sem firulas.

Dizem que ao vivo é uma experiência única, mas por hora, concentremo-nos no material de estúdio. Fantasmas de divas como Lydia, Debbie, Joan, Siouxsie permeiam o ambiente, contrastando com a loucura da massa sonora.

Uma banda para ser apreciada em volume máximo, é claro.

***** Interview with Nonnie Parry *****

Q: When did Nonnie Parry begin? Tell us about the history...
In 2012. After the end of the world and the end of a precursing band I took the money and the dramatics sparked the creation and chemistry of Nonnie Parry, taken from a film about a ship wreck. Our first songs were self-recorded in the attic of the place where we lived called Schwag City/The Egg and have since been semi-lost.

Q: Who are your influences?
JAMC, TSOL, Danzig, Metal Urbain, Grauzone, Christian Death, Charles Bronson, G.G. Allin, Joan Jett, Debbie Harry, Ramones, Sex Pistols, The Velvet Underground

Q. Make a list of 5 albums of all time…
These following albums are sort of essential to understanding us although it would be absurd to assign them as our Truth:

The Shaggs - Philosophy of the World
Misfits - Static Age
Television Personalities - ...And Don't the Kids Just Love It
Screeching Weasel - My Brain Hurts
Jesus and Mary Chain - Psychocandy

Q. How do you feel playing live?
Nervous enough to lose control of my body and as soon as I figure out some sort of euphoria it is over.

Q. How do you describe Nonnie Parry´s sounds?
Controlled chaos, OCD music, sometimes loud, intended to be dark and cold like the virtual prison I sometimes find myself in.

Q: Tell us about the process of recording the songs?
After trial and error we have found that "The Prince Method" or "Vibe Method" works best for us.

Q. Which new bands do you recommend?
Molchat Doma from Belarus

Q: Which band would you love to made a cover version of?
Usually not one to cover but if I were to pull the trigger I currently feel that "Do You Want Me on My Knees?" by The Nuns would be a good choice.

Q: What are your plans for the future?
We would love to travel to South America or Mexico.

Q: Any parting words?
Watch your television before it watches you

segunda-feira, 11 de março de 2019

YDNT with Lussac - An Interview

Chega a ser curioso como existe vida inteligente na música pop independente mas, ao mesmo tempo, ela infelizmente fica escondida, submersa, absolutamente sem espaço.

Inúmeras bandas novas, quando eu digo novas, quero dizer extremamente novas, meninos basicamente que cresceram ouvindo o indie rock dos 00´s, leia-se Arctic Monkeys, Strokes, Arcade Fire, Foals entre outros, mas que de uma certa maneira, sobressaem-se dessas influências e migram para algo estimulante, muito longe da aparente forçada de barra que são as banda citadas.

Um desses casos, é o italiano Lussac. Além de tudo descrito anteriormente os caras tem, talvez por pura coincidência, ou não, uma pegada new wave, até pós punk, mas um lado mais melódico, nada de extremos soturnos, ou melancólicos, ou qualquer coisa, simplesmente a música vai fluindo suave e puramente.

"Embargo / The Reptiles" o primeiro single, é algo como se os Chameleons adentrassem ao mundo do indie, já o último single, "YDNT" é puro indie rock moderno, sem firulas, é denso sem ser claustrofóbico, é melódico sem ser piegas, é apenas uma boa música pop.

Se houvesse algum modo de catapultar bandas como o Lussac para acima do submundo dos bons sons, certamente a burrice do mainstream seria bem menor.

***** Interview with Lussac *****

Q. When did Lussac begin? Tell us about the history...
It all started in high school when we were 4 uncool kids (still pretty uncool eheh), we begun covering Arctic Monkeys and The Strokes playing at house/school parties, then we found our personal sound and recorded our first tracks, lost a member and returned in a strongerthanbefore mode with our new singles we're releasing this year.

Q. Who are your influences?
Apparently our music seems to be 80's post-punk/new wave inspired, partly it is right, but the truth is that most our influences come from more recent bands just like Foals, Interpol and TV on the Radio.

Q. Make a list of 5 albums of all time…
Just Toto know why

Q. How do you feel playing live?
Live shows are always pretty confusing moments, we got mixed feelings about it.
On one side playing live our song is exciting and all of us enjoy it, especially with a hot crowd.
On the other it is always difficult to share in a direct and no-filtered way personal and intimate lyrics to the public.

Q. How do you describe your sound?
Nothing harder.. You could say our sound is characterized by reverbered melodies and wavy sounds from the guitars which surround bold rhythmics from both the drums and the bass.

Q. Tell us about the process of recording the songs
We always spend most of our time playing over and over our songs to make sure that they sound close enough to what we want. Our goal is to get in the studio with full complete songs but we often add new details that pop up while recording.

Q. Which new bands do you recommend?
Thin King, The Big Moon and Little Cub definetly deserve a space here.

Q. Which band would you love to make a cover version of?
We'd love to cover some great contemporary female voice just like St. Vincent or some amazing The National slow ballads.

Q. What are your plans for the future?
We got some great new singles to share this year, after that we will probably take our time to write some more songs, we need to evolve and grow if we want it to last.

Q. Any parting words?
*bark in Spanish

sexta-feira, 8 de março de 2019

Songs of Travel and Other Universes with Tannhauser Orchestra - An Interview

Uma das coisas que mais tem acontecido atualmente é basicamente o seguinte, se você não esta inserido em algum grupinho em rede social, interagindo e tudo mais, simplesmente você esta fora deste ou daquele feudo.

Esse tipo de situação tem acontecido com extrema frequência, inclusive nos meios ditos alternativos e antenados com o que acontece, salvo raríssimas exceções.

Uma triste verdade, pois fora destes "feudos" existe vida altamente vibrante e inteligente.

Os belgas do Tannhauser Orchestra são um destes casos. Na ativa desde 2007, os caras tem n currículo simplesmente quatro álbuns e continuam basicamente desconhecidos até mesmo para os iniciados.

Sonoramente os trabalhos são eloquentes, épicos, misturando shoegaze, dreampop, indie rock, com pitadas de décadas de boa música. "Songs of Travel and Other Universes" é o mais nova EP dos caras, e segue a coerência melódica de seus predecessores. 

O caminho do Tannhauser Orchestra é solitário, mas autêntico, sem precisar fazer a tal política da boa vizinhança nas redes sociais.

Agora, cabe a você separar o joio do trigo.

***** Interview with Tannhauser Orchestra *****

Q. When did Tannhauser Orchestra begin? Tell us about the history...
We’ve actually been around for quite some time. Tannhauser Orchestra, or simply Tannhauser as we were called back then, started out in 2007. It was me (Erick de Deyn) and four other members and we all lived in a college town called Leuven, in Belgium. By the time we had released our first album (‘Löven’) and a couple of EPs, the others had either quit or been let go, so I basically did the next album ‘Songs Are What We Are’ entirely by myself, with one guest song by Geert Janssens. Although that was an interesting experience, the process did feel a bit sterile.

By that time, around 2012, I had also begun to play bass and sing in Blissard, a heavy rock band formed by Geert and his buddy Kristof Geutjens, and so I asked Geert and their drummer Brecht Tijskens to join Tannhauser so we could play some shows. Gradually, the music became a lot heavier and darker due to our shared metal and electronic influences. Since there was a Spanish industrial band who were also called Tannhauser, we decided to add ‘Orchestra’ to our name.

We did three records together (‘The House of Sleep’, ‘Her Mountain’ and ‘Veneralia’) that were generally well received but the band never really took off, commercially speaking. By 2015, we all had families and jobs, so when Brecht decided to quit, we sort of went on hiatus. It was only in the fall of last year that Geert and I decided to pick up again where we had left, by working on some old material that was left over from our last album, and to release that as a free EP on Bandcamp.

And it actually went down pretty well. People seem to like it and we’re excited about playing music again, so we’re currently preparing a new, full album.

Q: Who are your influences?
I had played in bands before Tannhauser Orchestra, but I only really found my musical Holy Grail in my twenties when a friend introduced me to My Bloody Valentine. Their album ‘Loveless’ was an absolute epiphany for me and for a while I didn’t listen to anything else. It led me to quit my other bands, to focus on making shoegaze music in my home studio, which became Tannhauser Orchestra. Other than MBV, a wide range of artists have had an influence on our sound. I listen to a lot of classical music, metal, indie and electronic music.

Q. Make a list of 5 albums of all time...
* My Bloody Valentine – Loveless
* Unwound – Leaves Turn Inside You
* Nick Drake – Pink Moon
* Motorpsycho – Trust Us
* Sunn O))) – Black One

Q. How do you feel playing live?
We like it very much, although sometimes it’s hard to decide what parts get played live. On the records, we often do a lot of overdubs but on stage we only have two hands each, so you have to make choices.

For the next record, however (which should come out by the end of the year), we’re currently figuring out how to set up our equipment so our live shows become as sonically immersive as the songs are intended to be.

Q. How do you describe Tannhauser Orchestra´s sounds?
Gazey, dreamy, dark.

Q: Tell us about the process of recording the songs?
First of all, Geert and I do some demos to give each other a general idea of what each song is about, with the basic vocal and instrumental parts in place, so we can mutually build off of that. Then we go into the studio and properly record and mix everything, usually in a few sessions spread out over several months. Stuff tends to get changed and added up until the very last minute. The day when we were scheduled to master the ‘Songs of Travel and Other Universes’ EP, we were still adding things here and there and tweaking the mixes.

Q. Which new bands do you recommend?
To shamelessly plug a few current Belgian bands that we think are cool: you should check out Kassei from Geraardsbergen (indie math rock) and Wiegedood from Ghent (black metal).

I also think Mahr are brilliant: they’re this cosmic black metal collective on Fallen Empire Records. And I’m excited for the new Westkust album coming out in March, the pre-released single is awesome. The new Business of Dreams album, ‘Ripe for Anarchy’, is also pretty good I think – kind of a Real Estate vibe.

Q: Which band would you love to make a cover version of?
You know, not a day goes by without me thinking at some point ‘We should do a cover of this’. In the past we’ve recorded songs by Yo La Tengo, Stereolab, Dinosaur Jr... It’s always fun to mess around with tracks you love. And if we ever get around to it: I’ve always wanted to do a version of Del Shannon’s 1965 hit ‘Keep Searchin’ (We’ll Follow the Sun)’. Geert’s dream cover is Bryan Adams’ ‘Heaven’.

Q: What are your plans for the future?
Make the new record our best one yet, and hopefully do some shows to promote it.

Q: Any parting words?
Thanks for reaching out to us, Renato! We think your blog is awesome. You’re doing great work, man.

Etiolation with Nibiru - An Interview

St. Louis, Missouri, 31 de Janeiro, e o mundo, ou melhor, uma pequena parcela dele teve o prazer de ver o nascimento de "Etiolation", primeiro trabalho do trio Nibiru.

Música pop crua, como os caras se auto descrevem, e é bem por aí o negócio. Temos synths, temos guitarras, temos música pop as avessas, mas o resultado é altamente cantarolável.

Algo como se o Swirlies e o DEVO resolvem fazer uma jam, mas lá pelo final, a saideira "Primacy" aponta novos horizontes ao Nibiru, ouça, desvende, descubra

É pra ouvir alto, é pra curtir sem medo de ser feliz.

***** Interview with Nibiru *****

Q. When did Nibiru begin? Tell us about the history...
Ben and I (mark plant) were in a band in St Louis called Times Beach together back in 2012-2014, and wanted to start a new band when I moved back into town . I met Simone through a mutual friend and when they said they like Slowdive I said “cool wanna play bass in a band?” and that got things rolling. We started as a 4 piece, with Ben on guitars, me on synths, Simone on bass, and we had we had two drummers, Jimmy and Tyler, before we switched to using a drum machine. Things started to flow really well with the drum machine and we put together “Etiolation” in about a month.

Q: Who are your influences?
We draw from a lot of different places and don't have any specific sound we were directly trying to replicate. Both me (mark) and ben have played in hardcore and punk bands for about 10 years and the intensity of that is still a huge influence on our sound. Simone is more into folk music/r&b, but the 3 of us are all into noise pop and I think we merge all of those influences together. We also love video game music, specifically Chrono Cross, Metroid (the whole series), Phantasy Star Online, Earthbound, and definitely the Wii shop channel music.

Q. Make a list of 5 albuns of all time…
Husker Du - Zen Arcade
Alaska Y Los Pegamoides - Demos
Universal Hall Pass - Subtle Things
Paintbox - Trip, Trance, Travelling
Black Tambourine - Complete Recordings

Q. How do you feel playing live?
We play really loud. It's important to us for the music to be felt and even hurt a little bit when it gets intense. We're still pretty new to playing with a drum machine and we want to make sure that you can feel it and dance to it. We play mostly DIY shows so it's usually intimate and swirling with whatever cheap spinning lights we can find.

Q. How do you describe Nibiru´s sounds?
We are a raw pop band. The guitar sounds we were going for were at first were heavily influenced by raw punk bands like Confuse, Disclose, Mob47, etc. and we keep radical politics and those ethics in mind with our sound and the kinds of shows we play. (Brazil has a lot of really great raw punk also!!)

Q: Tell us about the process of recording the songs ?
We record everything ourselves between the two houses we live. We used cheap digital 8 tracks and free computer software for almost all of it. We recorded the guitars and bass in Ben's basement and the vocals / synths / and drum machine were all done in my bedroom.

Q. Which new bands do you recommend?
Waterproof is doing cool post punk is St. Louis:

Death Valley is great synth pop, they're about to put out a bunch of new stuff too:

On the darker side of synth pop, Black Sage blew me away last year:

and Natural Man is one of the most fun bands I've ever seen in general:

Q: Which band would you love to made a cover version of?
We've already done a Talking Heads and a Gauze cover set for Halloween, and I think it would be really fun to do Algebra Suicide or Broadcast. We've also been learning “lost in the supermarket” by the Clash.

Q: What are your plans for the future?
We're driving home from playing a few days out of town as we type this out. We're going to try to do a bigger tour on “Etiolation” and work on an LP throughout the rest of the year.

Q: Any parting words?
We wanna give a shout out to millennial pink and related color pallettes for all that they've contributed to the aesthetic nature of our band!! Don't want to leave out dark greens and light brown earth tones as well. Thanks again!!