quarta-feira, 28 de novembro de 2012

Teenage Kicks with St. Deluxe - An Interview



Buzzcocks, Undertones, Class of 86 com aquela dose de fuzzpop que tanto gostamos, essa é a cara que o St. Deluxe mostra no seu novíssimo Born Into Flame.

Os anoraks vão adorar....ah você nunca ouviu o termo anorak?!?!?Putz faz tempo mesmo, anorak eram aqueles casacos usados pela galera do Pastels, Shop Assistants e outros tantos, um casaco sujo e maltrapilho, e o termo foi incorporado no fuzz sujo que essas bandas faziam no seu som lá no longínquo 1986, dai veio a NME e meteu a cena num cassete e intitulou a Classe de 86. 

A historinha acima ilustra bem esse Born Into Flame, disco daqueles totalmente descomprometido e sem maiores intenções, mas óbvio que te fisga de imediato, e fica ouvindo e marcando o compasso com os pés, e lembrando como era espetacular mandarmos aquele air guitar nos porões sujos de SP, ou de qualquer outra cidade, tanto faz, o fuzzpop do St. Deluxe é universal, um belo disco que presta homenagem a uma época que chacoalhou o Reino Unido e mexeu com as estruturas da musica alternativa, por essas e outras tipo, pegue seu St. Deluxe e divirta-se. Ah detalhe, logicamente eles são de Glasgow.

Lógico, que o TBTCI conversou com os caras, veja ai a molecada do St. Deluxe mandando a verborragia.

***** Interview with St. Deluxe *****

                                     

Q. When St Deluxe starts, tell us about the history...
Jamie and Martin grew up in the same street, so have known each other since they were kids. I (Brian) was playing in a band with Jamie and our previous drummer Stuart; Jamie and Martin wanted to start a band so St Deluxe was born. Stuart left a couple of years ago to concentrate on other things, then we got Jamie's brother Ross in to play the drums. St Deluxe is now the main musical focus for us all.

Q: Who are your influences?
We all like different stuff but share a love for the noisier end of indie rock, shoegaze, punk etc.

Q. Made a list of 5 albuns of all time…
Today it's maybe (for Brian): Melvins - Lysol, My Bloody Valentine - Loveless, The Fall - Hex Enduction Hour, Beatles – White Album, Stooges - Funhouse. Tomorrow probably something different!

Q. How do you fell playing alive?
We love playing live. The whole process of driving to the gig, getting a few beers, playing, then getting a few more beers is as fun as it sounds. The actual gigs always feel cathartic and somehow necessary - letting out some of the frustrations and tensions of our normal lives keeps us all reasonably sane!

Q. How do you describe St. Deluxe sounds?
Off-kilter pop wrapped up in beautiful noise.

Q: Tell us about the process of recording ?
We record as much as a live band as possible – we aim to get an exciting take (usually first or second) and then smother it with more noise if it needs it! Sometimes we work with producers (we’ve worked with Calvin Johnson, Stuart Braithwaite and Gordon Keen in the last few years) who bring ideas about the songs, but quite often we as a band have a clear idea of how it should sound before we start recording.

                                       

Q. Which new bands do you recommended?
There are some great Scottish groups at the moment who are on roughly the same page as us, like PAWS and Edinburgh School for the Deaf. Both great noisy bands. I (Brian) also highly recommend Uncle Acid and the Deadbeats – Black Sabbath meets Beatles meets Raw Power by Iggy and The Stooges.

Q: Which bands you love to made a cover version?
We’ve done a few covers already! We’ve recorded versions of Big River by Johnny Cash, She Cracked by the Modern Lovers, Levitation by 13th Floor Elevators amongst others. We always try to do something a bit different to the song and to make it our own if we can.

Q: What´s the plans for future....
We’ve already started writing and recording for our next record – hopefully this will appear in 2013. And we hope to play a lot more gigs too!

Q: Any parting words?
Be good. If you cant be good, be careful.
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http://soundcloud.com/stdeluxe/sets/born-into-flame/s-37yL5
http://stdeluxe.bandcamp.com/
https://www.facebook.com/pages/St-Deluxe/26227810102

sexta-feira, 23 de novembro de 2012

Ins´t Anything with Nothing - An Interview

                                     

O TBTCI acompanha desde o inicio os passos do Nothing desde 2011 quando a banda se formou e lançou o primeiro ep пошлость (poshlost), um nome pra lá de exótico, mas a sonoridade dos caras comandados por Domenic Palermo vem de forma supersônica, as guitarras gritam, o wall of sound é sempre dinossante até a ultima frequência imaginável, e não a toa o novíssimo EP Downward Years To Come lançado recentemente coloca a banda ao lado dos melhores nomes da grande revitalização do shoegazer atual, a fonta é inevitável, Slowdive, MBV e Ride, mas tem mais barulhos no meio chegando a extremos como o Flying Saucer Attack, tudo isso com roupagem atualizada e muito bem gravado.

O TBTCI já havia entrevista o Nothing no ano passado, mas para não passar em branco, novamente uma exclusiva, como é de praxe aqui na casa.

Domenic Palermo e o dissonante Nothing.

***** Interview with Nothing *****

                                          

Q. When did Nothing starts, tell us about the history...
I started Nothing in 2011. I shuffled around quite a few members, but everything seemed to change drastically with the addition of Brandon on guitar. Since then we seemed to have built exactly what we want and it has become a well oiled machine.

Q: Who are your influences?
Nothing has been influenced by a number of things, events, people, musicians. Life living in Philadelphia, troubled youth, death, imprisonment. I myself have been much inspired by many writers such as Genet, Artaud, Bataille, Ginsberg, Mishima. Music wise though, which is most likely what you were digging for, The Swirlies, Flying Saucer Attack, Slowdive, Loveliescrushing, Lycia, MBV, Pumpkins, etc. etc. etc.

Q. Made a list of 5 albuns of all time…
Nowhere close to accurate, but this is some things I have been enjoying as of late.

Swirlies –Blonder Tongue Audio Baton
Slowdive – Souvlaki
Gun Club – Miami
Townes Van Zandt – Self Titled
Cocteau Twins - Treasure
Honorable Mention
Lush - Scar

Q. How do you fell playing alive?
We enjoy playing live. It took us awhile to get our sound to present itself the way we intended, but now that it seemingly has come together we are always excited to get into it.

                            
Q. How do you describe Nothing sounds?
Ah. I guess what we try to do is make the listener feel... crushed? Crushing is what Id like for us to be described as anyway.

Q: Tell us about the process of recording the new ep?
We recorded at the Converse Rubber Tracks studio in Brooklyn, NY with Kyle "Slick" Johnson who had previously helped us with the "Suns And Lovers EP" and Jeff Zeigler of Arc In Round. Between the two of these guys they have worked with everyone from Modest Mouse to The Swirlies to Kurt Vile to Fischerspooner. They made everything we did on this record very easy. If we said, "Hey I want this part to sound like an apocalypse sized tidal wave is building up in front of me" they would make it happen. It really was exciting watching them work.

Q. What´s represents the shoegazer classic era to the band?
I think the a to the sound is about all that I can relate to from the era.

Q. Which new bands do you recommended?
Night Sins from Philadelphia. Whirr and Anne. I have a hard time keeping up.

Q: Which bands you love to made a cover version?
We have covered Cigarette In Your Bed(MBV), Vapor Trail(RIDE), Perfect Day(Lou Reed), and some others. Always wanted to do a real slushy version of "The Chain" by Fleetwood Mac, but it will most likely never happen.

Q: What´s the plans for future....
I've seen the future and its no place for me.

Q: Any parting words?
Keep a lookout for our first LP in the Spring. Thanks Renato! Queime o mundo. xx
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Thanks Domenic!!!

http://wearenothing.bandcamp.com/album/downward-years-to-come







Whatever´s Cool With Me with The Sorry Shop - An Interview


Você assim como eu, que se esbaldou por completo nos 90´s, guitar bands pra cima e pra baixo, shoegazer, guitarras, guitarras, ruídos, MBV, Pavement, Mercury Rev, Ride, Dinosaur Jr, Sonic Youth, e mais uma infinidade de bandas do coração como costumamos dizer.

Eu vivi o meio dos anos oitenta pra frente, mas a virada dos 80´s para os 90´s foi algo realmente que mexeu com a vida de todo mundo naquela época, esbórnia, alegria, descobrimentos, abusos....enfim a vida vivida com intensidade, e as bandas citadas serviram de trilha sonora pra quem viveu nessa aurea época.

Daí, em pelo 2012, pegar dar de cara com um album chamado Bloody, Fuzzy, Cozy dos caras do The Sorry Shop é um convite nostálgico e deliciosamente perfeito para quem não esteve lá sentir na pele o drama, canções grudentas, pegajosas, um convite pra praticar um air guitar daqueles caprichadíssimo fechando os olhos e sem se preocupar com porra nenhuma, mais um cigarro, mais uma cerveja e mais barulheira pra mente, assim é a TSS e seu maravilhoso Bloody, Fuzzy, Cozy, tal como o Yuck fez no ano passado, os caras pegam todas as sonoridades dos 90´s e fazem uma releitura digna de tirar sorrisos de qualquer um que aprecie, ou ame, ou idolatre esta ou aquela banda, o ponto aqui é que os 90´s venceram, e a TSS acertou em cheio, um dos albuns do ano facilmente.

Régis Garcia o responsável pela festa concedeu uma puta entrevista sensacional ao TBTCI que você vê ai embaixo, mas assim, antes, pega seu Bloody, Fuzzy, Cozy e entre no clima da TSS e viva os 90´s.


***** Interview with The Sorry Shop *****

                                                

Q. Como o TSS começou, conte-nos a historia
A TSS começou no meu quarto, em noites de insônia e tardes de inspiração. Eu sempre tive vontade de fazer umas coisas como tenho feito com a TSS, mas aqui onde moro (interior do Rio Grande do Sul) era bem complicado achar gente pra fazer esse tipo de som. Na época eu estava tocando com um cara (o Luiz Young), que tinha uns projetos muito legais sempre. Na banda dele estava o Marcos, que é o vocal principal da The Sorry Shop. Eu sabia que eles curtiam a ideia das músicas e, assim que compus uma primeira leva, convidei eles pra ouvir. Primeiro convidei o Marcos Alaniz, que cantou com um baita prazer. Eu tinha gravado tudo – bateria, baixo, guitarras – mas vocal não, tento passar longe (fiz o vocal da “Bloody, Fuzzy, Cozy” no disco, mas não acho que vá repetir a dose em outras músicas). O Marcos fechou demais com a banda, em todos sentidos. Aliás, eu nem queria ter a banda em si. Eu sempre acho que é um baita estresse ter uma banda. É muita cabeça pensando junto e muito compromisso pra administrar em uma empreitada que é sempre complexa por inúmeros fatores que todos nós da música bem conhecemos. Por isso gravei tudo sozinho (exceto vocais, que, além do Marcos, foram da Mônica) no EP (Thank You Come Again, de 2011) e depois no full (Bloody, Fuzzy, Cozy, de 2012). Mas o projeto foi tomando um contorno interessante e, felizmente achei caras como o Duda, o Rafa e o Kelvin pra fazer esse barulho comigo. São boas cabeças, ótimos amigos e grandes músicos (o Duda e o Rafa foi um combo fácil, tocam juntos faz tempo e veio meio pronto o negócio. O Kelvin é aquele tipo de músico formidável, dedicado, humilde pra cacete e criativo demais, além de ter uma cabeça muito aberta aos sons novos). Hoje a banda é banda e não abro mais mão disso. Apesar de continuar tendo uma inclinação bem grande pra botar mão em todos os arranjos e instrumentos das coisas que temos feito, faço questão que a coisa seja uma obra coletiva a partir de agora.

Q. Quais as influencias?
Eu sempre escutei muita coisa da década de 70 e 80, mas minha formação musical, a identidade musical, é “noventista”. Além de ter escutado muito rock gaúcho por conta da relação direta com os sons que rolavam por aqui, e além de ter passado um bom período com Pink Floyd, Led, Sabbath, Queen e afins na vitrola, sempre gostei mesmo dos sons mais barulhentos. Escutei muito Faith no More, que continua sendo uma das minhas bandas favoritas, mas pra The Sorry Shop ressuscitei umas coisas que ouvia enquanto aprendia o que era música. O Pavement foi a base de tudo, junto com o Built to Spill. Essas duas bandas foram muito importantes pra mim. Além disso, o MBV e o Sonic Youth foram importantes pra esse disco da TSS, assim como o Yuck, que foi a grande mola propulsora pra querer fazer esse som. Tem bandas que também sempre estão no som, como Joy Division, Jesus and Mary Chain, Talking Heads, The Cure e por aí vai. Ultimamente tenho escutado o Ringo Deathstarr, A Place to Bury Strangers, Asalto al Parque Zoológico e DIIV. Somos bem ecléticos. O Marcos, por exemplo, é fãzão da Silver Jews, enquanto o Kelvin começou tocando Offspring. O Duda vai de rock clássico e curte um monte o Queen, por exemplo. O Rafa é fã de Pearl Jam, coisas de delay do Radiohead e uns Neil Young, além de escutar um monte os caras como o Gary Clark Jr. Fora isso, sempre que componho tem uma boa influência de cinema e literatura.

Q. Como vocês definem a sonoridade da banda?
Eu sou péssimo pra definir coisas, sempre encontro uma aresta ou uma linha que ligue o som com outra coisa e que ofereça impossibilidade de identificar a proposta geral como um lance só. Nós temos aceitado bem a definição que tem rolado pra TSS, que é o shoegaze. Volta e meia penso nisso, a gente conversa sobre o assunto, mas não chega a uma conclusão. Tem coisa animadinha demais, mais crua mesmo, pra estar num patamar de shoegaze. Eu costumo chamar de alternativo, lo-fi e por aí vai. Mas gosto de pensar que tem relação com uns sons britânicos alternativos, com o próprio shoegaze, com dream pop e assim por diante. Definitivamente não dá pra classificar só como rock and roll, isso é certo. Pra ser mais exato e mais sinestésico, o som da TSS é áspero, mas não é tão agressivo que assuste. É um barulho ameno com um punhado de reverb e umas melodias de fácil acesso auricular.

                                  

Q. Como é o processo de composição e gravação?
No início, como eu expliquei antes, era tudo por minha conta: eu acordava no meio da noite, pegava a guitarra, gravava uma linha (num take só muitas vezes, com o olho ainda meio fechado do sono) e depois, com mais tempo, ia adicionando outros instrumentos e outras camadas. Tenho um punhado de parafernália de gravação caseira e deixo disponível em tempo integral pra quando a ideia aparece. Dificilmente me policio pra gravar, acho que nunca determinei um dia e um horário pra fazer essa função. Vou deixando a coisa correr solta. Existem finais de semana em que chego a perder os dias de vista. Se a coisa tá legal, vou arranjando as músicas e adicionando detalhes (e excluindo detalhes e instrumentos) e só paro quando estou satisfeito ou cansado demais. Tem músicas e arranjos completos que foram feitos em uma hora ou algo assim, enquanto outras foram feitas, desfeitas e refeitas em um ou dois meses. Não tem regra. Normalmente vou conversando com a Mônica e com o Marcos, pedindo opinião e já traçando as ideias pros vocais. As letras, a maior parte, são de responsabilidade do Marcos. Pra gravar os vocais, sim, temos um tipo de cronograma. Na verdade é uma pseudo-organização. A gente combina um horário, se encontra e grava. Se não rolar, a gente tenta de novo depois (mas sempre rola). Com a banda existindo e ensaiando, a gente tem composto muita coisa em estúdio, mas sem forçar a barra. Se aparece uma linha de baixo, de guitarra, uma levada legal ou uns indícios de vocal, a gente usa o tempo junto pra arrumar a coisa. Se não aparecer nada, a gente segue tocando o que já existe. Ainda não sei – e não sabemos – como vamos nos organizar pra gravar o segundo disco completo. Já tem uma boa parte escrita, arranjada e até música completa gravada por mim, mas temos pensado em dar novos formatos, adicionar elementos e botar mais mão de todo mundo na coisa final. Mesmo assim, não vamos ir pra estúdio gravar. Gosto de fazer em casa, não me preocupa tanto o resultado final em termos de primazia de som. Quero a coisa por ser a coisa, pela intenção da música, não por estar bem enfeitada ou com cada frequência no lugar certo. Gosto das frequências no lugar errado. Eu acho que tenho umas deficiências auditivas consideráveis pelos anos consecutivos de pauladas sonoras nos ouvidos. Então, é muito possível que algumas coisas que agradem meus ouvidos soem estranhas pra quem tem ouvido bom. Mas eu faço com meu ouvido e o ouvido dos caras que estão comigo aqui. Se nos agradar, está valendo.

Q. Como é a sensação de tocar ao vivo?
Pra mim é um pouco ambivalente. A parte ótima é estar com o pessoal que curte fazer o mesmo ruído que eu e fazer em alto e bom som. Sempre dá um frio na barriga, é sempre um bocado emocionante – sem querer se piegas – escutar a coisa tomar forma ao vivo, principalmente quando está coesa o suficiente pra não parecer um monte de coisas separadas e legais, mas pra parecer uma coisa só onde não seja fácil perceber o que é que vem de que lugar. Gosto assim, massudo, meio hipnótico e inebriante. Gosto de me sentir assim. A parte não tão boa é a função toda do tocar ao vivo. Somos todos músicos por prazer, mais do que por outras coisas. Isso significa que temos outros compromissos, quem nem sempre facilitam as nossas possibilidades de tocar por aí. Nesse sentido, por ser complicado achar espaço e tempo pra tocar, sempre que rola algo acabamos ficando bastante ansiosos, querendo que cada show seja um grande evento. Nem sempre é, e aí rola uma frustraçãozinha. De qualquer maneira, a parte boa de tocar ao vivo sempre sobrepõe todo resto.

                                   

Q. Se voces fossem gravar uma cover, qual seria?
Nós acabamos gravando uma cover de Wilco – “Heavy Metal Drummer”, que por sinal tem uma letra (ironicamente) tudo a ver com a gente, principalmente com o Marcos, o nosso vocal, que já foi baterista de uma banda de metal – em um tributo que foi organizado pelo Luiz Young. Foi esse ano, saiu com o nome de Yankee Hotel Foxtrot Tribute – A box full of versions. Foi um convite bacana, mas não foi uma cover premeditada. Esses dias a gente conversava (eu e o Marcos) sobre tentar gravar algo do Silver Jews. Mas havendo possibilidade real, acho que eu gostaria de gravar um Pavement, ou fazer uma versão legal pra algo do Tom Waits, a la Ramones. Quem sabe até um Ramones.

Q. Quais os planos para o futuro?
Não deixar a peteca cair. É sempre complicado passar pro segundo disco, administrar tudo que já foi feito e organizar tudo que está sendo feito. A curto prazo, queremos chegar até São Paulo, passar por lugares bacanas, fazer o maior número de shows pelo Brasil e, quem sabe, por alguns pontos de contato do extremo sul do país, como Argentina, que tem um público muito legal pro tipo de som que a gente faz. Além disso, queremos lançar de vez o segundo full. Gostamos muito de produzir e, de certa maneira, é muito mais confortável que tocar ao vivo.

Q. Alguma mensagem para o mundo?
Esqueça um pouco do que sabe todo dia. Um pouco de inocência sempre faz tudo ficar mais divertido.
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Valeu Régis.....valeu TSS

https://www.facebook.com/sorryshop
http://thesorryshop.bandcamp.com/

segunda-feira, 19 de novembro de 2012

Playing with Fire with - The Koolaid Electric Company - An Interview

                                    

Simplesmente uma das melhores bandas de psych os ingleses do The Koolaid Electric Company já são assíduos frequentadores das páginas do TBTCI e dos tímpanos deste que vos escreve.

Aqui a psicodelia vem a porções grandiosas oras acrescidas de influências shoegazer oras eloquentemente fincada nas garagens do submundo do psych garage rock. Som poderoso e destruidor, o Koolaid vem lado a lado com a primeira linha da nova onda de psicodelimos bruto e caótico que tem criado seguidores em tudo que é lugar, 

Seu album Random Noises and Organised Sounds do ano passado é um poderoso artefato lisérgico e alucinógeno que pode simplesmente acabar com os neurônios dos mais desavisados, mas os mais afetados mesmo são os iniciados ao mundo de amor, paranóia e viagens do Koolaid, simplesmente um deleite colorido e ao mesmo tempo em preto e branco, bad trips e good trips seguem lado a lado na música do Koolaid, é só escolher seu destino e boa viagem.

Sam Barret uma das mentes do Koolaid, concedeu esta pérola de entrevista ao TBTCI que ´seguidor desta religião há muito tempo, Srs. Koolaid Electric Company.

***** Interview with The Koolaid Electric Company *****

                                    

Q. When did Koolaid Electric Company starts, tell us about the history... 
A. Koolaid began in 2004/2005, at that time we were just random groups of friends and acquaintances making noise. After a couple of weeks it became obvious out of all these people who would be into starting up the band and building foundations to what we wanted to be. The core members were Dean (Brown, Guitar) and I as everyone sorta fell away one by one. After a couple of years, Dave (Griffin, Bass) an original member returned to the fold. There have been so many comings and goings of members over the years, but what we have now seems good. We are comfortable with each other.

Q: Who are your influences?
A: Ah man, I have so many. It's extremely difficult to narrow down who or what influences you the most. I am in love with so much music. I love art in all forms, I probably know nothing about what specific pieces of art would mean but I do know what they would mean to me. But that's what art should be about really, all art.  When you see or hear something for the first time, in a years time you're not going to remember what it meant or how it felt to the person creating it... you're going to remember what you felt and what it meant to you. Everything is personal.  But, to actually answer your question, I have conciously drawn influence from music such as The Beatles, Radiohead, Elliott Smith, Nirvana, Spacemen 3, Ride, Motown,  The Beach Boys and Dennis wilson... alot of the usual suspects which seem to fall into our umbrella of bands and music. I am heavily influenced by movies, people and moments too. Ryan van Kriedt (Asteroid #4, Dead Skeletons, Sunsplit) is a wonderful, great friend of mine who I draw inspiration from everyday... Aislinn van Kriedt (ex-Asteroid #4, Sunsplit) is another person of true beauty and full of inspiration, spirit and love.

 Love is the great influence of all time, I think.

                                                   

Q. Made a list of 5 albuns of all time…
A: Again, it's so difficult to narrow down 5 albums that can be considered for something like this... Impossible, really.

I'll try to give you 5 great albums... I'm not hugely into giving obscure and unknown bands and albums as I feel while you may give someone something new to find and listen to I'd rather relate with someone.

1. Dennis Wilson - Pacific Ocean Blue
2. Sunsplit - Sing For Sunday
3. Eels - Blinking Lights and Other Revelations
4. Sonic Youth - Goo
5. John Frusciante - Niandra Lades and Usually Just a T-Shirt

Q. How do you fell playing alive?
A: Playing live is a tough one for me. I realise it is an extremely important part of being in a band and wanting to be noticed. But my feeling is when, like us, you're a band who can't afford to fly around the world and play shows all the time, you are playing shows over and over again in the same places to the same people. I would much rather take time between shows and tours so that you aren't repeating yourself and bringing people to the same show they saw the last 2 or 3 times they came out and spent money on seeing you play. Aswell as that, on a personal point of view, I am shy and anxious and overwhelmingly awkward... which makes playing shows and touring difficult for me. But playing live... when it's good, it's good - you know...

Q. How do you describe KEC sounds?
A: I think I am the worst person to ask this question. We have been described many ways... I liked the "Opiated Psychedelia" description. It is, as the songwriter, accurate I think. We are loud... we are quiet... we are melodic... We are a band of misfits, really... which makes us sound the way we do.

Q: Tell us about the process of recording the songs?
A: Usually, I'll record an 8-track demo. Playing all the parts and then play the song to everyone and go from there. Sometimes I'll come into it blind and just show the song to everyone and work with everyone until it's sounding right. So when it comes to recording we are usually quite confident and sure of what we are doing and what we are playing. So there isn't alot of time for pre-production required. Mostly we have
recorded live and then do necessary overdubs. I am really quite involved in the overall process along with the engineer/producer. I find it fascinating, really. I cannot wait to start recording the next album. The debut album was only released last year but they were all songs we had been playing for up to 4 or 5 years. Whereas this time around it feels fresh and more than half of the songs haven't been played live
yet.

Q. Which new bands do you recommended?
A: I don't know about new bands... but bands I'd recommend... who you'd probably  already know:
The Tamborines, Asteroid #4, Dead Skeletons, Black Market Karma, Thee Piatcions, The Black Ryder, Sad Day For Puppets, The Tennis System, thelightshines, The Hall of Mirrors...

                                        

Q: Which bands you love to made a cover version?
A: Ah man... There are so many songs I love and would probably destroy if we really were to cover them. I love playing and singing other peoples songs just to myself or whatever... but I don't think I could do it for real. It has happened in the past...We recorded 2 songs for the BJM covers project. I totally regret it now as when I think about them, I hear them in my head, I hang my head shamefully laughing.

You never know, time will tell.

Q: What´s the plans for future....
A: The only plans I have for the future is to get this next album recorded. I am so, so desperate to just get stuck in and create. It's my favourite part of the whole process, for me. I have so many songs for this record that I think we'll be having an overflow into album number 3, but ideally I'd like to put them all out on one record even if it has to turn into a double album.

Q: Any parting words?
A: Thank you... I love you all... x
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Thanks Sam, and all The Koolaid Electric Company

https://www.facebook.com/thekoolaidelectriccompany
http://www.myspace.com/thekoolaidelectriccompany

domingo, 18 de novembro de 2012

TBTCI Celebrates with The Concept who Celebrates with Dopamine who Celebrates with TBTCI


Há quase um ano atrás o The Concept fazia 18 anos, o TBTCI fazia 3 anos, e foi ali no Dopamine que as coisas explodiram....

E agora voltamos a nos reunir, com a presença do comboio Lovni e Celebraremos a Nós Mesmos....que venha o dia 24.........

quarta-feira, 14 de novembro de 2012

Transparent Radiation with Chatham Rise - An Interview

                                             

Shoegazer clássico, tudo como manda o figurino, vocalização soterrada e parecendo te evocar para sonhos perfeitos, guitarras cristalinas por oras, chiadas em outras, reverberando e novamente te convidando pra viagens onde não há nada que não seja imperfeito.

Assim é Chatham Rise, cult band da novissima cena estadunidense os caras já tocaram com Ringo Deathstarr, Pony Trash e abriram para ninguém menos do J&MC ou seja, nota-se que aqui nao é pouca coisa, muito pelo contrário, simplesmente o espectro hipnótico da música do Chatam Rise é uma tênue frequência que nos guia a paisagens de extrema beleza e candura, simplesmente apaixonante.

Aproveitando que o Chatham Rise esta em meio a gravações o TBTCI aproveita a deixa pra mais uma entrevista absolutamente exclusiva. Amigos Chatam Rise....

***** Interview with Chatam Rise *****

                                   



Q. When did Chatham Rise start, tell us about the history...
We have all been good friends with similar musical taste for a while and had been running into eachother at shows around town and decided to try and lay down a song or two of our own...that was around summer 2008 or so when we first started playing in a hot attic space so we'd have the windows open. It was fun going back there after a few months and having the neighbors say they missed sitting outside and listening...the neighbors at our new space don't exactly feel the same way. Lots of notes, signs and complaints these days...

Q: Who are your influences?
There are so many...primary influunces i would say are RIDE, Brian Jonestown Massacre, Spacemen 3, Asteroid #4, Galaxie 500, Slowdive.

Q. Made a list of 5 albums of all time…
Foremost in my mind all-time

1. Brian Jonestown Massacre - Braveryrepetitionandnoise
2. Ride - Nowhere
3. Spacemen 3 - Perfect Prescription
4. Galaxie 500 - Today
5. Wire - Pink Flag

Q. How do you feel playing live?
We really love playing live...we try to create a visual experience to go along with the music with lighting effects and projectors to complement the songs as we are usually trapped behind pedal boards and don't have dance routines...a good friend of ours wonder haus runs lightingting at many of our shows. but really it's not only about connecting at a performance level with folks who love the same type of music, but we love meeting and talking with those that enjoy our music and also make sure that the lineups we create consist of our favorite bands. We like to play our set and then see a great show...we've been able to make that happen every time we play...take a look at our posters sometime. we feel so lucky.

Q. How do you describe Chatham Rise sounds?
like many of the bands we love, I would say mood-altering...particularly in these times, people like to be taken somewhere outside of their lucid every day state, so we try to provide that feeling of being lifted somewhere else...

Q: Tell us about the process of recording?
The majority of our arrangements are developed while we are all together at practice...we record every practice and mark those spaces where we hit upon something and revisit and build on those moments. Once we're happy with the arrangement and feel locked into a song, we'll schedule some recording time. We've been working with Neil Weir at Old Blackberry Way Studio...Neil is easy to work with and knows what we are going for soundwise. We were just over there last night recording what we think are the last of our songs for the upcoming LP. We have started work on a follow-up EP as well.

                                 

Q. What represents the shoegazer classic era to the band?
5 Classics from the Classics

RIDE - Vapour Trail
Slowdive - Souvlaki Space Station
Chapterhouse - If You Want Me
My Bloody Valentine - Come In Alone
Pale Saints - Sight of You

5 inspiring shoegaze songs from other bands

Brian Jonestown Massacre - She's Gone
Highspire - Until The Lights Go Down
Swirlies - Jeremy Parker
Voyager One - Slower California
Asteroid #4 - Losing Touch With My Mind (best Spacemen 3 cover ever)

Q. Which new bands do you recommended?
- wild eyes from los angeles...the EP came out in june - check out "ride" and "when it's over"
- tales of murder and dust from aarhus, denmark "hallucination of beauty" is definitely one of the years best
- slowness and moonbell from san francisco have both put out some great recordings this year
- in australia the laurels have released their first LP "plains" and day ravies released their debut EP and have an LP coming.
- thelightshines from england have recently released a single "soul to skin" and have an LP coming

Q: Which bands you love to made a cover version?
There's a list...whenever we go about doing a cover, as a band we vote on it...we have only played two live so far...blind mr jones "over my head" and lower heaven "ashes"...we should probably do another soon...RIDE "polar bear" maybe?

Q: What´s the plans for future...
We have an LP coming, a follow-up EP close behind...hopefully we'll play a hush delirium show in 2013 - look into this project...musical manifestation into art with simon welford, mark gardener(RIDE), adam franklin (swervedriver), dean garcia (curve), aziz ibrahim (ian brown, stone roses), perry pelonero (skylight, bliss.city.east, spc eco. a*star), cult of dom keller, her vanished grace, jaq gallier and chatham rise (so far). As far as playing live, we are beginning to plan 2013...we hope the new year will be as good to us as this one has been.

Q: Any parting words?
There are folks out there that have have not had such a good year and my thoughts go out to them.

There is an auction on Thursday to benefit the care of Danny Lackey of When The Sun Hits who is undergoing radiation treatment for cancer...any contributions of bidding for Danny's benefit is greatly appreciated. https://www.facebook.com/events/274170576037524/

Also do please look for opportunties to help those impacted by Hurricane Sandy. There are so many way to help out...

Obrigado, Renato!
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Thanks Chatham Rise!!!!

https://www.facebook.com/hatcham.ries

segunda-feira, 12 de novembro de 2012

Surrealistic Pillow with Black Light White Light - An Interview

                                

Nem só de Raveonettes que a Dinamarca respira, algumas bandas extremamente interessantes vem nos mostrando grandes sons, Death Valley Sleepers, Keith Canisius, e mais uma monta de gente que vale a pena demais, dentre todos um que deu uma chacoalhada no TBTCI foi o Black Light White Light.

Infrared Daylight é o nome do debut dos caras, já nos primeiros acordes as influências escancaram-se psicodelismo 60´s, Byrds, Stones, 13th Floor Elevators e vem descendo a lista até passar pelos experimentos de um Spacemen 3, e chegar definitivamente nos novos psychs Black Angels, Warlocks e demais.

O Black Light White Light, soa mais leve e mais melódico, mas não menos inspirador, Infrared Daylight é daqueles albuns pegajosos que penetram na mente e você não tem como escapar, druggy sounds for druggys minds.....

Através da amiga Stefania, o TBTCI descolou uma grande entrevista com o BLWL, agora é só pegar seu destilado e aumentar o som.....

***** Interview with Black Light White Light *****

                                           

Q. When did Black Light Whit Light starts, tell us about the history...
The ideas at the very heart of the music this band plays pretty much started back in 2007, when I formed The Leo Johnson Experiment. We played around Copenhagen and recorded an EP titled ‘Directors Cut’, in Sweden with the Swedish award winning producer Johan Forsman. It was the winter 2008. When we wanted to release it - in early spring 2010 - the drummer quit and I decided to rearrange the band and found it was time to find some new guys to play with. Around the same time of the release I had gained contact to American producer Rick Parker through a mutual contact. We talked about recording a debut album in Los Angeles, CA with him and he agreed. I contacted Adam (drummer) who I didn’t know personally, but only musically from other projects and we got along greatly from the first meeting. He suggested including his brother Tobias on bass and from the first rehearsal the spirit was there. It was a truly beautiful moment. Just around 2 months after we started playing my catalogue of songs and together we went to US in November 2010 to record our debut album with Rick Parker. From there on it has gone pretty fast. We got invited to SXSW, we performed at NXNE Music Festival in Toronto, Canada and we toured 3500 kilometers across the US from North Carolina to California in October, shortly after the record was released in September 2011. In 2012 we started a cooperation with the legendary English space rock band The Telescopes. We toured with them as support and backing band in February in Scandinavia and played with them again when we toured UK in September/October playing 9 shows in 10 days in England, Wales and Scotland.

Q: Who are your influences?
The band and our music are influenced by slower psychedelic rock, noise pop, dusty Americana, soul and folk. We listen to quite a lot of different music from rock and jazz to electronic music. The band’s music is as well rooted in quite a lot of different bands from different decades. We like the sound and spirit of newer bands like Black Rebel Motorcycle Club, The Brian Jonestown Massacre, The Black Angels, Deerhunter and The Dandy Warhols, English bands from the 90s like The Verve, Oasis, The Stones Roses, Primal Scream and The Jesus and Mary Chain and classic artists and bands from the 60s and 50s like The Beatles, Rolling Stones, Velvet Underground, The Byrds, Johnny Cash, Jefferson Airplane, The Seeds and Chuck Berry. I guess that to a certain degree one can somehow distill our sound, approach and musical visions from these visionary bands and artists and their related producers, like for example Phil Spector.

Q. Make a list of 5 albums of all time…
This is a very tough one. Sooo many to pick from and the top of the list changes with the mood and the spirit. But if I have to relate to this rationally as well as emotionally, the list would be:

The Beatles “Revolver”
The Beatles “Sgt Pepper’s Lonely Heart Club’s Band”
Beach Boys “Pet Sounds”
Velvet Underground “The Velvet Underground & Nico”
Rolling Stones “Exile On Main Street”

                                

Q. How do you feel playing live?
We love playing live. This is where the songs are truly coming to life. We are always playing most of the songs in different versions compared to the recordings. That is most interesting aspect to us, and to be honest, probably the most interesting to any listener as well, I think. Even if you know our songs, you’ll feel the spirit and the moment is actually taking place on stage. And that’s what a live concert is all about. It’s about that special and unique moment you are sharing with your audience. The uncertainty and the challenge of taking the compositions you have created to new, unknown places is the true beauty of playing live. Bands only performing songs live as on the recordings will never catch my interest for real.

Q. How do you describe the BLWL sound?
Someone described our sound as bohemian 60’s style psych-rock with a modern Scandinavian twist packed with pop melodies in a dirty wash of reverb and tremolo. That’s not too bad I think. But expect something more and something different on our next album.

Q: Tell us about the process of recording the debut album?
I have briefly described it earlier. After we released our debut EP we got in contact with an America agent in Los Angeles via Myspace (those days…) who loved our sound and suggested to introduce us to producer Rick Parker, who also lives and works in the sunny city. We got in contact and emailed each other about ideas and how and when to work with each other. In November 2010 the guys in the band took the airplane to Los Angeles, CA and in 5 days we recorded the whole album. The first 3 days were spent in the great Bright Street Recorders Studio, where we recorded all drums, bass, most rhythm and acoustic guitars and some lead vocals. Then we went to Rick’s private studio at his home near the Hollywood sign to do the last lead vocals and harmonies, a lot of extra guitars, percussion and some keys. All in all a very compact process but still very mellow and organic, especially if you consider the whole album was made in just five days. And I tell you, what a great feeling driving down Sunset Boulevard, under a clear blue sky each day from our little hired apartment in Echo Lake, on our way to work in the studio in North Hollywood. It doesn’t get much better. Then Rick mixed the album afterwards and sent us the mixes over a few rounds to Denmark. After some corrections and small adjustments we got there and ‘Infrared Daylight’ was born.

                                                

Q. Which new bands do you recommended?
Lately I haven’t heard too much new music unfortunately. I try to stay awake and alert, and I do read and listen to a lot, but still so much is happening so fast these days. And most new bands getting covered and hyped are in my opinion so overrated and will disappear faster than they appeared. For finding new great music you have to dig deep I guess. I just bought ‘Melody’s Echo Chambers’’ LP, produced by Tame Impala’s Kevin Parker and it’s pretty nice and well worth checking out. Dead Skeletons from Island and Other Lives are some of the newer bands that also caught my attention. And I also want to give an appreciative nod to our Danish fellows Tales Of Murder and Dust. You should check them out.

Q: Which bands do you love to make a cover version of?
Well, we have been playing live The Beatles’ ‘Tomorrow Never Knows’ from ‘Revolver’ for a while now and that song seems to fit pretty well in our set list. That song also captures really well what Black Light White Light is all about. Then we are actually finishing the recordings of a Xmas single these days which is a cover of an American popular song also recorded by Phil Spector in the 60’s. I think that will turn out pretty well too. We will release that digitally in December so be sure to give it a listen.

Q: What´s the plans for future....
We are planning a small Europe tour with The Telescopes in February. And maybe this will be followed up with a few dates around Scandinavia at the beginning of March with them too. At end of March we’ll begin the recordings of our second album. I can’t reveal any details on this yet but it looks like it’s going to be areally exciting process and I have huge expectations for the new songs.

Q: Any parting words?
We hope your kind readers will check out Black Light White Light after reading this and if they dig the sound - which we wish they will – they will spread the word and some good vibes about it. We’d love to come to Brazil to perform and South America, so this could be the beginning of something beautiful! Step into the light and embrace good music. Peace and good vibes from us to you.
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Thanks guys

terça-feira, 6 de novembro de 2012

The Psychedelic Sounds of Frantic Chant

                                 

Seguindo a tradição de bandas como Spacemen 3 e Brian Jonestown Massacre e obviamente as garagens e alucionogenos dos 60´s os escoceses do Frantic Chant mostram aos mestres que seguiram os ensinamentos e vem jogando album atrás de album um melhor do que o outro, Oscillator, The 51st Best Band In Edinburgh e Lighten Up, Francis, são uma esbornia de psicodelia, oras rasgada e acida, ora remetendo diretamente ao BJM e ao mestre Brian Jones, Nick Du Paul, guitarras, Stazy, voz e guitarras, O`Hara, baixo e Col Mac na bateria ou simplesmente Frantic Chant fazem a alegria do TBTCI e de todos os inciados nas druggys sounds, uma daquelas bandas que deve ser chamada de predileta.

E para festejar ainda mais a ode psicodélica do Frantic Chant, nada melhor do que os caras mesmo mandarem o dossiê completo.

***** Interview with Frantic Chant *****



                                         

Q. When did Frantic Chant start, tell us about the history?
Stazy and Nick Du Paul first encountered each other in and around Edinburgh's mid to early 90's Goth period when they both auditioned {unsuccessfully} as backing singer/dancers for top Grunge boy band, Laminate Floorin'. O`Hara and Col Mac met those two while they were working as nude waiters at exclusive parties in Edinburgh. Stazy and Nick were regular clients of theirs.

Q: Who are your influences?
Beta Band, Hank Marvin, New Order, Spacemen 3, Beatles, Stone Roses, Ride, BJM, Jeff Beck, BRMC, The Smiths, Jimmy Page, Galaxie 500, The Fall and many more

Q. Make a list of 5 albums of all time.
O `Hara -Sgt. Pepper's Lonely Hearts Club Band by The Beatles, Stone Roses, Ziggy Stardust by David Bowie, Abbey Road by The Beatles, Modern Life is Rubbish by Blur.
Stazy - Exile on Main St by Rolling Stones, Definitely Maybe by Oasis, Suede,  Methodrone by Brian Jonestown Massacre, Babel On by Soundtrack Of Our Lives.
Nick – Stone Roses, Strangeways Here We Come by The Smiths, Boomslang by Johnny Marr & the Healers, Second Coming by Stone Roses.
Col –, Beta Band, The Queen Is Dead by The Smiths, Heaven Up Here by Echo & the Bunnymen,  Foxheads Stalk This Land by Close Lobsters, Power, Corruption & Lies by New Order.

                                    

Q. How do you feel playing live?
O`Hara - Wobbly till the first few drinks kick in.
Nick – Nervous/buzzing/elated.
Stazy – Can`t remember.
Col – High.
 
Q. How do you describe Frantic Chant sounds? 
Stazy – A movie in your mind.
Nick – Psyche-flying by the seat of your pants-adelic.
Col – Disturbed.

Q: Tell us about the process of recording the new album? 
Col – Right now we have enough bits of songs to start recording the new album but we have a single to release first. Once the songs are pieced together a bit more, we`ll go into the Highlands of Scotland to record them and mess with our producers head. The last album, Oscillator, was recorded in three days so we might try to beat it this time and do it in two.

Q. Which new bands do you recommended?
O`Hara - The Paperhead, Ty Segall
Stazy – Jesus Jones
Col – Epsilon One, Electric Alice, The Green Tambourine Band, Death By Raygun

Q: Which bands you love to made a cover version?
O`Hara - Blur or Charlatans
Stazy – Echoes by Gene Clark and The Killing Moon by Echo & the Bunnymen
Nick – Heart Full of Soul by The Yardbirds
Col – 24 Hour Garage People by Half Man Half Biscuit and Revolution by Spacemen 3

Q: What´s the plans for future?
Col – To continue playing gigs and releasing music until one of us reaches 100 years old or one of us just forgets that we`re in a band.

Q: Any parting words?
O`Hara - World Cup 2014, see you there to watch the incredible spectacle as Scotland, against all expectations, finally lift the trophy aloft.
Stazy - Never trust a hairy knee
Col - Lang may yer lum reek

quinta-feira, 1 de novembro de 2012

The John Candy - In a Bad Fix (Dreamscape) 2012




Um dos discos do ano de 2012, faciiiiiiiiiiiiiiiiiiiiiiiiil!!!!

The Concept - Operation End

é isso!!!!!!!!!!!!!!!!!!!!!!!! meu dia esta melhorando......é simples The Concept meu chapa!!!!

The Concept - Wrong Way Live @ Lega Itálica (São Paulo Brazil, 01/Sep/20...


"Eu não queria que aqueles momentos acabassem nunca, mas por fim o show sim o SHOW em letras maiusculas e garrafais acabou e minha alma foi salva novamente por decadas e decadas, e confesso, tal qual anos atrás, esse garoto de 37 anos voltou a ter vontade de ter uma banda novamente.....

O The Concept me salvou....então....God Saves The Concept!!!!"