domingo, 20 de fevereiro de 2011

"I know that angels come from time to time..." by Ride


Só um aviso antes de começar, isto aqui é algo de fã, mas fã completo, devoto e que jamais, digo jamais deixara de lado a comoção de ouvir Polar Bear, Seagull, Leave them all behind, Dreams Burn Down, Chelsea Girl, Vapour Trail dentre inumeras outras...vou ser bem sincero fazia tempo que não pegava minha coleção para ouvir, porque assim, modestia a parte este que vos escreve tem tudo de Ride, tudo, singles, eps, albuns, coletaneas, bootlegs e o que vier pela frente....e de repente sem a menor explicação, veio Going Blank Again que esta no carro depois Nowhere que esta no carro também, Overdrive que ouvi aqui onde estou mesmo, depois Tarantula, uns singles e Carnival of Light, que confesso, a primeira vez que ouvi fiquei chocado, mas chocado mesmo, pensei comigo mas que porra eles estão fazendo, porque eles querem ser o Teenage???Nossa parece Byrds???Meu deus onde esta o barulho.....e coisas do tipo, mas depois da segunda ou terceira audição a tal Magical Spring me dominou e tudo fez sentido, como pode uma banda ir de Nowhere a Carnival of Light sem perder a identidade, como pode????? Bem o Ride pode, Andy Bell, Mark Gardener, Laurence "Loz" Colbert e Steve Queralt decretaram com a obra prima Carnival of Light o fim do shoegazer e o inicio do brit pop, alguém duvida!!?!?!?!? Se duvidam, por favor, vão ouvir 1000 Miles, Natural Grace ou se preferirem vão direto a How Does It Feel to Feel? e respondam se os Irmão Gallagher não se apropriaram desta musica para criar o seu famigerado album de estreia.

From Time to Time, I Don´t Know Where It Comes From, Magical Spring ou Birdman resumem bem o quão algumas parceiras são perfeitas Gardener / Bell neste caso eram a perfeição, vocalização mais do que sublime, riffs, melodias, letras enfim Oxford definitivamente pode se vangloriar para todo sempre porque muito além de Thom Yorke e seu Radiohead a cidade nos brindou com algo muito mais sublime e eterno.....nenhuma outra banda na epoca que realmente eu descobri a musica tinha tantos fãns devotos que ostentavam em suas camisetas as capas do Nowhere, Going Blank Again o ep Today Forecer ou qualquer outra imagem deles, por estas e outras eu digo Ride é a maior banda dos anos 90 que me desculpe o Sr, Cobain mas eu jamais deixarei minha idolatria por eles.

Ah, se você caso não tenho ouvido o Carnival of Light corra no Amor Louco, blog barsa da musica alternatica dos amigos Tadeu e Miguel e escute ok.

quinta-feira, 17 de fevereiro de 2011

Kiss the Eclipse with Ringo Deathstarr - An Interview

Prediletissimos por aqui, os texanos do Ringo Deathstarr depois de alguns eps e singles simplesmente devastadores nos brindam com o debut Color Trip e de cara eu já digo vai ser dificil esse magistral album não estar nas listas especializadas como um dos melhores do ano, as referencias do trabalho MBV e J&MC em doses cavalares, passeando literalmente por todas as fases dos baluartes do barulho, o Ringo Deathstarr constroi seu wall of sound com extrema facilidade criando hits instantaneos, canções grudentas como Imagine Hearts, So High, You Don´t Listen competem entre si neste quesito por outro lado Do it Everytime, Two Girls, Kaleidoscope e Chloe mostram o eximio talento em gerar distorção. Impossivel não se curvar a este Color Trip, absolutamente indispensavel em qualquer coleção de amantes de shoegazer que se preze.

Aproveitando o lançamento do album, o TBTCI através do parceiro Robin Allport da gravadora prediletissima CLUB AC30 facilitou o contato com a banda e a entrevista tão sonhada pelo TBTCI se fez realidade, abaixo peculiaridades do grande mais muito grande Ringo Deathstarr.

***** Interview with Ringo Deathstarr *****


Q: When did Ringo Deathstarr starts, tell us about the history...
A. Uhhh well elliott kinda did stuff from about 2005'but the band really got going in 2007 when the first ep was released--a few members quit and then alex got in the band because she worked in a place near where elliott worked--me and elliott were old high school drum buddies so he asked me to join when their previous drummer quit because he didnt wanna tour-

Q: Who are your influences?
A. Well there are the obvious ones like mbv and to a lesser extent jamc but I think that our whole attitude about being in a band is closer to things like nirvana sonic youth and the ramones--we don't wanna be motionless on stage--we like to thrash about and go crazy and have fun!

Q. Made a list of 5 albuns of all time…
A. This is just my top 5 I guess the other guys are sleeping--

Of course loveless
I like duty now for the future by devo
Pet sounds by the beach boys
In utero by nirvana
The downward spiral by nin

Q: Tell us about the Ringo Deathstarr´s gigs... how do you fell playing alive?
A. I like playing live more than recording! It happens and then that was it--the gig exists! We are pretty rehearsed songwise but the energy of the shows is not! We don't do any cool rock star poses we just kinda do it like if nirvAna were a shoegaze band--loud,'crazy fun but we don't take ourselves overly seriously!

Q. How do you describe RD´s sounds?
A. Punk rock with loud tremolo guitars and usually pretty soft vocals..one song goes right into the next until it's over in a noisy mess

Q: Tell us about the process of recording the debut album?
A. It was recorded in a couple studios over a few months mainly in Austin at the bubble--super fun time and we are really happy with how things turned out!

Q. What´s represents the shoegazer classic era to the band?
A. The late 80s

Q. And about the new shoegazer scene all over the world,..which new bands you recommended?
A. Cryuff in the bedroom; guitar; aptbs,
Q: Which bands you love to made a cover version? Of our song or which band should we cover?
A. The stooges, shake appeal

Q: What´s the plans for future....
A. Tour a lot, figure out a way to make money doing this, quit our dayjobs and be happy

Q: Any parting words?
A. Thanks for the interest in what we are doing! We hope to play in south America sometime soon! If anyone Can work that out please do!! Ciao!
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Thanks Daniel.....and thanks Robin!!!!
www.myspace.com/ringodeathstarr
http://www.clubac30.com/

segunda-feira, 14 de fevereiro de 2011

Loveblind with Secret Shine


2011 já dá indicios do que vira pela frente, Asobi Seksu, Youngteam, Young Prisms, Yuck todos com discaços na praça e eis que um dos mais queridos e idolatrados baluartes da cena shoegazer coloca um novissimo album no mercado, trata-se do seminal Secret Shine, isso aí, singles e eps pela Sarah Records absolutamente classicos como Loveblind, Greater Than God, After Years, Ephemeral um album magistral Untouched e agora o retorno com The Beggining and The End, que certamente emocionara os fãns mais antigos e acolhera os novos amantes e adoradores do wall of sound etereo, simplesmente porque o Secret Shine sempre foi um mix de MBV e Slodive com altas doses de dreampop caracteristica sonoridade das bandas da Sarah.

Esse Beggining and The End, tem inicio na belissimaIn Between e segue com a estonteante Perfect Life, Run Around dá ares de modernidade contracenando com a essencia da sonoridade do Secret Shine, Hole in Your Heart é daquelas mortiferas baladas shoegazers que imortalizam seus criadores e ainda temos It´s Killing Me que de tão linda corroi o coração.

Bem, bem, bem, divirta-se com o preview do album na integra mas assim, esse é para ter na prateleira.

domingo, 13 de fevereiro de 2011

Sight of You with Youngteam


Alguns albuns são atemporais, Nowhere e Confort of Madness por exemplo exemplificam bem o significado de ser atemporal, obras primas maximas da sonoridade shoegazer, resumem uma epoca marcante da historia da musica universal, agora imaginem uma banda conseguir exprimir a tematica destas duas perolas da musica em um unico album?!?!?Dificil de se conseguir um resultado tão audacioso como o colocado acima, concordam?!?!?Obvio todos concordaremos, porém, uma banda sueca acaba de jogar no mercado atraves da especialissima Northern Star Records seu verdadeiro debut, trata-se do grandioso Youngteam e a obra em questão intitula-se Daydreamer, uma perola que desponta ao lado do Friends For Now do Young Prisms como o album do ano, logicamente que temos muito chão pela frente mas Srs, este Daydreamer é absolutamente essencial e mais, inspiradissimo desde sua Intro até a derradeira Goodbye passando pelas magicas e Daydreamer, Summertime e simplesmente, me desculpem todo o album é sublime.

Não a toa a adoração do TBTCI ao Youngteam visto que estes caras foram uma das primeiras bandas a concederem as já famosas entrevistas do blog....matem a saudade aqui mesmo.

Quanto ao Daydreamer, comprem o album é simplesmente um deleite.

terça-feira, 8 de fevereiro de 2011

Catch The Breeze with Simon Scott - An Interview

Notem bem, modestia a parte o TBTCI esta em estado de graça total, o orgulho mal cabe dentro deste que vos escreve, entrevistar seus idolos é algo surreal, mágico e o sentimento de estar "proximo" desses caras é um negocio que sei lá simplesmente engrandece ainda mais minha admiração pelas bandas, pelo conceito e tudo que envolve a musica em si.

Simon Scott, não requer muita apresentação, The Charlottes, Slowdive e sua carreira solo já resumem exatamente o quão grandioso o texto que vira abaixo representa para o TBTCI, sim eu sou fanatico por Slowdive, todos sabem disso, eu amo Charlottes e o Navigare é esplendido, ou seja, o que se precisa mais?!?!?!

Meus amigos, apreciem o que Mr. Simon Scott nos proporcionou....


***** Interview with Simon Scott (Charlottes / Slowdive) *****


Q. Q. When you star to play music? tell us the beginning...
A. The first moment of realization that I had a natural talent and affinity with music was jamming on the acoustic guitar with my father. He would play the accordion or piano when friends were over and I’d join in. It became a moment in time when I knew I loved the interaction and ability to connect via music with someone and at the age of ten it is life changing. We always got on great but when playing music as a child it opens up a whole world of possibilities that allow you to be creative and learn an instrument. I actually was encouraged to learn drumming at junior school so that is how I became a drummer alongside the guitar.

Q. What’s your best remembrance about The Charlottes?
A. The early days when the NME gave us “Album of the week” and when John Peel played our records on the radio were amazing times. That excitement you have as your songs start to become recognized outside of your local area and when you realize that you have a chance of getting signed is a brilliant moment when you are a teenager.

Q: Who are your influences/heroes?
A. Everything is an influence to be honest. Too many artists to name here and I am a music addict so I never stop my search for inspiration but early on it was Can, early Pink Floyd, MBV, Cocteau Twins, Johnny Cash, 60’s garage bands such as The Seeds, two tone, electro, some punk and plenty of film and literary influences too such as Lynch, Kubrick and Kafka.

Q. When you joined to Slowdive?
A. 1990 after doing a Charlottes gig in Reading when Slowdive came along to watch us. They actually supported us a month before and I discovered that they only had a temporary drummer at the time so I told them I loved them so I joined.

Q How was the process to recording the classic Souvlaki with Brian Eno?
It was amazing to have a legend that we admired then, and still do today, to work on the record so it’s a real highlight of my four years in Slowdive. Eno is still an inspiration to me today so I was lucky to have played on an album that included him.


Q. How was your remembrance of Slowdive´s gigs?
A. I remember some well, as if it was a few years back, and others not so well. We are going back two decades so I remember the tours but not every moment. I loved playing the songs live as I think we were a strong band who had the ability to fill a room with mood and not sound like anybody else.

Q. In your opinion, what’s the best Slowdive record, song?
A. I enjoyed the process of recording Just For A Day as we were exploring many musical possibilities then but Souvlaki is a much better record with stronger songs. It took us a while to hit that sweet spot despite releasing some very good early singles. Catch The breeze is my favorite song and was a great EP but the second album was better.


Q. I’m too curious about the process to recording Navigare....there are so many elements there, explain the concept of Navigare?
A. My uncle died after years at sea as a sailor and submarine officer so his life was an inspiration as he was submerged for a long time. In doing a solo record I just wanted to create a soundscape that represented life as a submerged concept either at sea or otherwise. Read into that what you will but I took my time to create music that I felt was worthy of sending to a label with the reputation that Miasmah has. I spent a long time experimenting with sound, composition and digital signal processing and in 2008/9 the time was right to get it all heard as Simon Scott. I love the Miasmah label and am flattered to be with them. Everything before 2009 I wrote was an experiment and not worth talking about and I am very much a person that looks forward to creating new material.

Q. Do you consider shoegazer a style or just a fashionist word?What´s your opinion about the bands of the classic era of shoegazer?
A. I have no opinion on the other bands of that era but shoegaze is now a good term but it was once derogatory and that I find strange as it is now not a respected genre. When grunge broke through “Shoegaze” was used to dismiss bands that didn’t have a connection to Seattle or a Marshall stack. When someone would call me a “shoegazer” it was a put down whereas now the term is positive again. I think that genre of music has become a respected genre from a period in the late 1980’s/early 1990’s of British music and luckily Slowdive have songs that haven’t aged. In that respect to have been part of a band that made timeless music is special as people can listen to Souvlaki today and it still sounds fresh!


Q. Which new band do you recommend?
A. Jana Winderen, I am pretty excited to hear the new Kaboom Karavan album on Miasmah, Marcus Fisher has just released an amazing album on 12k and I love Sawako, Fourcolor, Nils Frahm, Alva noto and Peter Broderick.

Q. About the future, what are your plans?
A. A new album I just recorded for Miasmah is out in 2011 and an underwater ecology project for an installation is also currently being finished using my field recordings taken from below sea level.

Q. Any parting word?
Website: http://www.simonscott.org/

Discography:
Navigare (Miasmah) October 2009
Nivalis 3"cd (Secret Furry Hole) January 2010
Silenne cd (Slaapwel) August 2010
Conformists vinyl LP movie soundtrack with Dag Rosenqvist (Low Point) October 2010
Depart, Repeat 7" (Sonic Pieces) February 2011
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Thanks Simon.....it´s really special....cheers Renato

Slowdive - Holding Our Breath

segunda-feira, 7 de fevereiro de 2011

No Escape From Heaven - An Interview with Dean Garcia

Para um amante dos mais fervorosos do inicio dos 90´s e do shoegazer como eu, o que pode-se esperar que eu diga sobre o Curve?!?! Fantastico, grandioso, seminal, absolutamente fundamental, desde o primeiro ep Blindfold meu fanatismo por Dean Garcia e Tonni Halliday virou eterno, Doppelganger e Cuckoo são albuns de cabeceira, Fait Accompli é espetacular, Horror Head é a minha predileta e que satisfação eu saber que é a predileta de Dean também?!?!!Ah você não sabia!?!?!?!Pois é, para o TBTCI hoje é um dia especialissimo, o mago Dean Garcia gentilmente concedeu a este que vos escreve uma ESPETACULAR, MARAVILHOSA e PRECIOSA entrevista que se eu não estiver enganado, nenhum meio de publicação nacional conseguiu fazer, para mim pouco importa o que realmene interessa é que a historia do Curve e os passos atuais de Dean com o SPC ECO estão devidamente ilustrados nos palavras do mentor da banda, Srªs e Srs, o grande mais muito grande Dead Garcia.

***** Interview with Dean Garcia (Curve - SPC ECO) *****

Q. About the early years, when did Curve starts?
A. We had the idea that we wanted to start work together again in 1988, I was touring with Sinead O'Conner at the time. Towards the end of that tour I began to record some basic ideas in the back lounge of the tour bus, I remember being excited at the prospect of Toni and I working on something new. It was a good time for music, Rave culture was kicking in and crossing the boundaries, music was morphing in on itself creating a very broad and open minded anything is possible attitude, genres were cross referencing, it was a brilliant time for music. Around 1989 and the onset of the 90's Toni and I were in the right place with the right sound at the right time, with a very focused idea of what it was we wanted to do. We just set about it, the first track we recorded was No Escape From Heaven, then Ten Little Girls and I Speak Your Every Word. All of the basic recordings ie drums, bass, guitars, keyboards and arrangements took a day each to record, Blindfold took slightly longer a couple of days I think, but as soon as we'd done them we knew they were exactly what we wanted to make, the combination of both our ideas and influence were melded together into something we just loved straight off. We could not have done those recordings had we not gone through our previous band effort, we made a lot of mistakes with that but we also discovered that we wanted to do something that was just the two of us at some point down the line, that was our time to work and that's exactly what we did.

Q. Who are your influences/heroes?
A. A cross section of influence, bands around at the time or just before would be Cocteau Twins, JAMC, MBV, Suicide, Mondays, Roses etc, but I also drew heavily on the FUNK with artists like James Brown and Funkadelic, I've always loved the dance beats n sub bass so that was always the back bone to any Curve track. I don't think either of us had any hero's as such, not much into hero's but I do like the idea of Iron Man. Bootsy Collins was up there though for me as Nico would be for Toni.. A cross section of influence, very broad and varied, we both love music and songs so the general guiding light for us was something that would both shine and make you think n move at the same time...

Q. Tell us about the gigs, what´s the feeling to playing live?
A. Playing live with Curve was always an event, the early shows were really mad, small places packed to the rafters completely oversold and steamy. From the opening note the barriers would collapse and the stage would be flooded with people, we still managed to play but it was just mayhem, and dangerous, people getting torched by the floor lights, jumping into the crowds I loved it, I would say it's probably the most exhilarating time for any new band that drops onto the radar, so loud, so mad, and so electrified. We played a tour of the UK which was pretty much like that every night, which is a complete blur to me now, all I remember is a lot of people having a fucking good time. As you become more popular and start to play the larger circuit venues the more the security creeps in and you end up with a large pit in front of the stage which acts as a moat around the band, we always wanted them taken away and managed to a few times but generally we had to just deal with it, the gigs were still good and everything, they looked great and sounded as good as we could get it but that electrified factor of the first tour was never repeated. I think we used to compensate for the fact that we couldn't touch the audience physically by taking in over sized sound and light rigs so's that we could touch the peoples minds instead..Massive wind machines, smoke n lights all screaming out of an M2/4 system which in those days was just fucking massive..I think anyone who saw us around that time got something they'd remember. Blinded and deafened but in a very good way.

Q. In your opinion, what´s the best Curve album, and the most emblematic song?
A. Cuckoo is my fave album and Horror Head is my fave track. Imagine coming back home from huge endless touring across Europe and the States to be placed back into your studio where you first started and go for round 2. It was daunting but very exciting. The touring thing takes its toll though and you are emotionally fried from the exposure and intense demands, Toni took the brunt of it all and was slightly mad around that time which is why the album is called Cuckoo, referring to Cuckoos Nest and Ken Kesey. We had a lot of The Merry Pranksters tapes and included them as segways in-between the tracks which I'd made especially with weird bits of music for the poems and rantings of Ken which all worked brilliantly in-between the tracks, kinda tied the album in and made it have an element of insanity, but we couldn't use it because the label at the time wanted Ken to sign a doc stating he allowed us to use the words etc, he said he didn't mind at all about us using them but refused to sign any legal doc about it as he never signed any contractual papers...so they made us pull it all off the record which was a total fucking pain. Other than that the album was recorded quickly and very creatively with a it's ready when it's ready attitude as I felt the Doppelganger suffered because of time and pressure, I always thought the lead tracks from the EPs should have been on Dopps but was made to think otherwise and to me that really affected the creativity and end result, but born out of the stress and pressure was my fave track Horror Head which I think was our finest hour. Cuckoo was mixed primarily by Alan Moulder and I in the Church under emotional duress as there were a lot of strained relations going on but Alan and I bonded on those mixing sessions and turned in what I believe to be our best album.


Q. How do you describe Curve´s sounds?
A. Cerebral, somebody once said to me that he was listening to an album of ours while walking his dog over the Heath and although he never smoked or did drugs it made him feel completely stoned and whacked out when it had finished. I think it has the ability to expand your thoughts and mess with your brain waves, It's not designed that way but it certainly messed with our head so that's the effect that comes across... A beautiful madness.

Q. Do you still talk with Toni?
A. Yes, not as much as we used to but I think we've said everything there is to say to each other, we know each other very well, she knows me like she would know a brother and I know her equally. When we talk we have that going on but it's not easy as we both feel detached from that time and place in our lives, awesome but let's move on. I will know her throughout my life with varying degrees of closeness, I do feel as if I could call upon her to help me with anything should I need to and I know she feels the same. Which is very fucking cool.


Q. What´s your opinion about early shoegazing era?Do you feel Curve are part of it?
A. It was a term made up by Steve Sutherland the then editor of Melody Maker, referring to spaced out droner kids who had more of a relationship with their fx pedals than they did with the audience, which if you look at certain bands of the time is exactly how it comes across..I don't believe we were anything like that, yes we had pedals but we were also very up for entertaining which is what we did, I loved the audience interaction. So I see it as a journalistic 'pigeon holing' comment rather than anything else. Really what it was, was a bunch of arty misfits interested in the same drugs who all liked Pink Floyd, The Beatles circa 67 and Pet Sounds...


Q. Whats the concept behind SPC ECO sound?
A. SPC ECO is an art piece, it exists for Rose, Joey and I to work together in such a way that allows us all to do say and make whatever the fuck we want to at any given time. I love SPC ECO. I love the fact that Rose sings and relates to it so deeply and without question, I love the otherworldly totally unique and off the wall guitar sounds that Joey sends me without the slightest regard of how they will be used, his only criteria is that it's used and we make more music. I love the freedom and expression of it, and I love every track we have ever done. It has a very special place in my heart as it does for all of us involved, I'd love for it to be more high profile and for more people to discover it but that's was never the SPC ECO intention, it's just that I think it's special and I want more people to discover its effect.

Q. The debut SPC ECO record is a stunning, what´s the process to recording it?
A. Thanks, I honestly think its the best work I've ever done. I'm emotionally attached to it. It was made in much the same way as everything I record ie a starting point. The early SPC ECO tracks were started by me dialling up Joey's gtr sounds that he randomly sends me via email I then edit them and morph them into something unique, something spacey and unusual with it's own inbuilt tuning and tonal quality, neither Joey or I use tuners. From there you can go anywhere because the first strokes of sound are completely original, they are open to interpretation, I then move into drums and bass add more guitar then dial up more of Joeys library, when I'm happy with the overall effect I play it to Rose, we work our way through the track with various off the wall vocal passes then home in on the stuff we like and develop it so it's all made up on the fly as we go, lyrics as well, which is the same as everything else on the recording..so it ends up sounding very cerebral and complex but in a way that is not pretentious or bullying..It just shines and says aren't I great in a very unassuming way, well, that's how I see/hear it...Then again I am completely fucking bonkers.

Q. About SPC Eco gig´s, tell us about it...
A. They are fun fun fun, Obviously I want Rose to play through the best PAs with awesome stage and lighting but we're unable to do that as we're the worlds best kept secret, so we have to play smaller venues from the ground up which at my age is not something I like but because of the nature of SPC ECO and the fact that I have my two kids playing on the same stage as me it takes on another emotional element. I absolutely love playing live with SPC ECO, yes the PA's are shit yes they are not very well attended, yes we have months in-between gigs, yes Rose can't hear herself, and yes it's like going back 25 years to my first band outings but it's fucking great and I'd love to do more of them, I want to take Rose, Harry and Jules to Japan and play to the kids out there, I want to show them the neon and the back alley noodle bars, Playing with SPC ECO is just right, I love it for all the exactly the right reasons, the reason you make and do music in the first place. We're playing a show for AC30 which is a very cool label promoter that we love working with at the Luminare in Kilburn London on March 7th. The venue is closing it's doors due to financial issues I imagine but it really is one of the best small gigs in town so if anyone reading this is in the area at that time why not come and space out with us..you're all very welcome.


Q. About the future, what´s your plans?New solo records, a new SPC ECO´s album, play in Brazil one day....
A. All of those things, I don't know what the future holds all I do know is that I will make music until the day I die, I'd be very interested to hear what my final piece would sound like, Probably an endless drone that slowly morphed and filtered...with Rose singing about death... I don't really wanna do anything else, I'm good with music, it likes me, I enjoy the way you can shape and move it, I like the way it effects people, I still get a kick out of playing low swoopy bass over noisy body popping beats, I love the noise and I love songs. I love the feeling you get when you have just recorded something that taps into your brain, the challenge the achievement the closure the moving on..the openness and expression, the art the vision the beauty and the sex of it all..Most Def.

Q. Any parting words...
A. Do what ever the fuck you wanna do...Be what you wanna be, and say what you wanna say, and fuck what other people think about it... oh and never get off the tour bus on your own.
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Thanks Dean....it´s so special!!!!!.....cheers Renato...

www.myspace.com/deangarcia01
www.myspace.com/spceco
www.spceco.com/
http://www.curve.co.uk/

SPC ECO - Silver Clouds EP

Safety Net with The Notes


Eu já os conhecia por contatos imediatos via email, recebi umas demos e dai comecei a acompanha-los, depois veio o ep Introducing The Notes e fiquei empolgadissimo, dai por motivos que não me recordo mais o ep foi rodando sem parar em casa e acabou passando despercebido e não o postei aqui no TBTCI, mas de hoje não passa, o debut Wishing Well que saiu no final do ano passado em formato digital e em vinil é daquelas de se apaixonar, um mix fervoroso de class of 86, mais precisamente Shop Assistants, Flatmates e Primitives porém com toques mais shoegazers e até post punks, o debut do The Notes é lindissimo, belissimo, uma pequena obra prima que infezlimente ficara no coração e nos ouvidos de poucos, mas esses poucos certamente irão amar realmente este Wishing Well, também como pode-se ficar imune a Awake, Sheltered, Those Days, Those Nights, Forbidden Fruit, Wishing Well e sente que lá vem a lista, porque, ah o porque disso tudo??!?! A resposta é simples The Notes é amor eterno!!!
The Notes - Wishing Well