quarta-feira, 19 de setembro de 2018

Maybe Sometime Soon with Trillion - An Interview

 
Sidney, Austrália, 1993, o shoegaze por lá naquela época simplesmente inexistia, a não ser para o quarteto Trillion, que passeava às margens do apogeu do grunge e do hard rock, gêneros que ditavam as normas na Austrália nos 90´s, mas os caras tentaram, lançaram um EP, mas sucumbiram-se em 1998, perante a situação não confortável a eles.

Mas a história dá voltas, depois de vinte anos, os caras voltaram, e o responsável direto por isso é o Slowdive, por conta de um show deles no início deste ano.

E parece que o tempo de hibernação fez bem ao Trillion, a sede em colocar guitarras altas veio em alta voltagem, é só preparar os tímpanos para o poderoso, "Maybe Sometime Soon", enfim o primeiro discos dos caras.

Uma paulada estridentemente melódica, tendo como alicerces sonoros, conexões óbvias com Swervedriver, principalmente, aquelas guitarras em um clima road trip dão o acento do álbum.

Perfeito para ouvir alto e, claro, on the road.


***** Interview with Trillion *****


Q. When did Trillion begin? Tell us about the history...
Trillion as it is at the moment is
Steve Hartley/ guitars, vocals
Darren Barnes/ bass, vocals, drum machine.

Trillion began in Sydney, Australia way back in the early days of 1993. We played a lot of shows and released a debut EP called Satellite. Shoegaze never really took off in Australia the first time around. It was all grunge and hard rock at the time and we ended up putting the band on indefinite hold in 1998. Me and Steve, who were the driving force behind the band, stayed good friends. After a Slowdive concert earlier this year we decided it was time to start jamming again. Three months later we realised we’d written about 12 new songs and were really enjoying ourselves again.

Q: Who are your influences?
I feel like this is going to be a pretty obvious answer.....but here goes anyway! My Bloody Valentine, Swervedriver and Sonic Youth are and have always been very large influences for us. We also listen to a whole bunch of other music, and have been influenced by genres like trip hop and artists like slackwax.

Q. Make a list of 5 albums of all time…
This is a really hard one and Darren and I could debate this endlessly! We're going to do something a bit different than the obvious ones (loveless, raise, etc) - and given there two of us we've up this to a top 7 list!
The Pixies - Come On Pilgrim
Teenage Fanclub - Bandwagonesque
Sigur Ros - Agaetis Byrjun
The Clash - London Calling
Pink Floyd - The Wall
Sonic Youth - Goo
The Reindeer Section - Son of evil reindeer

Q. How do you feel playing live?
It’s a great feeling when you’ve played a show and played well and have been appreciated. The adrenaline rush can be euphoric at times. On the flip side it can also get very frustrating, technical difficulties with so many pedals can be very harsh.

Q. How do you describe Trillion´s sounds?
We aim to write songs that have a strong groove to then. That sounds strange for a shoegaze band, but we both really like music that draws you in. Layering guitars so that the parts start to blend and merge in different ways, but also so that there's space. That sounds contradictory but when it's done well, your brain starts to hear melodies and interplay between the different parts that may or may not actually be there. And a strong bass line to keep the song driving along is always important.

Q: Tell us about the process of recording the songs ?
Since we live about 2hours drive from each other we’ve been writing and recording over the internet. We haven’t had any time in the same room yet! The EP was recorded/mixed completely on iPad GarageBand and mastered using an app. There’s no way we could have done this first time around, technology has really changed the game! Vocals were sang into an iPhone, crazy! Not a cent spent, total D.I.Y ethos.

Q. Which new bands do you recommend?
I think Blankenberge are the best of the new breed of shoegaze bands. They blew me away the first time I heard them. Trauma Ray sound very good also.

There’s a few Australian bands really standing out at the moment like Holy Forrest and Blush Response, but Deafcult are terrific, I think they are the big cheeses in the Aussie scene. Big shoutout to my buddy Dave from Lost Echoes in Portland, Oregon too!

Q: Which band would you love to made a cover version of?
We’ve never really done any covers before, but I’ve always wanted to do a big version of Pink Floyd’s ‘Set the Controls for the Heart of the Sun’....so nobody steal my idea ok!

Q: What are your plans for the future?
We’ve recently expanded from a 2 piece into a 5 piece band and are about to start rehearsing. Our aim is to record something in a studio this time and get out and play some shows again. After that who knows where we’ll go or what will happen, as long as it’s fun and not too serious.

Q: Any parting words?
Blogs like this one are what is making the scene worldwide so keep up the great work you are doing Renato! And thanks for the opportunity to get ourselves out there a little bit more. We’ve had so much support from all around the world so thank you to everyone that’s taken the time to at least listen or download our music.
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Thanks

https://trillion1.bandcamp.com
https://mobile.twitter.com/trillionshoega1

terça-feira, 18 de setembro de 2018

Payday Flowers with Sugarplum Fairies - Interview and Video Premiere


Desde de 1999, Silvia Ryder conduz com sofisticação sua fornada a frente do Sugarplum Fairies.

Nativa de Vienna, Austria, Silvia originalmente formou o Sugarplum Fairies ao lado de seu marido Ben Bohm, e ambos construíram em conjunto a trajetória da banda até que em 2014 o casal se separou e Silvia iniciou uma nova fase do Sugarplum Fairies com um time de músicos se revezando nas gravações.

O mais recente trabalho é "Payday Flowers", lançado em Julho deste ano, e segue de forma lógica a trajetória do Sugarplum Fairies, um certo neofolk ensolarado e melancólico, evocando por vezes Mazzy Star, Cowboy Junkies sem deixar de lado o mestre Lee Hazlewood. Arranjos em formas de orquestrações cinematográficas são a tônica das criações do Silvia.

Eloquentemente grandioso, o Sugarplum Fairies é daqueles raros prazeres que infelizmente possuem pouco reconhecimento, infelizmente, mas não aqui no TBTCI, pelo contrário, o Sugarplum Fairies é objeto de admiração.

Ah sim, fora a entrevista, de quebra Silvia brindou o TBTCI com a premiere de seu mais nova vídeo, contemplando a bela "Boudoir Poet".

Escolha seu lado e bom retiro.

***** Interview and Video Premiere with Sugarplum Fairies *****


Q. When did Sugarplum Fairies begin? Tell us about the history...
Sugarplum Fairies originally started in 1999 as a duo with me then husband Ben Bohm as co-writer/guitarist. We had both moved from Vienna/Austria in 1991 (where we were born). Back there I used to work as a journalist for a print magazine and dabbled in writing lyrics for other bands while Ben was signed to a major label since his early 20’s.

Ben and me parted ways personally and musically in 2014 which culminated in me assembling a rotating line-up of co-writers and guest musicians.

Q. Who are your influences?
There are many genres and personalities that influence my music conceptually, rather than sonically: French movies from the 60s, Anna Karina, Jean-Luc Godard, Krzysztof Kieslowski, Nico, Jean-Pierre Melville, the movie Girl On The Bridge, Anton Corbijn, Chet Baker.

Q. Make a list of 5 albums of all time…
Lee Hazlewood: The LHI Years: Singles, Nudes & Backsides 1968-1971
Johnny Cash: American III: Solitary Man
Tori Amos: Under The Pink
John Lennon: Double Fantasy
The Velvet Underground & Nico: The Velvet Underground & Nico

Q. How do you feel playing live?
I do not play out live anymore, I never enjoyed it. I prefer to create in solitude, kind of like Harry Nilsson.


Q. How do you describe Sugarplum Fairies´ sounds?
The sound of SPF tries to bridge the transatlantic gap with an amalgamation of European pop sensibilities and waltzing Americana folk rock.

On the latest album, ‘Payday Flowers’, SPF veers from sleepy shoegaze to eclectic Vaudeville, featuring Lee Hazlewood reminiscent horn arrangements alongside languid soundscapes.

Q: Tell us about the process of recording the songs?
Since I am purely a lyricist and singer I collaborate with other songwriters/musicians which are part of “The Fairies Family”. They send me melodies and I create stories around them, which is a very solidary process. I always record/produce my own vocal tracks in my home studio, which is in an early 1920’s townhouse with great acoustics. Then I bring in various musicians to layer the tracks.

Q. Which new bands do you recommend?
Gold Star, Son of the Velvet Rat, Dylan Luster, Lael Neale, Korey Dane.

Q: Which band would you love to make a cover version of?
I usually include at least one cover song on all of my albums; on the current release it’s “Life’s A Gas” by T.Rex. Not sure yet what it’s gonna be for the next one.

Q: What are your plans for the future?
Start working on a new album this fall and expanding on the visual aspects that come with being a recording artist. I have always created the artwork for SPF, but I just recently started producing and directing my own videos.

Q: Any parting words?
"If you're afraid of the dark, remember the night rainbow. If there is no happy ending, make one out of cookie dough." - Cooper Edens
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Thanks

https://sugarplumfairies.bandcamp.com
https://www.facebook.com/Sugarplum.Fairies/
http://www.sugarplumfairies.com/

segunda-feira, 17 de setembro de 2018

Rainbow Haze with Hipsum - An Interview


Antioquia, Colômbia, mas poderia ser Londres, Los Angeles, Berlin, Tóquio, São Paulo, ou qualquer outra cidade do planeta, a música que o quarteto Hipsum emana de seu primeiro disco, "Rainbow Haze" é universal.

Um dreampop com os pés nos 80´s. Ecos de The Wake, Cure, e, conectando-se com Beach Fossils, DIIV e Hibou, os caras esbanjam aquele ar inocente e doce por entre cintilantes e melancólicas melodias.

Nada de novo, é verdade, mas o que é novo realmente, o ponto é que o Hipsum acertou em cheio, e isso basta.


***** Interview with Hipsum *****


Q. When did Hipsum begin? Tell us about the history...
1. We met at school, we had a particular love for music, I met Esteban (guitar) playing in a school project in 2016, and with Felipe (bass guitar) we had known each other for several years; the day of our graduation we were playing some covers, and then we disconnected.
I started recording a few covers in my home studio and I composed a song, an old friend suggested that we could start a project, so I started to write and record more songs, it was just him and me, so I recruited Esteban; Then we had a small discussion, and Esteban and I were left, then Felipe entered, and finally Miguel (drums), who was Felipe's friend, is now our friend :)

Q: Who are your influences?
2. Some of our influences are Beach Fossils, DIIV, Hibou, Soda Stereo, The Cure, some punk and rock of the 80s, beer, and being with friends.

Q. Make a list of 5 albuns of all time…
3. It's too difficult, there are more than five, even complete discographies, such as Soda Stereo, Beach Fossils or DIIV; in this list there is no order of favorites.
-A flourish and a spoil (The Districts)
-Sun structures (Temples)
-Revolver (Beatles)
-Dunes (Hibou)
-Boys don't cry (The Cure)
Many were missing :(

Q. How do you feel playing live?
4. At first, we feel a little nervous and uncoordinated, but as we see the good reaction of the people, we start to feel like we're in a simple rehearsal, we even let out a few jokes.
Lately nor at the beginning we feel nervous, because we know that people are there because they like it, it's very nice.



Q. How do you describe Hipsum´s sounds?
5. A kind of sweet and somber sounds, with a bit of mystery and haze. A very philosophical description. But technically it is a combination of several genres, such as dreampop, post-punk, shoegaze, etc ...

Q: Tell us about the process of recording the songs ?
6. There is no definite process, but most of the time I have a melody or an idea and I capture it at that moment in the "recording studio", then I compose the lyrics.

Q. Which new bands do you recommend?
7. In our city (Medellin) and surrounding areas, several bands have emerged with which we have been growing: Margarita siempre viva, Wait, Llueve en la montaña, Lobo estepario, Encarta 98, even others that are not so new, but that belong to this new wave, they are Arboles Vertebrados.
And internationally Launder.
I really don't know who else to mention, there are too many emerging artists who are doing their job very well.

Q: Which band would you love to made a cover version of?
8. Well, from Beach Fossils we have two covers, which are Lessons and Sleep Apnea, and from The Cure is Fire in Cairo, but we are not very interested in continuing to make covers, we want to continue showing our own content.

Q: What are your plans for the future?
9. For this year we want to continue playing in our country and launch a new album in Spanish, and in later years show us abroad, but it really is not something that has us worried, we just like to live in the present even if we ask ourselves what will happen tomorrow, and it's better that way, just leting things happen, because having everything planned just loose the magic.

Q: Any parting words?
10. We are very grateful that you have met us and we have done this interview, it is a project too new and we didn't expect everything to happen so quickly.
We want to thank people like you, who make small projects spread and make more people come to stay and support the dream of young people.
Thank you very much and greetings.
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Thanks

https://www.facebook.com/HipsumBand/
https://hipsum.bandcamp.com/album

sexta-feira, 14 de setembro de 2018

Foxxxy Mulder, "Everything in Bloom" - Video Premiere


O duo Foxxxy Mulder, já conhecido dos frequentadores das páginas do TBTCI e dos iniciados às novas sonoridades do submundo dos bons sons, em breve, muito em breve, mais precisamente no dia 21 de Setembro, brindará ao mundo seu mais novo trabalho, "Heretic", mas sobre o álbum, falaremos mais também em breve, por hora, David Kumler e Kori Hensell dão mais um aperitivo do que é "Heretic".

O segundo single do álbum é "Everything in Bloom", uma peça soturna, densa e sombria, que ganha sua premiere, um vídeo que sintetiza e serve como pano de fundo perfeito para a atmosfera angustiantemente claustrofóbica da canção.

David, a pedido do TBTCI, explica abaixo, detalhadamente todo o conceito, todos os segredos e inspirações da peça.

"Everything in Bloom" e "Ghost", single anterior, são perfeitas demonstrações do que é "Heretic".

Que o dia 21 chega logo, porque "Heretic" precisa ser apreciado imediatamente, mas como eu disse acima, sobre o disco, falaremos muito em breve.



***** Foxxxy Mulder, "Everything in Bloom" ***** 


"This video is quite different from our past videos. With most of our videos, we’ve used public domain footage—usually from old horror films—and attempted to stitch it all together as something of a collage. The first video we made was “Heaven Waits for You,” where I layered together clips from Nosferatu with some night driving footage that Kori shot. Our most recent video, “Ghost,” similarly uses the collage aesthetic, but specifically by juxtaposing 1960s and 1970s stock footage with witch trial footage from a couple different horror films.

With “Everything in Bloom,” we decided we wanted to shoot something on our own. We didn’t really have a concept when we started other than “hey, let’s go shoot some interesting footage and we’ll find a way to collage it together.” The song itself is very imagistic, so we figured it would lend itself well to the collage aesthetic, but since we’d be shooting the footage rather than lifting it from elsewhere, it would be something new and interesting, fus anyway.

So Kori went to a graveyard in North Carolina to capture some footage, and I went to this really big park in Seattle that has a lot of forests, fields, beaches, and whatnot. I brought along the cloak that you see Death wearing in the video thinking perhaps it would be useful. Anyway, on the way to the park, I stopped by an art store to pick up some supplies for another project, and ended up buying this fake skull. As we were shooting, we started playing around with the skull, including it in some of the shots, and so forth, and suddenly it came to me—this is a story about Death falling in love with a disembodied skull. I texted Kori and she loved the idea, so we went with it.

Usually when we make a video, we have a really clear concept from the very beginning, but this time it evolved as we made the video. And in the end, I think it works. To be honest, I’m not sure what the story in the video is, not exactly, largely because you could interpret it in a number of ways. Maybe Death has lost someone—someone who has returned to life or left for some other kind of afterlife, and all Death has to remember them by is their skull. Or maybe this is about someone who has lost of a loved one, and they’re imagining that death is not all bleak and dreary, that it’s full of beauty and dancing. Certainly there’s an aspect of humor to the whole thing as well—I mean, Death dancing with the skull, that’s supposed to be at least a little bit funny. In the end, though, the video—like the song—is a meditation on death, loss, and melancholy, and I hope that everyone who watches it experiences something unique."  - 
David Kumler and Kori Hensell
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Thanks

https://foxxxymulder.bandcamp.com/track/everything-in-bloom
https://foxxxymulder.bandcamp.com/album/heretic
https://www.facebook.com/fmnoise

quinta-feira, 13 de setembro de 2018

BCX with Sleeping Witch & Saturn - An Interview


O revival, se bem que não gosto muito deste termo, eu talvez prefira a revitalização do pós punk, continua mais vibrante do que nunca. Bandas de alta qualidade despontam nos quatro cantos do mundo, expurgando angústia, raiva, melancolia, sombras, anarquia e todas as possibilidades da época mais efervescente da música, no que diz respeito ao rompimento com amarras sonoras.

E neste levante, de Pittsburgh, Pennsylvania, vem o Sleeping Witch & Saturn, debutando com o EP, homônimo. Três exercícios que englobam todos os adjetivos que o pós punk sugere.

Mas tudo com dosagens sem exageros, é denso, é melódico, é melancólico, é apaixonante e paira sobre sombras, sem extremismos.

Uma bela estreia do Sleeping Witch & Saturn. Aguardamos os próximos passos.


***** Interview with Sleeping Witch & Saturn *****


Q. When did Sleeping Witch and Saturn begin? Tell us about the history...
A: SW&S began in the winter of 2015 as a solo effort. I spent several years recording demos and conceptualizing the project. In 2017 it became a full band with the help of some friends, andwe’ve been playing shows and writing new material since then.

Q: Who are your influences?
A: I think we draw from a bit of everything that we listen to, but for the most part we take influence from the more raw and eccentric acts of the past. Joy Division, Red Lorry Yellow Lorry, Velvet Underground, Bauhaus, Slint…

Q. Make a list of 5 albuns of all time…
A: I can’t choose a top 5 of all time. There are too many masterpieces. Here are 5 albums that I really like, in no particular order…
1. Lungfish – Artificial Horizon
2. Slint – Spiderland
3. DIIV - Oshin
4. Kraftwerk – The Man Machine
5. The Smiths – s/t

Q. How do you feel playing live?
A: Personally, I get really nervous before almost every show, even after playing live music for a decade now. Being on stage is weird and I almost never look at the crowd, but it’s still a cathartic experience that I’m also able to have fun with when I let myself. I think we all worry about whether or not we played well after a set, but there’s something freeing about our music that doesn’t necessarily constrain us to feeling like we have to be perfect.

Q. How do you describe Sleeping Witch and Saturn´s sounds?
A: We consider ourselves a Post-Punk band, and I think that that is a proper catch-all for our various directions. You might call us Art Punk.

Q: Tell us about the process of recording the songs ?
A: We recorded our EP with our guitarist, Rowdy Kanarek. We practice in his studio, and it just made the most sense to do everything with him. It’s more personal and low-stress, and he is good at what he does. We will probably continue to do all of our releases that way.

Q. Which new bands do you recommend?
True Body, Resistance Wire

Q: Which band would you love to made a cover version of?
A: We have covered both Joy Division and New Order live, so we’ve already lived out that fantasy. In the future I would love to cover The Velvet Underground.

Q: What are your plans for the future?
A: We’re currently writing an LP, and will probably start recording within a few months. Until then, we’re planning on releasing a single, and doing some short tours.

Q: Any parting words?
A: Thank you, TBTCI! Don’t do bad drugs.
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Thanks

https://sleepingwitchandsaturn.bandcamp.com/releases
https://www.facebook.com/sleepingwitchandsaturn/

quarta-feira, 12 de setembro de 2018

Eden with Four Quarters - An Interview


Maio, Hong Kong, China, e vinha ao mundo o mais novo EP do Four Quarters.

Diferentemente do que usualmente acontece com a maciça maioria das bandas orientais, o Four Quarters não trafega por praias gazers, ou sonhadoras, pelo contrário, o mundo dos caras é cinzento e claustrofóbico.

Um certo pós punk doentio, que conecta-se com expoentes de alta grandeza, como Soft Moon e The KVB, os caras, expurgam a melancolia através do caos.

Angustiante por vezes, frenéticos em outras, "Eden", o novo EP, endosso o coro das possíveis trilhas sonoras para os dias do juízo final.

Indispensável.


***** Interview with Four Quarters *****


Q. When did Four Quarters begin? Tell us about the history...
Four Quarters started back in 2014 with 3 of my friends from secondary school. Honestly, we just wanted to make music. We had always played in terrible little bands that practiced at lunch but never really did anything with it. A couple of us had gigged out a bit but the original lineup was really just 3 of my friends. They were kind enough to play songs I had written so I could hear them performed out loud in a small room. I’ve always written everything myself and really I don’t consider FourQuarters a band. It’s my project but I’ve had the pleasure of meeting amazing people along the way that have shaped the way I make music.

Q: Who are your influences?
Influences are weird, man. Obviously my music sounds like those bands a lot aesthetically, but I really do love so many bits and pieces that I hear everywhere. Really, Four Quarters is just me taking elements that I find appealing in other people’s music and letting that seep into my sound.

Q. Make a list of 5 albums of all time
In no particular order:
‘The Ziggurat’ (The Construction Corporation),
‘The Downward Spiral’ (Nine Inch Nails),
‘The Devil & God Are Raging Inside Me’ (Brand New),
‘Reverie Lagoon: Music For Escapism Only’ (Seahaven),
'Rooms Of The House (La Dispute).

Q. How do you feel playing live?
You know, it’s been a while since I’ve played a live show and I think it’s been a break I needed. It got to the point where I wasn’t having fun and basically just needed to get fucked up to play shows. I’m definitely aiming to gigging again though. While the last EP (Eden) was very much a studio release, the next EP is going to be high energy. I’m arranging things with live shows in mind…

Q. How do you describe Four Quarters´ sounds?
Melancholy, Noise, Reverb. I like to think it’s somewhat driving music but I do enjoy getting spacey and I’ve always like maintaining a balance between dense blocky music and more sparse atmospheric pieces.

Q: Tell us about the process of recording the songs?
My recording process has really changed on each release. I will say I’ve progressively been enjoying the writing/tracking process a lot more every time I go into to the studio/officially start recording final tracks. Basically, every Four Quarters song (or at least the catchy ones) starts off as a chord progression and a vocal melody. I generally don’t sit down and write lyrics that much, I usually sing along and fill in the lines I'm missing. From there it’s just about fleshing out the parts and assigning roles in the composition to different instruments. I’m definitely not the first person to say this but the key to a good song is it’s chord progression and general flow. You could give the most amazing musicians in the world a shitty song and it’ll still have that little void there where it just doesn’t satisfy you. You can try and beef it up and keep things exciting and do whatever you want, but if the melody and chord progression don’t keep you going on their own, you’re stuck.

Q. Which new bands do you recommend?
Check out: Atlas At Last, The KVB, MilkMouth, The Soft Moon, Tropic Of Cancer, Brainbombs, this awesome Russian band ‘Motorama’ (though I like their side-project Utro (spelled ‘Утро' in Cyrillic).

Q: Which band would you love to made a cover version of?
I’ve always wanted to play Heartbreak Hotel live but with a lot of fuzz. (Funnily enough that’s the first proper song I ever learned to play on guitar)

Q: What are your plans for the future?
I’m currently in the middle of writing/jamming/figuring out exactly what the next songs are going to sound like. I’ve been working with my friend Bennet Goergen, from the amazingly talented trio Lady Creation, a lot. He’s really influenced the way I’ve approached writing the coming EP. In many ways he’s reignited my passion for playing live in a small room through loud amps. I don’t have a release date or any other details, but I can tell you the goal is to put together a live band again and start playing the new songs.

Q: Any parting words?
Thank you so much for taking the time to share my words with the world. I genuinely appreciate it so much and I can’t wait to share my future work with you and your lovely readers <3 br="">*
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Thanks

terça-feira, 11 de setembro de 2018

Sleeper with Declan Beare - An Interview


O irlandês Declan Beare faz música, principalmente para ele mesmo, sem se preocupar com rotulações e coisas do gênero.

Em seu novo trabalho, "Sleeper", a abertura estridentemente barulhenta com "Dreamer", pode sugerir que o que teremos pela frente é uma máquina de assassinar tímpanos, mas já em "Abandoner", um clima atmosférico que abraça os tímpanos eu seu modo espacialmente sonhador. E o disco vai apresentando novas e inusitadas facetas, desde folk psicodélico, colagens e outras maluquices.

Não há limites para Declan e sua música, o que pode muitas vezes espantar os puristas, mas por outras, atrair freaks sedentos por alucinações.

Aprecie sem pré-conceitos.


***** Interview with Declan Beare ******


Q. When did Declan Beare begin? Tell us about the history...
1.So ive been making solo music for almost 8 years. Almsot all of it at first was awful just noisy and arguably not music. But in the past 3 years ive been writing music with my main band called "The hounds". And since forming that band ive gotten a lot better at song writing. But my band band its mostly like hard rock and blues but i always wanted to do more stuff than just that was more experimental so i decided to get back into making music under just my own name while also writing for the band.

Q: Who are your influences?
2.Well while im overall inspired by Jimi Hendrix, Cliff Burton,Tame Impala, Toska , Brian Eno and David Bowie, the sleeper album has very little of that sound. Its quite obviousy that sound was inspired by My Bloody Valentine. The album as a whole was less of me copying mbv and loveless and more a response in my personal style and version of what should shoegaze sounds like in my head.

Q. Make a list of 5 albuns of all time…
3.This is In no particular order cause otherwise that question would be too hard.
Rumours-Fleetwood Mac
Songs for the deaf-Queens of the Stone Age
Loveles-My Bloody Valentine
In rainbows(or Kid A)-Radiohead (I just cant choise between them)
Graceland - Pual Simon

Q. How do you feel playing live?
4.Well in my other band i can useually get into the "Frontman of a rock show" persona and run up an down the stage, headbanging and everything. And its funny cause in that band i have the huge big pedal board and sampler and everthing. But for the declan beare solo material if i ever play its to a small crowd and its acoustic so im a bit more still and awkward but i still try to interact with the audience...as long as i dont have to look them in the eye.

Q. How do you describe Declan Beare´s sounds?
5.The sound i was going for on this new album was dreamy but with moments of pure adrenaline, wash but also clear, Intimate yet distant and drowned out. Theres always one thing thats important to the song despite the fact that its burried deep in the mix. Its not a sound to sleep to, more so a sound for when your body is telling you to sleep but you dont want to and your trying to say away.


Q: Tell us about the process of recording the songs ?
6. I'll not to get too tecnical and carried away cause id be perfectly happy to do a 6 page essay song by song rundown of what i did. Instead i'll just go through the general idea. Most of the sounds started by laying down the drum beat. If i had a drum kit and could play acoustic drums i would but instead i used MCP samplers, analog drum machines and inbuilt drum patterns on old keyboard workstations. They were all compressed down, fed through huge reverbs or delay then compress that again to make the reverberation be heard in the mix clearly.

The bass was useually a clean direct sound with a slight chorus effect though i often put a mic up to the bass amp like in the song dust to get a more vintage sound. It was often layered with extremely distorted and fuzzy reverberant bass guitar or a analog monophonic synth just for texture.

After the drums and bass are down i move onto the guitar which range from 2 per track to 37 but the most prominant is the washy dreamy sounds. Yes some The bassic idea is the guitar goea through a fuzz pedal, then an overdrive then its squashed and compress by a phaser that aslo give some spin to the sound, then into a chorus or flanger and then delay and reverb. I dont do a lot of the kevin shields "reverse reverb into fuzz with trem bar vibtato" cause its his sound not mine. For the song sleeper the trick i used was sending a clean guitar through 6 delay pedals then a compressor so hear the initical strum but then the trails delay and self oscialte so it just hold out a consistant drone.

Another thing a did was layer up guitars with volume swells and wah and phaser and everything 4 times all different notes so they layed up to be a chord. Something this sound was also layered up with a analog polysynth or the same mono synth i used for bass for up a few octaves and treated the same way i treat guitars. One trick to getting a looper pedal and layer up chords and single notes and record it onto one track of a 4 track tape recorder and keep doing that till each track had a chord and i just fade them chords in and out to the music .

The vocals for the most part were pretty minimal just singing softly into the mic and do that 5 - 20 times and layer it up. The execption to this was the song "Sungazer" where it was two track for the chorus and one for the verse. I had a vocal mic that was slipt into the audio interface and also into my pedal board and into my guitar amp with spring reverb. I also had the mixing monitors on so everything was bleeding into each other and it was always on the verge of feedback.

Q. Which new bands do you recommend?
7. "Bitch Falcon" from Dublin are on the rise and they are maybe 5 years away from being the hotest underground thing. The band "The New 52" are doing some reason cool things and definitly worth checking out if you like really good songwriting. I saw dreaming of jupiter once and theyre make some amazing soundscapes.

Q: Which band would you love to made a cover version of?
8. I really want to do a cover of kate bush

Q: What are your plans for the future?
9. I have two ideas for the next album. One idea is a more pyschedelic sound, almost minimilast shoegaze meets Tame Impala. Another idea is this multistage consept album where the first few songs are harsh and digital and stiff and look at the disconect and isolation of the modern world and desire to step back. Then it falls to an acoustic folk album thats actually recorded outside to look at the joy in stepping out and finding peace but then the slow realisation that you might be missing out opertunitys. In the final few songs its psychedelic and looks to embrace the possitives of mordern life and the possitives of stepping away.

Q: Any parting words?
10. I know a lot of people who said they were gonna make an album or seem to be making it for a year or something. This album was made in a little over two months but admitedly could have gone faster. I set a dedline and i comitted to it. It can be hard to stop trying to perfect but its better to have a near perfect product than a perfect idea.
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Thanks

Lake Ruth & Listening Center, "To Recife" - Premiere


Não é de hoje que o Lake Ruth tornou-se daquelas preciosidades cultuadas aqui pelo TBTCI, não somente pelo eloquente lirismo poético, a sonoridade que flutua por entre uma sofisticação além do usual, pairando no mundo dos sonhos de forma sutil e cintilante.

Mas, agora, talvez o Lake Ruth em sua nova aventura com o Listening Center tenha superado todas as expectativas.

Seu mais novo single, lançado no último Sete de Setembro, diz muito ao Brasil, e aos brasileiros.

"To Recife" é uma peça totalmente voltada para uma das maiores escritas brasileiras de todos os tempos, que não somente destaca-se em território nacional, mas também, fora dos limites geográficos brasileiros. Nada mais nada menos do que Clarice Lispector.

A homenagem e a homenageada são puro delírio. Hipnoticamente envolvente a canção desliza suavemente pelos poros e apaixona.

Uma das criadoras da canção, a vocalista Allison Brice, explicou ao TBTCI, minuciosamente o que é, e, o que representa "To Recife".

Entenda, ouça, apaixone-se e vá ler as obras da eterna Clarice.



*****Lake Ruth & Listening Center, "To Recife"  *****


To Recife was one of our very early songs. It was written in 2015, during a particularly horrific point in the Syrian refugee crisis. The tragic death of Syrian toddler Alan Kurdi, one of thousands who drowned in the Mediterranean that year, coincided with my reading of the first English-language biography of Clarice Lispector – Why This World by Benjamin Moser. Though I’d been an obsessive fan of Clarice’s revolutionary and visionary writing for many years, I never knew the full extent of her family’s background, nor the degree to which they suffered. All I knew was that she was a Jewish writer of Ukrainian descent who had come to Brazil as a baby. Reading her family’s story – their flight from genocide, their long and arduous journey from Ukraine to Romania to Brazil, deeply moved me.

The song lyrics were inspired by the courage and fortitude of Clarice’s parents: her mother, Mania (Marieta) and father, Pinkhas (Pedro). They endured unimaginable hardships for the sake of their children. Though they both died young their three daughters, Clarice, Elisa and Tania, were able to grow and thrive in their adopted country. Their story is the story of all refugees, and one of triumph – for unlike so many, the family survived their journey and safely reached Brazil.

This summer, as another humanitarian crisis played out on the US / Mexico border, I had the fortuitous opportunity to discuss Clarice’s life and work with Brazilians in Miami. Afterwards, I felt compelled to revisit this song. We had experimented with a series of arrangements over the years, but none had felt quite right. We substantially pared it back and invited David Mason of Listening Center to contribute. We’re all big fans of David’s music and we often collaborate on recordings – he plays in our live group as well. He really breathed fresh life into the song with a new arrangement and some great synths - and brought it exactly where it needed to be.

In their flight from brutal violence and human cruelty, the Lispectors were, at the very least, never separated as a family. Nor were they detained and imprisoned as so many asylum seekers on the US / Mexico border presently are. We find this situation appalling and unforgivable. For the month of September, all our proceeds from sales of this song will benefit The Refugee and Immigrant Center for Education and Legal Services (RAICES). RAICES is nonprofit organization that promotes justice by providing free and low-cost legal services to under-served immigrant children, families and refugees in Central and South Texas. RAICES is at the very frontline of the current crisis and working tirelessly to end family separation and detention, and to bring those responsible for these abuses of human rights to accountability. Currently, hundreds of children are still separated from their parents, and hundreds of reunified families remain imprisoned in family detention, which is no place for a child.

We thank all of our listeners for your support, and ask that you please share widely to maximize our donation for RAICES and the critically needed work they do for vulnerable people.
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Thanks

https://lakeruth.bandcamp.com
https://www.facebook.com/lakeruthmusic

quinta-feira, 6 de setembro de 2018

VisualizationTechnique with Icebeing - An Interview


Pegue algumas obras psicodélicas fundamentais, "White Album", "Pet Sounds", "Soft Bulletin", e unifique-as à eletrônica moderna com veias psych, exemplo, "Merriweather Post Pavilion", e você terá a dimensão sonora do projeto inglês, Icebeing.

O Icebeing é Luke Phillips, um produtor excêntrico que resolveu expurgar suas freakines e demais devaneios através de música.

Música apenas, talvez não seja bem o conceito por aqui, o mundo do Icebeing, é quase que cinematográfico. Pegue o mais recente trabalho, "Visualization Technique" e perceba que o que Luke criou é como se fosse uma trilha sonora de algum delírio das películas, mas a quase anti música de Luke, no final, soa como música pop, sem cair em suas ciladas.

O Icebeing não é para todo ouvido, mas os iniciados certamente aplaudirão.

***** Interview with Icebeing *****


Q. When did Icebeing begin? Tell us about the history...
The Icebeing project started about 4 years ago. I’d been recording music under the name Ersatz Window, which is more dreamy and ambient, and I wanted to do something a bit heavier and brighter with a stronger psychedelic influence and a larger focus on pop melodies. It’s still the same setup today, just me in my room playing around and trying to come up with cool sounds to build a song on.

Q: Who are your influences?
Loads. Musically, artists like the Flaming Lips, Caribou, MGMT, of Montreal, definitely the early Elephant 6 stuff like Apples in Stereo and Olivia Tremor Control… I’ll often come up with songs and ideas off the back of getting into certain albums and artists - some of the colder, more abrasive stuff on the first album ‘Portals’ was influenced by me discovering This Heat, for example. Getting into Raymond Scott’s early electronic stuff was a big one too around that time. I could list a ton of artists - there’s so much music I really love, a lot of it inspires me. In terms of recording and producing, Atlas Sound and Oneohtrix Point Never are probably the two artists that have had the biggest influence on how I want to approach things.

Q. Make a list of 5 albums of all time…
I could never pick just 5. I guess these would be up there at the moment - Gorillaz debut (first proper album I got, played it to death and it still sounds great), Oneohtrix R Plus Seven, Beatles White Album, Avalanches Wildflower, M.I.A Kala, Dirty Projectors Bitte Orca, Eno Here Come the Warm Jets, Beach Boys Pet Sounds of course… the list goes on. I tried to make one of these ‘Top 10’ lists just in my iTunes not too long ago ended up with about 80 albums - there’s too much good stuff out there.

Q. How do you feel playing live?
There is yet to be an Icebeing live gig, definitely something on the to-do list. Ideally, it’d be a big group of people playing together and doing cool stuff, with some lovely visuals of course. I’ve played live as a drummer in a couple of rock bands and I like the energy. I get like a primal buzz from it, very different to slaving away on a track in front of my computer. Last year, a friend and I played as Polar Twin at a festival in Copenhagen called ‘Lost Lands’, which was a whole different ball game. Loading and triggering samples on the fly and live-looping etc. - took a lot of preparation and a lot of potential for fuck-ups, was a fun challenge! Icebeing live would be a mix of the two.

Q. How do you describe Icebeing’s sounds?
Hopefully a blend of futuristic and nostalgic. And colourful.

Q: Tell us about the process of recording the songs ?
It changes from song to song. More often than not, I’ll start with the drums and end with the vocals, with everything else at some point in between. Sometimes I’ll have a full track with the chords and lyrics and everything in my head mapped out, other times I’ll be making it up as I go along. Most of the songs I work on now will be done in a day, like there’ll be a burst of a few hours where I’ll shut myself in my room and just record things, mixing as I go. Pretty much all the tracks on ‘Visualization Technique’ were done like this - mastering it probably took longer than recording all of it.

Q. Which new bands do you recommend?
I really like the Superorganism album that came out a few months ago, and the Lemon Twigs album from a couple of years ago is a stunner. Tropical Fuck Storm album is awesome too. Yves Tumor, who made one of my favourites from last year, just got signed to Warp so looking forward to his major label debut. And my good friends making music - empty3D, Holly Henderson, Rare Devices. Also Inevitable Daydream and Penelope Isles, two local-ish bands who are great.

Q: Which band would you love to make a cover version of?
I’ve never recorded covers, though sometimes I get ideas for them. I probably wouldn’t touch stuff by my favourite artists, just certain songs I love. ‘Lethal Enforcer’ by We Are Scientists is one of those hidden gems I’ve loved since I was young, such a great melody and sound, I’ve thought it’d be cool to make a spacier version of it. Scott McKenzie’s ’San Francisco’ is another one, awesome song.

Q: What are your plans for the future?
Take a little break from recording and focus on other stuff - get a live band together and play some shows! And try and make a good music video.

Q: Any parting words?
Thanks for having me
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Thanks

https://www.facebook.com/Icebeing/
https://icebeing.bandcamp.com/

quarta-feira, 5 de setembro de 2018

Spotless Mind with Bearwear - An Interview


Antigamente as bandas surgiam através de anúncios deixados em lojas de discos, paredes das escolas, práticas comuns em tempos distantes. Hoje, muitas bandas e projetos, nascem das redes sociais, caso dos japoneses do Bearwear.

Os caras se definem como algo entre o dreampop e o emo. Em fato, os caras passeiam mesmo mais pelo indie pop com doses sonhadoras, mas, existe algo de emo sim na sonoridade dos caras, vide "Spotless", lado b do novo single dos caras. É emo na essência, mas é dreampop na prática.

Independentemente do rótulo, os caras são um belíssimo exemplo de que, existe vida inteligente no indie, sem cair em armadilhas piegas das que conhecemos muito bem.

Que venha o álbum.

***** Interview with Bearwear *****



Q. When did Bearwear begin? Tell us about the history...
I found Kou(bass/composer) on Twitter when I was looking for a band. I asked him if we could form a band, and that’s when Bearwear started. I think it was during summer 2016.

Q: Who are your influences?
I guess we are influenced by Emo revival bands and some other indie rock bands. And also 90’s midwestern emo. Our favorite band is Turnover.

For myself, as a vocalist, I love Parker Cannon from The Story So Far, and John Floreani from Trophy Eyes.

Q. Make a list of 5 albums of all time…
This is a tough question.
1. Pennywise - Straight Ahead
2. Casey Jones - I Hope We’re Not The Last
3. Linkin Park - Hybrid Theory
4. State Champs - The Finer Things
5. Turnover - Good Nature
Maybe it’s not a best of all time, but these 5 album changed my life.

Q. How do you feel playing live?
We have only played in front of Japanese people, so we want to play in other countries

Q. How do you describe Bearwear´s sounds?
Chill, indie emo. A music that goes well with alcohol.


Q: Tell us about the process of recording the songs ?
We finished recording our upcoming album! Gonna release it this fall. We’ve released 2 EP so far and it’s available on Spotify!

Q. Which new bands do you recommend?
I’ve been listening to Rex Orange County, Only Real, Julien Baker, Tyler The Creator, Speak Low If You Speak Love, Citizen

Q: Which band would you love to made a cover version of?
Penfold - I’ll Take You Everywhere or some pop songs from the 80’s and 90’s.

We did a cover of Turnover’s “Sasha” before.

Q: What are your plans for the future?
I’m not sure. We are gonna release the new album on October. I think it will depend on how much everyone will like that album.

Q: Any parting words?
Contact us if you’re planning to visit Japan! Let’s hang out
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Thanks

https://bearwear.bandcamp.com
https://www.facebook.com/bearwearjp/

terça-feira, 4 de setembro de 2018

Somatic Alterations with Dustings - An Interview


Daniel Fritz é a mente criadora do projeto Dustings.

O californiano de San Diego, é desses sonhadores dos novos tempos. Sua base sonora passeia por um dreampop por vezes cristalino, e em outras, toque de pura ambiência languida tomam o controle da obra.

"Somatic Alterations", seu segundo trabalho flui por entre estas paisagens, mas é impossível a mim não fazer uma conexão direta com o Ultra Vivid Scene.

Doces melodias cintilantes dão a nitidez para os devaneios de Daniel.

Uma grata revelação é o Dustings, simples assim.


***** Interview with Dustings *****


Q. When did Dustings begin? Tell us about the history...
I first started recording under the name Dustings around 2010, when I was just starting college. It was a way for me to make little demos of my instrumental ideas using a basic Garageband session, and not much more. At the time I was afraid of singing, even on recordings. In 2013 I was diagnosed with Leukemia and had to undergo chemotherapy for about a year, and this was when Dustings, to me, REALLY began, as I started devoting all of my time to writing and recording songs. I got over my fear of singing and just started writing a TON of dream pop songs. It was a difficult time, but I survived and I feel the entire experience defined how I approach writing and arranging songs as a solo artist. So in 2016 I released my first record, Afterthought, and since then I've just sorta been soaking up as much influence as I can, trying to better myself as both a songwriter and producer. I feel that shines through a bit on Somatic Alterations, my latest (2018) record.

Q: Who are your influences?
I think the most obvious influences are Cocteau Twins and Slowdive—those bands completely changed my life; their nostalgically romantic, otherworldly textures opened up a new, dream-like world to me, and I've been chasing that world in my own music ever since. It's very evident in my use of chorused, reverb-drenched guitars and swirling synths. I also take a lot of influence from early Aphex Twin, the band S (now called Jenn Champion), and Grouper (a.k.a. Liz Harris). And then there's also Lovesliescrushing, who, along with Grouper, has an ambient production style that's pretty much flawless to me.

Oh, and I can't forget the Twin Peaks soundtrack, which has affected me in a slightly different way but definitely informs how I design my synths when I make them from scratch.

Q. Make a list of your top 5 albums of all time…
Oh god... this is basically impossible, but my gut instinct list, in alphabetical order:
Aphex Twin - Selected Ambient Works Volume II
Cocteau Twins - Treasure
Lovesliescrushing - Bloweyelashwish
S - Sadstyle
Slowdive - Pygmalion

Q. How do you feel playing live?
I've performed live as a lead guitarist, but not as Dustings. I've never actually performed Dustings music live before. It's strictly been a solo recording/production project. Maybe someday though...

Q. How do you describe Dustings´ sound?
I'd say Dustings is a combination of dream pop and downtempo electronica, with a dash of ambient thrown in. But my records are, honestly, a bit all over the place. A song like "Delicate Decay" is a pretty classically structured dream pop song in the vein of Slowdive, but a song like "Entheogen" opens with a ton of sampled instruments, movie clips, and field recordings, inspired a bit by DJ Shadow, before it breaks into what I like to call a "sad rave song."

So nothing's really off-limits in terms of what instruments or digital plug-ins I use or even how I structure a song, but I try to infuse all of my music with a sense of otherworldly ambience (that better dream-world I'm forever chasing) as well as a sort of honest, sadness-infused optimism; there's no shortage of things to be sad about right now, but I try and use whatever survival and coping experience I have to create as much optimism as I can muster, all while still staying personally honest to my admittedly turbulent emotions. I feel those elements, along with as much reverb as I can feasibly use, define the "Dustings" sound.


Q: Tell us about the process of recording the songs?
The songs almost always start out as a guitar riff, since that's my main instrument. Sometimes they stay that way and sometimes I transpose them to other instruments or textures—whatever feels right for the mood and atmosphere of the song. From there I generally figure out the basic harmony and rhythmic structure of the song and then record all the instruments myself using Ableton Live in my home studio. The songs then tend to undergo a lot of changes during the recording sessions. It kinda takes forever, but I just really, really love the process.

And I also collaborate with some amazing musicians, like vocalist Shannon Chamberlain (who sings on "Delicate Decay" and has her voice sampled on "Sankhara" on the new record; her voice is also sampled backwards on "Murmured Hymn for Defocused Eyes", creating a slightly obvious Loveliescrushing-inspired sound) and I also work with guitarist and vocalist Brian Fritz (whose voice is sampled on "Sankhara").

Q. Which new bands do you recommend?
Wild Nothing, Apollo Vermouth, Foxes in Fiction, and U.S. Girls are all amazing new (or newish) bands/artists, and they all display, in varying forms, some wonderful sonic elements relevant to anyone interested in gaze-y or ambient music.

I also love Mitski and SOPHIE.

Q: Which band would you love to made a cover version of?
Fugazi! I don't know how well it'd work as a post-modern ambient/dream pop cover, but, eh, I feel it'd be worth a try.

...but I also might just want to rock out.

Q: What are your plans for the future?
I'm currently focused on writing and recording more Dustings music. In my personal life I'm finishing up college with a degree in sound engineering, so those two things should go hand in hand in helping me make as much music as I possibly can.

Q: Any parting words?
"The only important elements in any society are the artistic and the criminal, because they alone, by questioning society’s values, can force it to change."
—Samuel R. Delany

Also, eat the rich.

And I just wanna thank TBTCI for this opportunity to talk openly about my music. It's been a great experience, and I look forward to hearing all the other artists you guys are gonna discover.
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Thanks

https://dustings.bandcamp.com/

segunda-feira, 3 de setembro de 2018

Washed She with Eye Floss - An Interview


Dois lados opostos tendem a encontrar-se sonoramente, e muito, nos dias atuais, o caos, e o desolamento, talvez ambos completem-se, talvez ambos sejam uma extensão um do outro, mas o lado soturno e obscuro, angustiante do pós punk serve como par ao barulho perpetuado por inúmeros artistas atuais.

Com este enfoque o projeto do Kuwait, sim, o Kuwait, que eu me recorde, o Eye Floss é a primeira banda daquelas terras, aos quais meus tímpanos foram submetidos.

E o resultado é a alquimia descrita no primeiro parágrafo. Junte duas obras seminais, Pornography do Cure e Synthastic do Skywave, e você terá a equação exata do que é "Washed She", debute do Eye Floss.

Cinzento, denso e com uma dilacerante sensação de que o fim dos anos esta próximo, o Eye Floss apenas indica que estes tempos escuros ainda permanecerão durante mais algum tempo.

Sonoramente é perfeito, mas....o futuro grita por salvação.

***** Interview with Eye Floss *****


Q. When did Eye Floss begin? Tell us about the history...
Eye Floss as an artistic expression was born late 2013, I was on vacation in Thailand and it just came to me out of nowhere that I wanted to start recording my music when I got back to my home country Kuwait. I was involved with music since a very young age, I used to play the piano as a kid and switched to drums during my teenage years and eventually getting into production and synthesizers when I was in university. I studied business in university so music was kind of my outlet at the time.

Q: Who are your influences?
I'm influenced by a lot of music genres from vaporwave to black metal, but growing up I used to like Radiohead and The Cure. There are other bands that I like a lot but I think most of my influence comes from within, I genuinely think it's unfair to me and my listeners if I'm too influenced by somebody and start imitating someone that I'm not.

Q. Make a list of 5 albums of all time…
Cocteau twins - Four-Calender Cafe
The Cure - Pornography
Tomo Akikawabawa - The Invitiation of the Dead
Animal Collective - Hollinndagain
Skywave - Synthstatic

Q. How do you feel playing live?
That's a good question I don't think I've made up my mind on that yet, there are instances were I absolutely enjoyed it and other times I absolutely despised it. It's really important for me to be in the right head space and enjoy myself to give a good show and that usually derives from being in an environment that's technically competent when it comes to sound, but I still believe some forms of music are not ideal for a live scenario. At the end of the day being from a small muslim country like Kuwait makes it difficult for artists like me to play live and expose the public to unorthodox forms of music, gigs do happen but they're infrequent.

Q. How do you describe Eye Floss´ sounds
Tremulous, Thick, Hypnagogic, grating yet cathartic


Q: Tell us about the process of recording the songs ?
I usually come up with certain characteristics of how a song should sound like in terms of texture and rhythm, after I come up with a demo that could I listen to on a loop for several hours and not get bored of it only then I start coming in terms with how the song makes me feel and what emotions from within me gave birth to it, after that I start translating the sounds and put them into words (lyrics) that reflect the feel of the music

Q. Which new bands do you recommend?
An artist called Tullond Men, He's a very lowkey independent artist that i'm abolutely in love with. Caerulea is fantastic too.

Q: Which band would you love to made a cover version of?
Cocteau Twins probably, but I've found that to be an impossible task because of Elizabeth Fraser's gibberish lyrics.

Q: What are your plans for the future?
I'm currently working on the next Eye Floss project I'm taking a different direction sound wise. I'm also working on a second album for a side project called Bloom Tribe.

Q: Any parting words?
Matchbox in german is streichholzschachtel
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Thanks

https://eyefloss.bandcamp.com/releases
https://www.facebook.com/Eyefloss/

sexta-feira, 31 de agosto de 2018

This Time I Got It Figured Out with Distractor - An Interview


Os freaks do Distractor depois de três anos, enfim, soltaram seu segundo disco, novamente pela classuda Burger Records.

"This Time I Got It Figured Out" é o sucessor do sensacional "Devotion" de 2015, e a única diferença aparente entre ambos, é que o novo é teoricamente mais acessível, tirando este pequeno detalhe, o Distractor segue com seu synth pop punk, evocando Talking Heads e Devo em doses variadas.

Aqui tudo é diversão, se existe pretensão na música dos caras, sinceramente deve estar por entre as entrelinhas, porque tudo soa como se fosse feito absolutamente com o único intuito de curtir a vida.

Se Ferris Bueller fosse adolescente em 2018, certamente sua banda predileta seria o Distractor, fácil, fácil, resumindo faça como Ferris e seu lema, "a vida passa muita depressa, e se as vezes não pararmos para curti-la ela passará e nem veremos". Faça isso ao som do Distractor e bom divertimento.


***** Interview with Distractor *****


Q. When did Distractor begin? Tell us about the history...
Distractor began some night of 2014. We would be smoking spliffs and playing World of Warcraft every night in Glen's garage, and if Will was there he would be relentlessly playing his mini Yamaha keyboard along with the built-in drum patterns. at one point Glen started singing along with something Will was playing.. "all the fuckin thiiiings dude" and that was it. it was just a way to laugh at all our stress, and we wanted to show everyone.

Q: Who are your influences?
Brian Eno, poopylungstuffing, "sister christian" by night ranger, "think" by kaleida, david byrne, rudy, death in june, and bands that aren't entertaining

Q. Make a list of 5 albuns of all time…
duty now for the future, hold your colour, the pleasure principle, the low end theory, talking heads cbs demos

Q. How do you feel playing live?
Its the best. there's no right way to do it. we get 30 minutes or so to go nuts. our chance to make people laugh, and forget about work tomorrow.

Q. How do you describe Distractor´s sounds?
Clumsy and natural


Q: Tell us about the process of recording the songs ?
We use the same process as most bands. drums first, which is the easy part cause we use a drum machine. a couple spliffs for good measure. then bass, keys, and guitars. followed of course by singing, along with more beers and spliffs. then we send it all off to sean so he can make it sound like we know what we're doing.

Q. Which new bands do you recommend?
Not sure if they're new but: the garden, chai, rinse and repeat, big fun, mom and the mailman, ottofix, the memories, paste, venetian blinds, kevlar

Q: Which band would you love to made a cover version of?
To cover a whole band? maybe the frogs. or if its just one song we always want to play "bottled up" by devo but the chords are kinda tricky

Q: What are your plans for the future?
Oh man that's a tough one. we're bad at that sorta thing. we're looking forward to a trip to cape canaveral to see Glen's ashes be taken into orbit by the falcon heavy. we have some new songs that we need to record. also looking to get into the toy business, a Distractor lego set would be cool.

Q: Any parting words?
Yea, doodies. its a fun word to say. doody. and maybe schlep. you might need to schlep some stuff up some stairs. jetpack is another fun one. JETPACK! also thank you. thank you for talkin to us, and a big thank you to everyone who listens to our music. we hope it makes you laugh.
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Thanks

https://soundcloud.com/distractorofficial
https://distractorofficial.bandcamp.com
https://www.facebook.com/Distractormusic/
https://pomogitecommunity.bandcamp.com/album/this-time-i-got-it-figured-out

quarta-feira, 29 de agosto de 2018

Cotton Candy with Cashfire Sunset - An Interview


Uma barulheira das boas saiu de Milwaukee recentemente e caiu diretamente no gosto pessoal do TBTCI.

O Cashfire Sunset, é um quarteto de jovens que tem J&MC e SY no DNA, e inclua aí doses de uma certa anarquia sessentista, cortesia do Farfisa e sua conexão com os Animals de Eric Burdon., mas o que realmente os caras mandam, é um guitar surf noise dos bons.

Quando se lê "bons", imagina que o Cashfire Sunset tem uma conexão espiritualmente sonora com o Times New Viking, pra quem não conhece, é fuzz noise de baixa fidelidade, e sem contra indicação.

O debute dos caras conheceu o mundo no meio de Maio, e passeia nessas praias, por vezes esfumaçadas, mas sem com a brisa estremecida.

Escute alto e vá se divertir.



***** Interview with Cashfire Sunset *****

Q. When did Cashifire Sunset begin? Tell us about the history...
We began working on Cashfire Sunset in early 2017.

I was working on a band with a friend of mine before that in which I was playing noisy guitars and writing noisy songs, but in 2017 I broke my arm in January and broke 3 fingers in March (both were skateboarding injuries). Had to take break from music.

One day I was hanging out with Ray Chi at a neighborhood concert when he casually commented that he wanted to start playing music regularly again. I still couldn’t play guitar for a while due to injuries so I bought a Farfisa Fast 3 organ in Chicago for $300 and a Carvin full stack and we started finding other musicians to work with.

Raj’r Taim (bass) and Sam Lozoff (guitar) are long time friends of mine who were in the zone to play at the perfect time.

It takes so long to get a band going...by the time we had the right people and the right songs together I could play guitar again. So there are 2 Farfisa songs on the album from the broken bones time.

I really wanted to do a loud band. I think we are pretty loud.

Q: Who are your influences?
I feel like, in our case, when you bring together all of the preferences, limitations, and personalities of the band members, you arrive at the sound automatically.

But there are definitely influences...

There’s Sonic Youth, The Jesus and Mary Chain, Small Faces, My Bloody Valentine, The Animals, Brian Jonestown Massacre Stereolab, Deerhunter, Times New Viking, Simon and Garfunkel, Guided By Voices, American Analog Set...

Q. Make a list of 5 albuns of all time…
Me (Jason) vocals, guitar:
Times New Viking - ‘The Paisley Reich’
American Analog Set - ‘The Fun Of Watching Fireworks’
Sonic Youth - ‘Evol’
Jay Reatard - ‘Watch Me Fall’
Joy Division - ‘Unknown Pleasures’

Ray Chi, drums:
Minutemen – ‘Double Nickels on the Dime’
Miles Davis – ‘Bitches Brew’
Wu-Tang Clan – ‘Enter the Wu-Tang: 36 Chambers’
Arvo Pärt – ‘Tabula Rasa’
The Residents – ‘Commercial Album’

Q. How do you feel playing live?
Playing live is great. We have a lot of amplifiers, so it’s easy to get engulfed in sound, which is the main goal I suppose.

Q. How do you describe Cashfire Sunset´s sounds?
Beach distortion with cathedral reverb.

Q: Tell us about the process of recording the songs ?
The goal was to have it very loud and washed out. Whenever possible I oversimplify things in the recording process. Also we recorded two songs at a time, instead of doing the tracking for one instrument for every song on the album at once. So I would re-setup the drum sound everyday. Re-mic the amps everyday. It’s more like recording a series of singles that way, and everyone can stay in the vibe of a specific song until it’s done.

I record the drums with only one full frequency microphone. It’s very liberating to commit to a sound right away. This approach favors the kick, snare, and rack toms and makes the cymbals quieter and more in the background. On a couple of songs we overdubbed some cymbals.

Bass was recorded with a Shure Beta kick drum mic about 20 inches from the speaker.

Guitars were recorded with large diaphragm condenser and a dynamic mic right next to each other. Sam uses an Ampeg ss140-c and an Ampeg ss70 which are solid state amps, and I use a Carvin x100-b tube full stack. I really like how the 2 guitars layer together with these amps. Some of the guitar melodies I record thru a Zvex Fuzz Factory and then direct line in with no amp. This lets it cut through in a special way with all of the distortion already in there from every angle.

Drums and bass are recorded playing together. We will never use a click track. Let the tempo drift and be free!

Then it’s vocals which are recorded in a standard way but then adding several different reverbs and echoes. And then layering harmonies.

At the end I master it with a lot of compression. Cheap digital compression. I roll off lots of high end and low end. I’m really interested in the texture of the music sounding cheap and nearly broken, as if it were played through faulty equipment or a terrible stereo system. I love the worst formats. MP3s and cassette tapes and walkmans and phone speakers take away all of the “beautiful frequencies”, and to me this is a new and interesting sound that I want to embrace. I want it to be just the essence of the song coming through a polluted haze. Like a Beatles cassette in a battery powered tape player when the batteries are almost dead. I like that. I’m trying to achieve that. I couldn’t care less if someone’s music was recorded through a Neve 8078 console with a Neumann U67 mic to 2 inch tape. Let that stuff die already. Music should be cheap, sound cheap, act cheap.

Q. Which new bands do you recommend?
I recommend Gallery Night from Milwaukee USA.

Also Deafcult, The Daysleepers, La Luz, and Castlebeat.

Q: Which band would you love to made a cover version of?
My latest fantasy is to try to do a very loud and lazy version of “Crocodile Rock” by Elton John, but I don’t know if I can get it to sound comfortable enough to feel ok about it. And even though it may amuse me to take that song out of its context and place it in a different one, I’m not sure it’ll be a great decision...we’ll try it in rehearsal and see I suppose.

But I’m really not a good enough singer to do covers I think...it always just sounds forced and disappointing to me.

Q: What are your plans for the future?
We are happy to be a band and to be playing shows. It doesn’t get better than that. It’s the best to have the opportunity to play music.

Q: Any parting words?
Thank you so much for allowing me to ramble on about rock n roll music. I usually just talk to myself about it while I’m driving, so this is a great pleasure. And thank you for listening to our songs. We hope to see everyone out there soon.
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Thanks

https://www.facebook.com/Cashfire-Sunset-220234708826365/
https://cashfiresunset.bandcamp.com/releases

segunda-feira, 27 de agosto de 2018

Glow with Catch The Breeze - An Interview


Shoegaze gélido em tonalidades épicas, é o que exala de "Glow", debute dos dinamarqueses do Catch The Breeze.

Desde o nome a banda obviamente não esconde suas predileções, o que de fato transparece desde os primeiros momentos da eloquente "So Loud", abertura em que dê certa maneira define o andamento do disco.

Mas o Catch The Breeze, alimenta-se também, ou talvez até mais, dos anos gelados de Bowie e Iggy em Berlim, com notadas referências ao pós punk oitentista clássico, e até mesmo ao revival mais recente, leia-se Interpol, Editors entre outros.

Assim, o Catch The Breeze apresenta-se ao globo, engrossando ainda mais o tempero gaze epicamente cinzento.

Um grande trabalho sem dúvida.


***** Interview with Catch The Breeze *****


Q. When did Catch The Breeze begin? Tell us about the history...
We all played in Yellowish, a dream pop / alternative rock band, which disbanded in 2014. We still made music together though, and decided to start afresh so we formed Catch theBreeze 2014. The name is the title of a Slowdive song. Andreas has had a small silk screen print with the words ’catch the breeze’ hanging behind his drum set all those years with Yellowish, so it was a natural choice.

Q: Who are your influences?
We find beauty in a lot of different artists and bands from a lot of different genres and ages. There is no denying that we have listened to shoe gaze bands and My Bloody Valentine, Slowdive, Lush, Swervedriver, Ride are common favorites. New bands like A Place to Bury Strangers have also had a clear influence on the guitar sound. Actually, Aage has a couple of effects pedals made by Death by Audio, made by one of the members from A Place… Regarding drums and bass the influences are drawn from a lot of different places. Andreas has been inspired by bands like Yo La Tengo, CAN and NEU! Lars’s bass lines are in part inspired by The Clash, Iggy Pop, The Cure, Joy Division/New Order, and also Tim Lefebvre’s work with David Bowie. Artists from odd genres like Pino Palladino and Esperanza Spalding also had a huge influence.

Q. Make a list of 5 albuns of all time…
Impossible! Ha ha! But here are 5 that we like a lot, though we do not agree completely. David Bowie, Low
The Cure, Disintegration,
Iggy Pop, Lust for Life
Slowdive, Souvlaki
Talk Talk, Spirit of Eden.

Q. How do you feel playing live?
Great! We love playing live and we get a kick out of seeing how our music affects the audience.

Q. How do you describe Catch The Breeze´s sounds?
On Glow, songs range from stark minimalism to more adventurous compositions. Lush swells of guitar, catchy basslines and contrasting, tight drumming. At the center stands Aage’s deep baritone voice.

Q: Tell us about the process of recording the songs ?
We have recorded most of the music live in the studio to achieve a raw and authentic feel. Vocals and guitar dubs were added later on in the process.

Q. Which new bands do you recommend?
Kamasi Washington, Khruangbin, Amen Dunes, Kevin Morby. Danish bands like The Love Coffin, Iceage and The Foreign Resort.

Q: Which band would you love to made a cover version of?
We do not really do covers. We are too busy making new music!

Q: What are your plans for the future?
World domination. We are currently working on new music and plan to release an EP next year.

Q: Any parting words?
Thanks so much for taking an interest in our music!
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Thanks

https://www.facebook.com/CatchTheBreezeofficial/
https://catchthebreezeofficial.bandcamp.com/