quarta-feira, 31 de outubro de 2012

Dreamland with Low Dream - An Interview


Houve uma época que as coisas eram realmente vividas intensamente, desde um pequeno rolezinho de skate, até uma noitada insana testando todos os limites, assim eram os grandiosos idos da vira dos 80´s para os 90´s, inferninhos as pencas, mas quando você lê inferninho não tente nem comparar o que existe hoje seja na Augusta, Barra Funda, ou qualquer cidade que você viva, os inferninhos daquela época tinham uma característica especifica, as paredes suavam, e quando as paredes começavam a interagir com o povo todo dava pra sentir o tamanho do negócio.

A primeira geração das famosas guitar bands nacionais tinha, os Pin Ups, Killing Chainsaw, Second Come e a mais inglesa de todas, a Low Dream, virou até jargão depois de 20 anos, chamar a Low Dream com esta alcunha, mas era inevitável, o baterista Giovani era um destruidor de kits, eu o vi em ação pelos menos umas meia duzia de vezes e sempre ficava perplexo vendo o que o moço fazia, me lembrava pra caralho o Loz do Ride, simples assim. Samuel, o cara do baixo, tinha aquele ar timido, mas seus poderosos acordes sustentavam por vezes a agressividade por oras a beleza e a candura da música da Low Dream, por fim Giulliano, ar blasé como deve ser, the coolest guy, era simplesmente energizante ver a Low Dream.

Lembro da primeira vez que tive contato com os caras, foi creio que em 1992 ou 1993 não me lembro ao certo, também pudera, 20 anos testando os limites, uma hora ia dar nisso mesmo, mas era uma quinta feira qualquer, a Low Dream abriu para o Pin Ups em sua formação Gash, e veio a banda de Brasilia que tinha a tal famosa demo que continha Treasure, eu tinha que ter aquilo, e logicamente que naquele dia o cassete era meu, foi um puta show, de ambas as bandas diga-se de passagem, mas ainda havia a sexta feira, e o show agora seria no Cais com abertura das Cold Turkeys, puta que pariu, que show, que noite, o camarim era algo assim digamos não recomendado a menores de 18 anos, extremamente pesado!!!hahahahahahahahahahahahahahahahahahahaha.....e nós adoravamos tudo aquilo!!!!

Desnecessário dizer sobre a sonoridade da Low Dream, é fato que MBV, J&MC, Ride, HOL, tá tudo definitivamente fincado no som deles, o fato é que escutando Between My Dreams and The Real Things hoje depois de tantos anos e sentir o frescor do album é simplesmente espetacular, como diz a letra "...there´s a treasure behind the sun..." ah com certeza existe, ou ainda ouvir o segundo e caprichadissimo Reaching From Ballons me faz chegar a conclusão que a Low Dream estava logicamente a frente de seu tempo, ou melhor estava sintonizada em seu tempo e como um bom vinho permanece ainda mais saboroso depois de 20 anos.

E para comemoração total primeiramente do TBTCI e logicamente para todos, a possibilidade real de shows da Low Dream com sua formação original esta mais próximo do que imaginamos, é uma questão de bom senso, e isso, ah bom senso o TBTCI até tem, mas ele tem mais do que isso, tem simplesmente um Rocker Ride pela frente....que venha a Low Dream para nosso deleite.

E logicamente o TBTCI traz a desde já histórica entrevista de Giulliano avaliando os 20 anos dessa terra dos sonhos que é a Low Dream.

***** Interview with Low Dream ******

                                 

Q. Quando a Low Dream começou? Conte-nos a historia
A banda começou entre o final de 1991 e início de 1992... Na realidade a gente, eu e meu irmão, tínhamos formado algumas bandas fictícias antes com outros nomes. Mas foram apenas experiências sonoras com amigos. A partir da entrada do baixista Samuel Lobo que nós começamos o projeto Low Dream.

Q. Quais as influencias?
Foram muitas influências e referências para a formação do nosso som. Acho que posso citar algumas bandas dos anos 60, principalmente The Velvet Underground, algumas bandas punks, e nomes como The Smiths, Joy Division, The Jesus & Mary Chain, The Telescopes, My Bloody Valentine, The House of Love, Spacemen 3, Verve, Stereolab, Mercury Rev e The Flaming Lips... Mas gostávamos de muitas bandas e cada integrante tinha suas preferências sonoras.

Q. Como vocês definem a sonoridade da banda?
Essa coisa de definição nunca foi nosso forte. Cada hora a gente inventava um termo para a imprensa explicar nosso som. Era algo divertido. Nosso som sempre foi uma mistura de noise (barulho) extremo com melodias delicadas. Algumas vezes podia ser uma muralha sonora e outras algo muito limpo e suave, dependendo do que nós pretendíamos naquele momento para cada música.

Q. Como era o processo de composição e gravação?
Eu iniciava o processo de criação dos acordes para uma melodia. Em seguida os outros construíam suas partes individuais e tudo ia se encaixando. Ao mesmo tempo eu ia fazendo as melodias vocais e escrevendo as letras. Era algo bem natural. Não era como colocar uma bola no lugar de um triângulo. Nunca foi isso.

                                                   

Q. Between My Dreams And The Real Things ou Reaching From Ballons?Qual a importância de cada um dos albuns na opinião de vocês?
Between... Foi um disco difícil de gravar. Assinamos contrato com a gravadora "independente" Rockit, do Dado Villalobos, da Legião Urbana, e gravamos o disco em um estúdio brasiliense, mas com pouca experiência. Tínhamos as músicas, mas gravar isso era complicado. Sofremos bastante por causa da inexperiência. O disco atrasou bastante porque houve um problema com a parte gráfica... Outro fator que nos atrapalhou foi a dificuldade do mercado brasileiro para lidar com uma banda que cantava em inglês naquela época (1994/1995). Mesmo assim o disco marcou uma fase e tinha ótimas músicas, eu acho.

Já o Reaching... Gravamos de forma completamente independente mesmo no esquema punk tipo do it yourself... Mudamos de estúdio, gravamos música por música e fomos finalizando ao mesmo tempo que fazíamos os shows da banda. Foi um processo bem menos complexo e que nos trouxe mais felicidade. O resultado até hoje nos agrada muito. As músicas ficaram mais naturais e a banda evoluiu durante as gravações. A partir daquele momento estávamos prontos para um desafio ainda maior... É um disco incrível.

Q. Como era a sensação de tocar ao vivo?
Os shows podiam ser fantásticos ou verdadeiros pesadelos. Isso dependia muito dos locais, da acústica, dos equipamentos disponíveis no palco e até mesmo do humor dos integrantes no palco. Talvez esse último fosse o grande fator que fizesse a diferença. Mas era relativo. Fizemos shows que achamos horríveis e foram bastante elogiados pelo público e pela crítica e outros que achamos perfeitos que foram detonados pelas pessoas. Claro que era mais interessante quando as opiniões sobre um determinado show convergiam. De qualquer forma, tocar ao vivo era a hora do espetáculo e de ter a resposta do público para nossa música. Sempre achamos importante fazer shows e a grande maioria das vezes saimos do palco felizes e sorrindo.

Q. Como vocês lidam com o culto em torno da Low Dream?
Eu sempre neguei a existência desse "culto". Algumas vezes isso chegou a irritar. Era chegar em algum show e alguém falar sobre a banda, perguntar sobre possíveis shows, músicas, etc. Mas depois de um tempo percebi que era natural isso, então sempre respondia de forma mais empolgada e algumas vezes como se fosse alguma brincadeira para divertir a situação. É engraçado que mesmo depois de tanto tempo, a banda seja lembrada. Mas isso nos deixa felizes porque percebemos que as pessoas lembram como algo bom, algo que era mágico de alguma forma. Isso nos deixa orgulhosos e felizes. Somos gratos a essas pessoas.

Q. Porque a Low Dream terminou?
A Low Dream terminou por uma série de fatores, entre eles a falta de estrutura do mercado, das casas de shows, das gravadoras, para trabalhar com nosso tipo de música no Brasil. Temos que lembrar que era uma época sem internet ainda e com muita dificuldade para fazer nosso trabalho da melhor forma. Isso foi nos desanimando até que resolvemos fazer outras coisas das nossas vidas porque nos tornamos pesos insuportáveis para nossas famílias. Um artista vive de sua arte e nós não estávamos conseguindo viver dela. Foi muito triste ter que parar com tudo e seguir por outro caminho. Não houve briga e a amizade entre os integrantes é grande até hoje.

                                 

Q. Certamente vocês devem ter recebido inúmeros convites para voltarem durante todos estes anos, porque até o momento nunca aconteceu?
Realmente recebemos inúmeros convites para a realização de "um show". Mas as condições para que ele fosse feito nunca foram reais e satisfatórias. Uma reunião da banda é algo que envolve uma logística muito complexa, já que um guitarrista não mora em Brasília. Além disso, temos trabalhos pessoais diferentes, não ensaiamos com regularidade e nem possuímos mais instrumentos. Se formos fazer um show, queremos fazer algo realmente bom, que nos deixe felizes e todos que estiverem presentes. Sem dúvida queremos que seja algo emocionante para a banda e para o público, então precisamos de condições favoráveis para isso.

Q. Quais os planos para o futuro? Existe a possibilidade de que o burburinho sobre possíveis shows da Low Dream agora realmente possam vir a acontecer?
Existe essa possibilidade real de um ou mais shows porque resolvemos ouvir as propostas com mais atenção. Todos os integrantes originais da banda já sabem desta possibilidade e estão animados com a possibilidade de voltar aos palcos, mesmo que seja para uma única vez. Agora é preciso conversar com produtores, ouvir o que nos oferecem e explicar o que a banda precisa para que o show aconteça. Estamos tranquilos e torcendo para que isso finalmente se viabilize em breve.

Q. Alguma mensagem para os antigos e novos fãs?
Obrigado por nunca desistirem da gente. Esperamos um dia retribuir isso com pelo menos um show fantástico para todos. Estamos entre os sonhos e as coisas reais. Keep rockin'
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Obrigado Giulliano, vida eterna a Low Dream!!!!

segunda-feira, 29 de outubro de 2012

Rollercoaster with The Cult Of Dom Keller - An Interview

                                  

Acidez pura, imagens desconexas, viagens encharcadas de sexo, drogas e rock´n´roll, como reza a lenda, o caos, a loucura, a insanidade, a provocação, as alucionações, as guitarras, vida, morte, morte e vida, psicodelismo psych de deixar os mestres felizes.

Assim é Cult of Dom Keller, ouvir seus 3 eps é cair de cabeça no mundo esquizofrenico e paranoico de 13th Floor Elevators, Spacemen 3, Syd, Brian Jonestown Massacre e afins.

Aqui o buraco não é mais embaixo é literalmente no inferno, com chamas altas quentes, e extremamente viciantes.....ah beleza, já deu pra sacar que o TBTCI é inteiramente fanatico pelos caras, então, meia o que eles estão dizendo na entrevista ouvindo as odes de CODK e depois entenda porque o culto existe....


***** Interview with The Cult of Dom Keller *****


Q. When did Cult of Dom Keller starts, tell us about the history...
The universe brought CODK together in the Autumn of 2008.

We met in the same mental institution and formed a band in the mental hospital's basement.

Q: Who are your influences?
Influences are the sounds between the sounds in our heads..life..death and psychedelics...

We are inspired by a plethora of influences from old blues records to 60s garage bands through to the proto- heavy rock bands like black sabbath to the tripped out genius of skip spence and Syd Barrett and Roky Erikson's13th floor elevators. We are also heavily inspired by films, the works of David Lynch, Alejandro Jodorowsky, Man ray, Fritz Lang.

The iconology and visuals inspire us lyrically and the feeling a film can create can lend to a sonic landscape we may be working on as we sometimes see our tracks as scores to an imaginary movie.

                                

Q. How do you describe Cult of Dom Keller sounds?
Our music is created through a collision of songwriting, jamming and trying to create a certain feeling/mood.

Q: Tell us about the process of recording the debut album?
Our first EP has a stream of unconsciousness feel about it as the songs bleed into one another with bursts of ideas and buried vocals to create an unearthly world.

Our second EP was a more song based affair which used the textures and the sonic exploration of EP1 to bring the songs alive.Our third EP was a dark descent into a swampy heavier black sonic mass where the songwriting and sonic experimentation merged together to create our darkest collection of tracks so far.

In October we will be releasing our debut album. The album will be a cross section off all these facets with some new tracks that evolve the Dom Keller sound even further.

Q. How do you fell playing alive?
Playing live is a religious experience where we conjure up spirits past and future to create a sonic mass.

It makes us feel alive.

Q. Made a list of 5 albuns of all time…
Top albums...chrome - half machine lip moves, 13th floor elevators - psychedelic sounds of, Birthday party - junkyard, stooges - stooges/funhouse, skip spence - oar, Black sabbathplans for the future....tour europe...release the album..return to the US...spread the psychedelic gospel and convert more people to the cult of dom keller.Our grand plan is to spread our psychedelic gospel to every corner of the world by releasing great albums/eps/singles and touring the world and recruiting more disciples to the cult of Dom Keller.
                               
Q: What´s the plans for future....
We want to inscribe our name on the psychedelic scriptures of time and leave behind a legacy of music that will be discovered in years to come and blow minds young and old... bands curently like...psychic ills, indian jewllry

Q: Any parting words?
Parting words.....love is the law..love under will

Love and sonic mass from your favourite psychotropic spacemen
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Thanks CODK





Fuzztones with Gum - An Interview

                                   

Noise fuzz pop songs são grudentas até o talo, o maior mestre no quesito atendia pelo nome de Black Tambourines, simplesmente um patrimônio ruidoso e pegajoso.

Bebendo neste fonte os londrinos do Gum atacam via bubblegum noise fuzz songs com seu novissimo ep Seventeen, cinco musiquinhas pra fazer a festa de qualquer fã do genero, sem contar outras fontes facilmente perceptiveis, MBV e J&MC é óbvio, como se livrar da influências dos mestres, diz ai?!?!E quem disse que o Gum quer se livrar das suas influências, elogiados por gente do naipe de Pains of Being Pure at Heart e Ringo Deathstarr, já dá facilmente pra sacar que o Gum é queridinho do TBTCI, e não a toa.

E uma entrevista no minimo esquizo com os caras vem com mais fuzz ainda......

***** Interview with Gum *****

                                     

Q. When did Gum starts, tell us about the history...
Gum were born on September 15th 2011 and are not dead yet. Chris and myself come from the Island of Jersey, Dayoung 'Styxx' Yun is from South Korea and Jess comes from the sunny seaside town of Brighton.

Q: Who are your influences?
Kit Carruthers and Holly Sargis... any teenage couple hell bent on going over the edge.

Q. Make a list of 5 albums of all time…
1. Junkyard - The Birthday Party
2. Evol - Sonic Youth
3. Any album from The Smiths
4. Master Of Reality - Black Sabbath
5. Loveless - My Bloody Valentine

                                     
Q. How do you feel playing live?
Forgetful, it's quite easy to drift off.

Q. How do you describe Gum sounds?
Slippy and occasionally wavey....but sometimes its follows a particular line.

Q: Tell us about the process of recording the new ep?
We all met on a boat which had a studio built into the bottom deck. It was recorded and produced by Rory Attwell from Test Icicles (who has a new project called Warm Brains which is worth checking out) As we played the boat rocked back and forward which created that washy sound from our guitars. Legend has it Kevin Sheilds ancestors were Spanish pirates who handed down the secret of the shoegaze guitar sound to him.

Q. What´s represents the shoegazer classic era to the band?
Don't think there is one for us...we pretty much listen to whatever we like from whenever we like and there are gazey bands that fit in there too. I don't really even see a gap between shoe gaze and the nu-gaze bands.

Q. Which new bands do you recommended?
We have been playing with Honeyslide, Tyrannosaurus Dead and The Hundredth Anniversary recently who are all amazing. On my walk-man I've been enjoying LSD & The Search For God, Micachu & The Shapes, Ringo Deathstarr (Who we are playing with soon) Cerebral Ballzy and The Vile Imbeciles album 'D Is For W' which I can't stop listening to.

Q: Which bands you love to made a cover version?
The Birthday Party, I would love to do a Gum version of "Deep In The Woods" though I'm not sure if its possible. I've also been looking at 'Teenage Idol' by Ricky Nelson. I'm a big Roy Orbison fan too, so a slice of Roygaze could be good.

Q: What´s the plans for future...
Double concept album with no gaps would be nice but more than likely a normal album with 19 songs clocking in at 19 minutes. Could go either way or not at all. A tour is imminent also, just not sure how to do it yet!

Q: Any parting words?
Listen to Black Sabbath.
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segunda-feira, 22 de outubro de 2012

Ballad of Adam and Eve with Pony Trash - An Interview


Shoegazer climático, épico e eloquente, é assim que ao ouvir o ep de estréia do Pony Trash o TBTCI chega a conclusão e remete-se diretamente ao terceiro ep do grandioso Moose, lembra-se de This River Never Will Run Dry ou Do You Remember?, é exatamente essa sonoridade que o Pony Trash pegou e redecorou com uma roupagem atualizada e contemporanea, mais ainda, pegue os integrantes do Pony Trash e notem que todos tem história no submundo do shoegazer, Gospel Gossip, Chambermaids e outras bandas bem bem bacanas, ah sim o ep remete muito também a uma patrimônio da música chamado The Church, é impossível não se impressionar com as guitarras cristalinas do Pony Trash.

Então, é isso, sem maiores delongas, já engatilhamos uma entrevista para não deixar escapar o contato imediato feito Neil Weir,

Que o Pony Trash venha com mais e mais perolas como este EP.

**** Interview with Pony Trash *****

                                   

Q. When did Pony Trash starts, tell us about the history…
Neil: The finalized lineup has been active for about a year and a half. I originally started the project because I had some song ideas that seemed to be asking for a different approach from the other band Nate and I are in (The Chambermaids.) I was friends with Ollie from recording Gospel Gossip and I met Chris Bierden through friends and through working with his old band, Vampire Hands. I'd wanted to play with both of them for a long time.

Q: Who are your influences?
Neil: We're all coming from different places but I was personally influenced by the idea of combining shoegaze with hypnotic '70s rock like Crazy Horse. I was thinking a lot about The Church, too

Q. Made a list of 5 albums of all time…
Neil: I don't know if I could do that but right now but off the top of my head, at this minute…
The 3rd Velvet Underground LP
My Bloody Valentine - Loveless
Neil Young - Everybody Knows This Is Nowhere
Brian Eno - Another Green World
The Clean - Anthology

Q. How do you fell playing alive?
Neil: Playing live in Pony Trash is great because a lot of the songs have sections that are semi-improvised and allow us to surprise ourselves.

Q. How do you describe Pony Trash sounds?
Neil: Post-Shoegaze / Psych / FM Gold

Q: Tell us about the process of recording the EP?
Neil: We recorded the EP at my studio, The Old Blackberry Way. I wanted to make a record that would come across as something being created by four people rather than something constructed in the recording process. We spent a lot of time on it, but the instrumental tracks are primarily live and most of the vocals are complete takes, imperfections and all. I tend to care more about music that seems like it's made by people rather than constructed in the editing and mixing process.

Q. What´s represents the shoegazer classic era to the band?
Neil: For me, probably "Isn't Anything / Loveless"-period MBV and the first Lilys record. There's a solid, raw midrange quality to those records and genius songwriting under all the the crazy sounds. Sounds are incredibly important but a good song is a good song.

Q. Which new bands do you recommended?
Neil: I'm pretty obsessed with The Twerps right now. There are some great band in in Minneapolis, too, like Flavor Crystals, Heavy Deeds, Robust Worlds, Is/Is and The Velveteens.

Q: Which bands you love to made a cover version?
Neil: Hmm.. Maybe something sort of unexpected. We've talked about covering Gerry Rafferty's "Right Down the Line."

Q: What´s the plans for future….
Neil: We have several new songs and we're going to start recording another EP or a 7" soon.

Q: Any parting words?
Neil: Thanks for asking us to do this interview…
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Thanks Neil

http://ponytrash1.bandcamp.com/

quinta-feira, 18 de outubro de 2012

Pure Phrase with Electric Lion Sound Wave Experiment - An Interview

                                

Detroit Rock City assim ficou conhecida a cidade que nos deu Iggy, os Stooges, MC5, e outras cositas mais, mas creio que o vulgo vai mudar, acrescente o termo "space", Detroit Space Rock City soa muito mais atual e e serve como berço e casa para uma daquelas bandas que tende a se tornar cultuada e seus seguidores sendo altamente ortodoxos, porque o Electric Lion Sound Wave Experiment joga em nossas mentes o alucinógeno e viajante Fade In, daqueles albuns encharcados de psicoledia, drones e repleto de paisagens coloridas e deslumbrantes, um genuino artefato descendente de BJM, Spacemen 3 e afins, ainda tem no caiderão do ELSWE, shoegazer clássico,

Pouquissimos irão chegar perto desta perola chamada Fade In, mas o TBTCI aposta que quem chegar tera sua passagem garantida para outras esferas, um dos grandes albuns lançados neste espetacular 2012.

Ah, curiosidade o TBTCI recebeu o album de presente de aniversário nesta ultima segunda feira, um deleite completo, e o minimo pra retribuir segue abaixo, entrevista com o ELSWE ou se você preferir Electrin Lion Sound Wave Experiment .

Boa Viagem,,,,,,,,,,,,

**** Interview with Electric Lion Sound We Experiment *****

                                         

Q. When did ELSWE start, tell us about the history…
im from detroit and ive played music with diffrent people in the band for years having three diffrent versions with 3 diffrent names and each one is diffrent…a band memeber gets tired of me or i get tired of him and we part ways ..but this line up is diffrent, were all on the same page as far as taste i record music under diffrent names and with diffrent people im obsessed with loud swells,i play loud music for years with my friends

Q: Who are your influences?
noise ,music ..the people i make music with they all have really good taste , i love 99.9% of what anton newcombe puts out i dig on evrything ...the smiths are fucking mindblowing ….mbv of course …RIDE drive blind is the one of the best songs of all time! but alot of times you dont hear it in the live or recorded versions of what we do we get lost on stage and turn into a strucutered noise wall sometimes guitar is at the front sometimes synth blah blah blah

Q. Made a list of 5 albums of all time..
i dont have just 5 but i ll give you more..Brian Jonestown masacare METHADRONE thats one of the greates albums ever ..Elliot Smith/self titled,The Smiths, meat is murder (big mouth strikes agian) listening to that right now gives me goose bumps,..mbv loveless ..ride drive blind is fuckin crucial man so hard swervedriver, jimi hendrix voodo soup a collection of songs from band of gypsies-fuckin essential!!!! so many i could talk for years

Q. How do you feel playing alive?
i love playing live we play loud very loud i love being able to sit and arrange vocals and songs as well

Q. How do you describe ELSWE sounds?
live very cavernous and thick at the same time i have 3 synths guitar and bass and everybody can make stupid crazy noises on there own,but we bring it togheter quite loud and then louder

Q: Tell us about the process of recording the new album?
we record on all diffrent kinds of equitment digital and analouge the 1st record i did was on reel to reel tape and my good friend robbie buxton from Carlot studios recorded with me ..what fallowed was diffrent projects alot of stuff that was recorded but never used a the album FADE IN is a result in a little over a year of me going to my guitar players house being super high laying down guitars and synths and writing. We are releaseing FADE IN with a 5 song self recorded and hand done sleves limted edition

Q. What´s represents the shoegazer classic era to the band?
if i understand the question correctly your asking what era do i identify the band with..seems to be a mix of the 80s 90s and modern

                                 
Q. Which new bands do you recommended?
some bands that i play with.. pewter cub,oblisk, isles of esp, my favorite band right now is a place to bury strangers, also bands like spindrift but alot of these bands have been playing for awhile in the the underground but are some of the best bands of our generation

Q: Which bands you love to made a cover version?
Tribe called Quest Midnight Mauraders

Q: What´s the plans for future….
keep on making noise,music, touring keep trying to reach audio nirvana

Q: Any parting words?
sleeping is the cousin of death
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Thanks Guys

terça-feira, 16 de outubro de 2012

Just Like Honeys with A*Star - An Interview

                              

Perry Pelonero, Kim Welsh são velho conhecidos do TBTCI, alias prediletissimos da casa, e agora junto com Michael Parkin e Ian Baird nos presenteiam com o belíssimo A*Star, dream pop espetacular, sonhador, dançante, com guitarras oras gritantes oras cristalinas mesclam-se com a voz magnifica de Kim.

A*Star ainda não tem nenhum album gravada, ou fazem parte de gravadoras, simplesmente eles lançam suas musicas, alias suas perolas em seu bandcamp e disponibilizam para download com simbolicos valores de 1 dolar, 1,50 dolar e cinquenta, simplesmente para que seus fãs, e diga-se de passagem o TBTCI deve ser o mais fervoroso, mas pode perder espaço porque uma pequena legião de brasileiros e aficcionados estão deliciando-se com A*Star, quer um prova da beleza, escute Star Control (Drive It Too) simplesmente uma das mais deliciosas love songs de sempre, acha pouco, então vai se foder, você não merece ouvir A*Star!!

Perry, Kim, Michael e Ian, gentilmente cederam ao TBTCI uma maravilhosa entrevista, que faz jus a história de Perry, que diga-se de passagem, o TBTCI é extremamente fã dessa figura espetacular!!

Perry Pelonero RULEZ!!!!

***** Interview with A*Star *****

                                                      

Q. When did A*Star starts, tell us about the history...
Kim: Perry and I have worked on several projects in the past 5 years—Skylight, Bliss City East, Morpheme… and A*Star came about when we realized we just wanted to return to the way we started: Sitting in our studio, messing around, making sounds, having cocktails (though Perry doesn’t drink anymore), and doing things our way with no pressure to do anything we don’t want to do. A*Star is named after our daughter, Ada Star. We envisioned it being just us with the occasional guest musician, but we’ve really enjoyed working with Mike and Ian, so it’s sort of rounding out to be a foursome. From the start of A*Star, we have kept the idea that we won’t ever be “working on an album.” We will take one song at a time, work on it until it’s exactly what we think it should sound like, and release it as a single. Then repeat. We don’t want the pressure of working on a whole album where we get maybe three good songs, two mediocre songs, and a couple of filler songs that mean nothing to us. Every song we release will be the best we can do. It’s more realistic for our lifestyle, and keeps us active in the music community, and keeps our friends wondering what’s next.

Q: Who are your influences?
Kim: My singer influences would be Debbie Harry of Blondie, Chrissie Hynde of the Pretenders, probably Madonna if I’m honest (I grew up in the 80’s, what can I say?), Linda Ronstadt (my dad used to play her records when I was a kid), the girls in Fleetwood Mac .

Q. Made a list of 5 albuns of all time…
This is impossible! but at the moment

Perry:
1. Rush Signals
2. Dinosaur JR Bug
3. Pink Floyd Animals
4. Led Zeppelin : Houses of the Holy
5. Swervedriver Mezcal Head

Kim:
Rush Moving Pictures
Pink Floyd Animals
Led Zeppelin The Song Remains the Same (live, love it)
Pink Floyd Dark Side of the Moon

Rush Clockwork Angels (I love this more every time I hear it, especially after seeing them perform a bunch of it)

I should also point out that I play the hell out of Blonde Redhead’s 23. I don’t know. Is it old enough to be one of the greatest albums of all-time? It’s certainly brilliant.

                                             

Q. How do you feel playing alive?
Perry: I have spent a lifetime of playing live and although i still love it, we do not plan on doing anymore live shows. If we do, it would either be out of state or with that very special band. There is nothing like playing live though. Given the right conditions, its electric.

Kim—It’s always tough for me. Our sound always stumps the sound guys, and I can never hear myself sing, even with my in-ear monitor. The preparation for a show is so tedious (and it’s often the only time Perry and I really fight) so the payoff at the end isn’t usually worth the effort. I like the controlled environment of the studio, and I like to play with my vocal sound. I can sit in front of the computer for hours and just sing and sing and sing by myself. I am a true introvert.

Q. How do you describe A*Star sounds?
Perry: Heavily influenced by Rock N Roll man :) It’s what we were born to do .

Kim: Arenagaze! Bringing back the guitar solo one song at a time. It’s hard rock with shoegaze/dreampop elements. We like a nice melody and a hook. All of our lyrics tell a story and are carefully composed even if you can’t hear them under the guitars.

Q: Tell us about the process of recording the songs...
Perry: Well we recently found Ian Baird who not only plays drums and bass now, but he also owns a recording studio in his house. So far its worked out where i will write the songs and send them to Ian for drums/bass and mixing. Basically he puts the songs together the way they should be. The dude is a miracle worker honestly. From there we wait for Kim to add vocals and Mike Parkin to add his guitar bits. He is a much better guitar player than i am actually. His addition has made a big difference.

Once Perry records the concept of the song and Ian adds drums, Mike and I do our parts and then there’s a lot of back-and-forth massaging to get the parts exactly right. We’ve also decided to only release songs with a video, because we think of it as a package. Not just a song, not just a video, but a song-and-video. So we start to conceptualize our video while we’re working on the song.

Q. Which new bands do you recommended?
Perry: Blindness ! Fantastic new band and even better people.. you should look them up. They have a new single out on Club AC 30 called Glamourama.... Lets see ....Nightmare Air, The Foreign Resort and The Microdance from London indeed. Black Swan Lane, Her Vanished Grace, Andy Whitaker from the Sun and the Moon has a new solo album out on Black Swan Lane’s label that is fantastic. ... Freedom Hawk kick massive amounts of ass and one of my favs these days. If you like Rock N Roll, listen to those cats.

Kim: What he said. My office is 10 feet away from Perry’s office, so what he listens to, I hear.

Q: Which bands you love to made a cover version?
Perry: We are working on a secret cover right now with Charlie from Her Vanished Grace. Its been at a stand still while we work on life in general but it will get done :) .. I always wanted to cover the House Of Love song Shine On :) I love that band...

Kim: I still want to do a Pink Floyd cover. (Pigs on the Wing especially.) I’d like to be in an all-girl tribute band that we’d call Pink Flo. The song we’re doing with Charlie has been on my list for a long time, but I can’t tell you what that is yet J There are also a lot of 70’s tunes I’d love to do; So Into You by the Atlanta Rhythm Section comes to mind.

                                               

Q: What´s the plans for future....
Perry: Keep recording and writing new material as it flows out. This band line up is amazing and makes me feel all warm and fuzzy inside. We have some really great things happening for us right now. As the months go on news will be announced. :)

Kim: Keep exploring new ways to share our music so we can afford to keep making it. For work, we produce instructional videos for social media, so we’d like to write more soundtrack music for those—and we’d like to do more soundtrack work in general. We’re also really excited about the Hush Delirium art/music project and would love to be involved in more audio/visual applications.

Q: Any parting words?
Perry: Yes WE LOVE YOU BRAZIL! You guys are our best fans so thank you so much for all the love and support you give us.

Kim: You mean something that sounds smart? I’ve got nothing. We do love you, Brazil.
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Thanks my great friends....

segunda-feira, 15 de outubro de 2012

Especial Rockers Noise Festival na Antena Zero


Nesta quinta feira 18/10 as 22:00 hrs rolara o segundo programa do Especial Rockers Noise Festival, na bacanérrima Antena Zero capitaneada pelos grandes comparsas e amigos Flávio Chiclé e Ricardo Bola.

O programa dessa semana dá uma geral no line up gringo do festival, jogando pedradas do Motorama, Gallon Drunk, Adam Franklin & Bolts of Melody e The Telescopes, apresentará ainda uma entrevista exclusiva com Robson Gomes (vocais e guitarras) do The Concept, patrimônio do underground nacional, simplesmente imperdivel.

E para os desavisados o programa tem reprise domingo dia 21/10 as 20:00 hrs, ou seja não tem porque você vacilar e perder.

Aproveitando, a Antena Zero sera a casa e a parceira do TBTCI brevemente, isso mesmo, o TBTCI iniciara finalmente suas atividades na rádio, acompanhe a programação da Antena Zero e se ligue aqui, que em breve haverão muitas novidades/

Enquanto isso, sintonize a Antena Zero, e curte, classic rock, pos punk, krau, punk, garage, psicodelismo, shoegazer, glam, darkwave e busquem conhecimento, porque na boa se você não correr atrás ele que não correrá atrás de você.

www.antenazero.com.br
www,gruporockers.com.br

quarta-feira, 10 de outubro de 2012

Oceanside with Deardarkhead - An Interview


Simplesmente um dos prediletos da casa, banda queridíssima desde os meados dos 90´s, o Deardarkhead é daquelas preciosidades que ficaram escondidas no limbo do submundo do shoegazer, e esquecida de forma absurda, porque seu mix de shoegazer clássico (Ride, Pale Saints) com o pos punk de bandas como os Chameleons, Bunnymen entre outros deveria ter tido um tratamento e merecido destaque, mas injustamente o mundo musical é cruel e nefasto, e seus primeros trabalhos como os Eps Ultraviolet e Melt Away Too Soon, são simplesmente perolas que graças a espertissima Captured Tracks foram resgatados atraves da coletanea Oceanside e ainda tem no catalogo duas fitas cassestes (sim pasmen!!) as primeiras gravações do Deardarkhead, sem contar no seu unico album Unlock The Valves of Feeling.

O TBTCI simplesmente enaltece e engradece a obra do Deardarkhead como forma de justiça a tamanha inspiração que é esta banda magistral que para a sorte de todos, esta na ativa novamente, tocando pelos Estados Unidos, e porque não alguém possa quem sabe um dia traze-los para este pais, quem quiser, faça abaixo assinados e provem ao TBTCI que isto pode ser viavel, afinal o TBTCI pode realizar sonhos, ou não?! Obvio que sim.....

Srs, e Sras, Deardarkhead e a história do shoegazer passada a limpo.


***** Interview with Deardarkhead *****

                                              
Q. When did deardarkhead start, tell us about the history?
Rob Weiss: I started the band in 1988. The first lineup was with Kurt Douglass (guitar), Blakely Parent (guitar & vocals), Josh Minor (bass) and myself (drums). We recorded a 7 song demo tape called Greetings From The Infernal Village, which we did by ourselves on a 4 track cassette recorder. Soon after that around 1990, Josh left and Michael Amper joined the band as our vocalist, he also played keyboard and guitar. Blakely moved over to bass at that point and we released a 4 song tape Spiral Down and Vibrate in 1991 and then a 4 song cd Melt Away Too Soon in 1992. Kurt left after that in 1992 with Kevin Harrington replacing him as the guitarist. We then released the Ultraviolet cd in 1993 and Blakely left in 1994. After that we became a three piece with Mike on vocals & bass, Kevin on guitar and myself on drums. We next released Unlock the Valves of Feeling in 1998. Mike then left the group at the end of 2009 leaving the future of DDH uncertain. Luckily Kevin McCauley came on board as our bassist during the fall of 2010 and we have been playing as an instrumental three piece ever since. We're still hopeful we will find a good vocalist, but we're not letting that stop us from going forward.

Q: Who are your influences?
Rob Weiss: I could go on and on about all the bands I love, so I'll just name a few that initially influenced me to start DDH: The Cure, Echo & The Bunnymen, U2, Joy Division, The Police, The Jesus & Mary Chain, Dif Juz, The Cocteau Twins, The Beatles, The Church, The Chameleons, and 4AD/Creation/Factory Records in general.

Kevin Harrington: I've been playing guitar with DDH for twenty years now, within that time there have been many bands from different types of music that have influenced me along the way. These are some of the bands that had the most impact on my sound and style of playing back in the early years: The Church, The Cure, Cocteau Twins, Jane's Addiction, Curve, Kitchens of Distinction, Lush, Ride, Slowdive, Catherine Wheel, Verve, The Chameleons, and Adorable. As I've gotten older my influences have continued to evolve and change. I could be here all night trying to list all the bands that I could say have affected me over the years, but I don't want to bore you. Let's face it, there is a lot of great music out there, you just have to take the time to hear it.

Kevin McCauley: Oasis, Radiohead, The Verve, The Cure, The Jesus & Mary Chain, Lush.

Q. Make a list of your 5 albums of all time.
Rob Weiss: Just five? I think I need a top 100! That's a tough question and on any given day I'd probably give you a slightly different list...so in no particular order: My Bloody Valentine Loveless, Echo & The Bunnymen Heaven Up Here, The Cure Disintegration, Miles Davis Kind of Blue, and The Beatles Revolver.

Kevin Harrington: This was tough to narrow down, but here they are (in no particular order): Script of the Bridge by the Chameleons, Priest = Aura by The Church,Gentlemen by the Afghan Whigs, A Storm In Heaven by Verve, Blue Bell Knoll by the Cocteau Twins.

Kevin McCauley: Oasis What's the Story Morning Glory, The Cure Head On The Door, Jesus & Mary Chain Psychocandy, The Beatles Abbey Road, and Oasis Definitely Maybe.

                                

Q. How do you feel playing live?
Rob Weiss: As a drummer, I'm far too busy concentrating on keeping time to really enjoy the moment. Drumming is also very physically demanding. For me it's about playing well and reproducing the songs the way we want people to hear them. After a show we tend to dwell on the mistakes we made rather then how well we played. That said, when we play well, I do feel a great sense of accomplishment and satisfaction. Overall playing is fun but it takes a lot of work and effort. I like the creative process more than performing, but it's always great when you get positive feedback from an audience.

Kevin Harrington: I love it and sometimes hate it at the same time. Although I'm still using lots of effects, I'm not playing big washes of sound where mistakes can be less noticeable. The guitar parts have needed to become more articulated and defined like a guitar/vocal part since we lost our singer. So if I mess up, I feel it's really obvious! Being a part of an instrumental three piece, it's hard to hide your mistakes. We all have to be spot on and it can be nerve racking. So, it all depends on how things are going, how I'm playing that night. However, we always end up having a great time

Kevin McCauley: I would much rather play live than say rehearse or record, as you really get the true dynamic of the band collectively. When we are tight and in-sync, there is nothing quite like it.

Q. How do you describe deardarkhead's sound?
Rob Weiss: Shoegazer, dreampop, neo-psychedelic, post-punk, indie rock. These are all easy labels that help people understand what we sound like. We definitely have a British influence, but I'd like to think we have our own unique sound. Basically we like dreamy, melodic, head music that's both spacey and noisy.

Kevin Harrington: Our "sound" has always been a tough one to describe for me. We've done songs that are driving and fast, others that are slow and spacey. I think each song "sounds" different because it's a different song. We've had a few lineup changes throughout the band's existence. In my opinion, DDH has had great writers and players that have all contributed in the songwriting. When we write a song the process is pretty much the same but there isn't one primary songwriter. Sometimes it's a group effort, sometimes one of us has 90% of it done. But we always finish it together. We've been smart enough to respect and trust each others ideas in our writing process. Therefore depending on if it's a spontaneous band idea or an individual start, we all put our ideas in. I've been using a Digitech 2101 through a stereo power amp for years now. The Digitech preamp allows me to make major sound changes in an instant. Depending on the vibe of the song, I can use all kinds of digital effects and tube clean/distortion tones. Being the only guitar player I need to fill up a lot of space, so I use lots of different chorus effects, delays, arpeggiators, panning, reverbs, etc. Using a stereo rig in a live setting allows for a huge wall of guitar sound that's atmospheric and engulfing.

Kevin McCauley: I would say very melodic with a sound that can range from bright and happy to dark and melancholy.

Q: Tell us about the feeling to come back and play again?
Rob Weiss: Although we've had some lineup changes and less active periods, we've been consistently playing since 1988 in some incarnation. When Mike Amper left the band at the end of 2009, Kevin Harrington and I really didn't want to end things. It's been difficult, as Amper had been with DDH since 1990 and he was our vocalist as well as the bassist. Since Kevin McCauley joined we've been playing out instrumentally since 2011 on a regular basis and that's been challenging in its own way. It's pushed us in new directions and think we are growing. We still have a lot of material we'd like to record.

Kevin Harrington: Well we never went away. We've just kept a slow steady pace so that we'll be around for another twenty years. Just imagine the questions we'll get then!

Q. What represents the classic shoegazer era to the band?
Rob Weiss: The late 80's into the early 90's was the defining era for shoegazer music. It was a great time for music in general, and it seemed like there were new British bands to discover everyday. We immediately identified with My Bloody Valentine, Slowdive, Chapterhouse, Ride, Moose, Lush and Pale Saints, as we were influenced by a lot of the same bands they liked. During that time there were a lot of great American bands working in the shoegazer genre that never got the attention they deserved. Shoegazer bands in the USA just didn't get the kind of coverage that our British counterparts received. Thankfully Captured Tracks has been reissuing a lot of these lesser known American bands via their Shoegaze Archives project.

Kevin Harrington: For me it was the early 90's with bands like MBV, Ride, Lush, Kitchens of Distinction.

                                   

Q. Which new bands do you recommended?
Rob Weiss: Ringo Deathstarr, The Pains of Being Pure at Heart, Melody's Echo Chamber, Washed Out, Sulk, Nothing, Oeil, Wild Nothing, Blouse, Exit Calm, The Dum Dum Girls, DIIV, Tycho, Tame Impala.

Kevin Harrington: Passion Pit, Destroyer, Wild Nothing, Pinkshinyultrablast, The Mary Onettes, The Bravery, Echo Lake, DIIV, Sway, The Mercury Program, Silversun Pickups, Teen Daze, Tycho, Washed Out, Raised By Swans, Exit Calm, Blonde Redhead to name a few.

Kevin McCauley: I think I have said previously that while I have my standby bands that I listen to, I have a tendency to listen to something new that I have found, over and over. That said, right now I have been spending a lot of time listening to the Lightfoils

Q: Which bands would you love to do a cover version of?
Rob Weiss: We rarely do covers, as we'd rather take time to write a new DDH song. There are a ton of songs/bands I'd like to cover. Lately I've been wanting to cover Ivy "Ocean City Girl" and maybe a Rolling Stones tune like "2000 Light Years from Home."

Kevin Harrington: I never really think about it. I like everything the way it already is.

Kevin McCauley: That can change in a heartbeat really; but so far, the Cure, particularly "From the Edge of the Deep Green Sea," "Cut," "A Strange Day," or "Faith". Yep I would enjoy that.

Q: What are the plans for the future?
Rob Weiss: Our main goals are to find a new lead singer, release more recordings and keep playing as long as we are enjoying it! One of my biggest frustrations is that we haven't recorded more. We have plenty of material, we just need money to get it out there.

Kevin Harrington: To keep playing and having fun with it and to see shoegaze, dreampop and all that stuff take over mainstream music.

Kevin McCauley: Continue playing shows and hopefully get in the studio.

Q: Any parting words?
Rob Weiss: I'd just like to thank everyone who has supported us over the years. Thank you Renato!

Kevin Harrington: Thanks for having us. Goodnight and goodbye for now.
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Thanks DDH!!!

terça-feira, 9 de outubro de 2012

Another Kind of Noise with Dot Dash - An Interview

                                  

Uma superbanda vem a tona ex integrantes de Glo-Worm, Swervedriver, Strange Boutique entre outros originou o combo Dot Dash, simplesmente uma indie band como deve ser, guitarras no seu devido lugar, musicas pegajosas fadadas a atingirem o grande publico, melodicos ate o talo, o Dot Dash vem com seu segundo album Winter Garden Light, um daqueles albuns que se cair na graça de alguém da NME vai ser a proxima grande banda da atualidade, o fato é que o Dot Dash é altamente bacana, uma pegada que remete aos bons tempos do Undertones ou Buzzcocks com uma roupagem atualizada sem cair na mesmice.

Winter Garden Light credencia o Dot Dash a alçar grandes degraus, essa é a aposta do TBTCI, e para fazer parte da historia do Dot Dash, logico que a entrevista tá na mão....


***** Interview with Dot Dash *****

                                      

Q. When did Dot Dash start? Tell us about your history...
We played our first show, opening for The Trashcan Sinatras, in June 2010. That summer, we had a little 3-song EP come out on a German microlabel called Edition 59 Records. In Summer 2011, our first album, called spark>flame>ember>ash, was released by the Canadian indie label The Beautiful Music. A few weeks ago, The Beautiful Music released our new album, which is called Winter Garden Light. In between all of those records, we've played lots of gigs.

Q: Who are your influences?
You'd get different answers from all of us, but a common thread is lots of late 70s and early 80s new wave and post-punk stuff, lots of 60s pop, and basically anything with strong melodies and lots of energy.

Q. Make a list of your top 5 albums of all time…
Terry -- guitar and vocals:
The Undertones -- Positive Touch
The Byrds -- Mr. Tambourine Man
The Clash -- London Calling
The Bongos -- Drums Along The Hudson
Joy Division -- Unknown Pleasures

Bill -- guitar:
The Who Quadrophenia
The Jam -- Sound Affects
U2 - Boy
The Clash -- London Calling
Jonsi -- Go

Hunter – bass:
Love - Forever Changes
The Oranges Band - The World And Everything In It
Warren Zevon - self-titled
The Adolescents - self-titled (aka The Blue Album)
Embrace (the D.C. band, not the terrible British one) - self-titled

Danny – drums:
Red Kross – Poshboy
Swervedriver - Anything by them
Punishment of Luxury – Laughing Academy
The Beatles – Revolver
The Kinks – Are the Village Green Preservation Society

Q. How do you feel about playing live?
We love it. Usually, the less you try, the better it is.

Q. How would you describe Dot Dash's sound?
Well, other people have called us jangle pop, indie rock, power pop, mod, post-punk, and so on... Take your pick -- it's all fine by us.

Q: Tell us about the process of recording the new album?
We recorded it in three days early this summer at a place called Lord Baltimore Studios. They were nice guys who knew their stuff and it went well.

                                  

Q. What represents the classic shoegazer-era?
Well, we don't think of ourselves as shoegazers (although Danny was in Swervedriver for a while) but some of that stuff was quite good.... and it would seem 1991-92 was kind of the prime era -- Loveless, the first couple of Ride records, Slowdive, Pale Saints, that kind of stuff...

Q. Which new bands do you recommended?
The Drums, The Manic Low, Evans The Death, among others.

Q: Which bands would you love to record a cover version of?
One of th*
ese days we’re going to get around to recording a cover of a Television Personalities song for The Beautiful Music’s excellent TVPs tribute series. We’re always more interested in doing our own songs, than covers, but one day we’ll get it done – we swear.

Q: What´s the plan for the future?
Keep playing gigs. Hopefully get a third album out. Have fun.

Q: Any parting words?
Righty tighty, lefty loosey.
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http://www.facebook.com/dotdashdc
http://dotdashdc.bandcamp.com/  

quinta-feira, 4 de outubro de 2012

Almost Gold with The Waves - An Interview

                                             

Contatos imediatados viraram rotina no TBTCI, motivo de orgulho total, porque os leitores são exatamente os músicos e os fãs verdadeiros, ou seja, o TBTCI venceu.

Um dos mais recentes contatos atende pelo nome de The Waves, shoegazer psicodelico, do jeito que adoramos, tudo esta contido no novissimo ep Blue Mantra, nome mais do que sugestivo para os iniciados no TBTCI, o ponto é que Blue Mantra traz 4 perolas, Untitled, Already Gone, Lucylou e Rocket Driver, vão se complementando uma após a outra, sem ordem ou preferencia, simplesmente o ep é viciante, já nos primeiros acordes sua cabeça balançará e seus pés marcarão o compasso, simples assim.

The Waves e seu Blue Mantra é grudento pegajoso, um droga daqueles de viciar até ficar extasiado sem como reagir, psicodelia colorida envolta a uma atmosfera mezzo shoegazer mezzo freak com uma apetite por J&MC que vou falar, um deleite.

E aí como de praxe tem entrevista sempre exclusiva com The Waves, aqui no TBTCI.

***** Interview with The Waves *****




Q. When did The Waves start tell us about the history...
A: We started out around 3 year back, there's no great story behind us I'm afraid. I think initially it was just a case of wanting to start a band believing we could do something more interesting and better than the music in our area, considering where we are from that's not so bold. Plus we were just buzzing off music at the time and inspired by finding a few bands that blew us away. We've known each other from our school days (Ryan & James). Between us we have written all the music so far. Two E.P's When You Open The Door last year and Blue Mantra this year. In that time we have been collecting members to join us full time and for gigs and we're just about there, Pat our mate joined us on bass and more recently David on Drums.


Q: Who are your influences?
A: Lots of 60's and 90's stuff mainly, its tough to name just a few bands that influence your full sound
As its easy to draw influence from anywhere with music, a small part of any song or a sound from anything even a unrelated genre But as a solid staple I would say Brian Jonestown Massacre, Spiritualized, Jesus and Mary Chain, Beatles & Stones.

Q. Made a list of 5 albums of all time…
A: Very hard question.. It would have been hard to choose top 5 artists

A good way we can do this is to choose what initially comes to the top of our heads first and leave it at that.
Otherwise it would take too much thought and justification.. We got

The Velvet Underground & Nico
Jesus and Marychain Honeys Dead
Beatles Revolver / Rubber Soul (couldn't decide)
Pixies Doolittle
Iggy Pop Lust Lor Life

Q. How do you feel playing live?
A: Unfortunately we have not yet played live yet. We have only just found a drummer to play with us!
Although we have put out two EPs its just two of us that's recorded them, so like I said before its been a case of building a Band from there. Its still early days for us but playing live is in the post, we're really looking forward to it.

Q. How do you describe The Waves sounds?
A: I don't know.. Its just psychedelic rock or pop as far as we're concerned. Our influences get passed through us and its our sound that comes out, with our own flavour like a guitar pedal. I think we are still tailoring slightly but the more we write the more we understand what's right for us. Its shaping up nice and natural.

Q. What´s represents the shoegazer classic era to the band?
A: early 90's.. After the initial spacemen3, early marychain, isnt anything in mid to late 80's around 91-92 or around about, you get Loveless, whirlpool, souvlaki, honeys dead, going blank again, telescopes untitled
all pure class!! In just a couple years

Q. Which new bands do you recommended?
A: Ceremony (old Skywave)
Sulk / Ruling Class
Ringo Deathstarr

Q: Which bands you love to made a cover version?
A: I don't think we plan to do any covers, but these would be cool to play we recon
Beatles- Rain
JAMC- Head On
December Sound- Dead On A Cross

Q: What´s the plans for future....
A: Gigs, travel around some, we would like to do some gigs in Europe, get better, do an album, enjoy ourselves.

Q: Any parting words
A: choose love
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Thanks Guys

https://www.facebook.com/thewavesuk
http://thewaves-uk.bandcamp.com/album/blue-mantra-ep

quarta-feira, 3 de outubro de 2012

Don't Let Our Youth Go To Waste with Sonora Coisa - Track by Track

                                           

Vou ser extremamente prático, porque a história que segue abaixo é muito, mas muito melhor do que qualquer coisa que eu possa vir a escrever, ou melhor, pera aí.....ah deixa quieto.....

O TBTCI só quer dizer que Sonora Coisa é foda, ok e eu me encho de orgulho em publicar algo tão soberbo e cheio de emoção, por essas e outras que o TBTCI segue em frente....

Vida longa ao Sonora Coisa!!!!

Sonora Coisa - EP - Track by Track

"Imagine cinco garotos que nunca tinham entrado em um estúdio para gravar, não sabiam nada sobre metrônomo, nem pista, nem qualquer coisa próxima do que é “gravação por canal”. Tínhamos gravado demos com uma câmera simples, captado o áudio ao vivo, e isso era o mais próximo de uma gravação que chegamos. Mas tudo aconteceu muito rápido. Nossas demos foram parar nos ouvidos de um dos melhores produtores musicais do mundo, conhecido por ter feito Galaxie 500, Low,Codeine,Daniel Johnston,entre outras pérolas,e as coisas ficaram sérias para nós...

“Procurem uma gravadora”, ele disse. Foi o que fizemos. De 3 para as quais mandamos material, 2 responderam. Fechamos com a Pisces.Agora precisávamos gravar.Kramer,Pisces,3 musicas demo mal gravadas no myspace,e o estúdio mais barato da cidade era o local para onde íamos agora.

Foram 3 dias gravando as 5 musicas do EP,mais 4 mixando.O homem por trás da mesa não sabia o que significava “lo-fi”, “shoegaze”, “guitar”,não entendia o nosso som,mas seguimos em frente. Foram 400 reais, dias legais, empolgação, frio na barriga, e aprendizado. Depois de gravadas, as faixas seguiriam para a Flórida, para serem masterizadas pelo Kramer. Ouvindo agora, sentimos cada pedaço do que foi tudo isso, em cada faixa está o que éramos e para onde evoluímos, ficou uma parte de nós nestas 5 musicas. E para sempre..."


                                 

1-PICTURE BOOK

Era a musica mais nova naquele momento. Gravamos tudo com uma Les Paul meio quebrada, uma Telecaster tbm quebrada, 2 baixos e a bateria do estúdio. Sem efeitos, era o esqueleto de uma musica “indie dançante”, ou o mais perto disso que podíamos chegar. Não sei qual foi a referencia aqui, como tudo o que compusemos, ela simplesmente veio. Tem 3 partes simples, o refrão com uma nota só no baixo, uma repetição monótona que me faz lembrar Beat Happening. Talvez tenha sido a referencia. Não lembro muito bem. A letra veio do fato do Afonso, nosso guitarrista, reclamar de letras depressivas. Então tentei escrever algo sobre o fim da depressão. Soa alegre/triste, começa com a linha marcante do baixo, entram as guitarras, entra a letra, ela segue e termina como começou. Mr Kramer fez um bom trabalho nela, colocando os instrumentos no lugar certo. Começa o EP de um jeito legal, e é a mais diferente do resto.

2-JUMPER BOYS

Essa foi a primeira que fizemos. Tudo nela está errado, o cara do estúdio não entendia o que estávamos fazendo. Ela tem as guitarras cada uma em uma afinação, é tudo fora do lugar, soa muito estranha, mas essa era a intenção. Depois de ouvir umas 3 vezes ela passa a fazer sentido. A letra é sobre traficantes, e sobre não ligar para o que acontece ao nosso redor, sobre descaso. É algo irônico, e a musica segue toda errada, como o tema. A bateria soa meio punk, ela segue como uma tentativa de fazer um punk rock fora do lugar. É a favorita do Kramer, é a que entrou na coletânea UV, é talvez nossa musica mais estranha. Gostamos dela por isso.

3- ACROSS THE ACRES

Uma das faixas instrumentais. Surgiu num ensaio, gostamos das guitarras e ficamos com ela. O legal é a parada no meio, fica só a bateria, volta o baixo e ela estoura com a entrada da guitarra. Deu um efeito legal. A gravação pegou os deslizes da guitarra, ela tem um rifezinho no refrão que parece um teclado, o Kramer soube manusear isso e deixar ela grandiosa. Gravamos ela no acústico da radio Mundo Livre, ficou legal com violões.

4-REVERSE 33 RPM

É a musica que fecha nossos shows, nós sempre alongamos ela ao vivo. É uma barulheira desgraçada inspirada em Sonic Youth, com os versos em acorde,e o refrão é uma cacofonia com o nome da musica sendo repetido até perder a voz. Quando gravamos, ela não funcionou com 2 guitarras apenas, as cacofonias ficavam sem peso, então gravamos 4 guitarras no refrão, para ficar parecida com o que ela soa ao vivo. A letra fala sobre estarmos cansados de mesmice na musica, sobre experimentar sem medo e fazer musica por prazer. É um chamado de guerra para a nossa “daydream nation”, essa geração acomodada e sem sal que estamos vendo atualmente.

5-FIREWORKS

Faixa instrumental. Calma, é a parte tranqüila do que somos. Foi uma das primeiras a ficarem prontas, sempre gostamos de tocar, é uma das favoritas do pessoal que nos acompanha. Foi a primeira faixa pronta que disponibilizamos para ser ouvida. Gostamos muito do resultado final dela, é uma musica onde tudo se completa, onde todos os instrumentos se encaixam perfeitamente para invocar a coda que é a parte mais explosiva da musica. Dedicamos ela ao nosso pai (meu e do Afonso, guitarrista) que faleceu pouco antes de formarmos a banda. É uma musica bela e introspectiva, com influencia de post-rock, que não precisa de palavras para dizer tudo o que sente.Fecha o EP de maneira bonita, depois de tanto barulho. E que venha a próxima gravação!
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Valeu Rafael

https://www.facebook.com/pages/Sonora-Coisa/180031492051202
http://soundcloud.com/sonora-coisa

terça-feira, 2 de outubro de 2012

No Love Lost with Teenage Sin Taste - Track by Track

                                     

Teenage Sin Taste ou Wil Sintaste, é sócio de carteirinha do TBTCI já não é de hoje, seguindo a trilha aberta por SVI, Bloody Knives e The KVB, o TST após alguns eps espetaculares, bem com o debute Amonst Transparent Blue, novo altamente sugestivo para os iniciados ao TBTCI.

O ponto é que Wil pega as 10 canções de Blue e torna todas uma verdadeira metralhadora de loops em altissima rotação, electro noise dark shoegazer em estado bruto e agressivo, com participação em algumas musicas do Lost Rivers Phil, o negócio fica mais maquiavélico ainda.

Wil manda, no TBTCI e sugeriu um "track by track" do album e logicamente que concordei na hora, e não é que a track by track já estava pronta!!!!!Wil sabe das coisas e sabe como as coisas funcionam no TBTCI, então, só quero fechar com o seguinte, certamente pouquissimas pessoas darão o devido credito a esse esporro chamado Almonst Transparent Blue, mas é simples, o Teenage Sin Taste merece destaque facilmente em qualquer publicação que se diga alternativa, aqui é musica de terrorista mesmo, feita pra poucos insanos e dementes.

Wil Sintaste talks about "Almonst Transparent Blue"
                            

Track by Track

BLUE
About revenge. One of the first track written as an instrumental demo (with Cold Star) for this album… I spent weeks and months being unable to write a single note for TST, too busy with the other projects I'm involved in, such as Rapido de Noir, Curl and my friend Alex Sindrome. And then it goes this, made in 2 hours...

SMILE CHARLIE
A very personal song about the relationship with Charlotte my 12 years old daughter… We see each other not often because of the distance, and at the time of departure, it's a real tearing…

AHEAD
About frustration. "Almost Transparent Blue" should have been a 9 songs album, it was completely finished, but this one appeared, recorded in only 3 or 4 hours, as ever improvised on a drum loop, one bass, one guitar, another one, some noises, and it's done.

COLD STAR
With Phil from The Lost Rivers on vocals. I knew The Lost Rivers from their "My Beatific Vision EP", Phil heard about TST through my Screen Vinyl Image remix (What you need), we've exchanged a few emails and then we stay in touch since a few months : I've done a remix for The Lost Rivers, I asked him if he wanted to sing on a TST track… We start a real friendship. I really like this guy…

FILTHY DREAMS
About nightmares, when they seem to be so real, and when real life seems to be a nightmare.

SLEEPLESS
The very very first complete song written for the album. I'm an insomniac person, I can sleep only 4 hours a night for a month or more, but the wheel turns and the lack of sleep makes me feel tired, nervous, everything bored me, but I can't sleep more anyway. This one is about that.

DRUGSTORE
About violence brought by mental provocation. I worked maybe 4 or 5 years on this one, never satisfied. I don't really know if I love it yet… If I had more songs, this one probably ended up as a bad b-side.

FREAKSHOW
The same thing for this song. The first demo was recorded when Teenage Sin Taste didn't have this name yet, 6 years ago… About the lack of self-confidence.

WEIRD
About people who play with feelings. This song appears on the "Sunday Lights 7''" but I really love it, so I wanted to be part of the album, just added some noises at the end…

LIGHT OUT
I had the idea to finish the LP with a long and epic song. While I recorded the different parts, it seems natural to me to end in a total chaos and noise. So I asked once again to Phil if he could record some stuff like that, in a The Lost Rivers style. At this time it was an instrumental demo, so he also recorded the vocals with his very own personal lyrics.
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Thanks Wil

https://www.facebook.com/TeenageSinTaste?fref=ts
http://teenagesintaste.bandcamp.com/track/lights-out-feat-phil-wolkendorf