sábado, 27 de maio de 2017

Good Hate with Strange Things - An Interview


A impressão que tenho após ouvir sequencialmente os singles dos canadenses do Strange Things é a seguinte: se o Blue Cheer fosse uma banda indie eles seriam o Strange Things.

Pense em um R&B cru, ácido, sem firulas, indo direto ao ponto, tudo isso com um apelo pop inegável, essa a melhor descrição que posso conferir aos caras.

O último single "Good Hate" certamente exemplificará melhor, dê play e deixe "Good Hate" e "Kiss The Sun" dominar sua mente.

Só um conselho, escute alto, em todos os sentidos.

***** Interview with Strange Things *****


Q. When did Strange Things start? Tell us about the history...
Strange Things started in 2013 as a 2 piece jam project, just drums and guitar, with no realistic intentions of becoming much more than that. I think that changed when Robin (Fashionism) joined on bass. The chemistry worked really well and the songs were sounding great, so we decided to make it a proper thing. Keith replaced Rob, the original drummer, and thats when we started playing live. We played a number of shows as a 3 piece, including opening for Morgan Delt, but the live sound didn't match what I was after. We were having beers one night after a show and Staf (The Orange Kyte) approached us and said that if we were ever looking for a second guitar, he'd be down for it. Not long after that night we were a 4 piece.

Q: Who are your influences?
You can find all kinds of stuff in our sound, but it's mostly freakbeat and psych from the mid 60's. At least thats where the base sound comes from. Bands like The Misunderstood, The Factory, Zakary Thaks, and Wimple Winch. The Smiths and Black Sabbath will always find their way in as well.

Q. Make a list of 5 albuns of all time…
Maybe not "best albums of all time", but they effected me in some way...

The Smiths - The Queen is Dead
Black Sabbath - Paranoid
Minor Threat - Complete Discography
The Kinks - Face to Face
Serge Gainsbourg - Histoire De Melody Nelson

Q. How do you feel playing live?
I'm terrible at it, but I think we've done ok. I feel like this band is more at home in the studio than on a stage.


Q. How do you describe Strange Things sounds?
Like taking a speedball on acid.

Q: Tell us about the process of recording the songs ?
I'll record a demo at home that has the guitars and vocals with harmonies worked out, and bring that to the band to fill out. When we take that into the studio we try to be efficient with the bed tracks so we can spend the most time working out a signature sound or moment for each song. Then we sprinkle some magic dust on it, blow it a kiss and the song is finished.

Q. Which new bands do you recommend?
I've been listening to Meat Bodies a lot lately. I also feel like Nervous Talk were the best band in Vancouver.

Q: Which band would you love to made a cover version of?
We have been working on a version of "No Regrets" by Lee Hazlewood.

Q: What are your plans for the future?
Record an LP. Touring would be nice as well...

Q: Any parting words?
Thanks for taking an interest in the band!
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Thanks

https://strangethings.bandcamp.com
https://www.facebook.com/wearestrangethings/

sexta-feira, 26 de maio de 2017

Temporal with Las Cobras - An Interview


Bem, não vou mais explicar a importância da Fuzz Club Records no atual mundo psych, chega a ser pedante dizer que os caras são a mecca do que há de melhor em sons derretidos e delirantes nesse planeta.

Mas ok, vamos lá novamente endossar o que falei.

Pegue o recém lançado "Temporal", debute do duo uruguaio, na verdade o casal Sofía Aguerre e Leandro Rebellato, dê play, e prepare pra derreter, mas o efeito aqui é letárgico, a indução é gradativa até a completa perda total dos sentidos.

Sonoramente o Las Cobras, são um intenso mix de Singapore Sling, Blondie, The Doors entre sequenciais repetições de andamentos que remete claro Spacemen 3 e BJM.

Absolutamente viciante.


***** Interview with Las Cobras *****



Q. When did Las Cobras start? 
We have known each other for years, we are from the same town, we are a couple now and for a long time we wanted to do something musical together, we have similar tastes and interests so we thought it would be fun to use our friday nights to record and play music. We started hanging out together the same day Lou Reed died. Our link was musical since the beginning, I think, music was and is our principal connection. We started to make and recording our own music in the summer of 2016, in our room. When you live in a town where there's nothing to do, playing music is the most gratifying thing to do to defeat boredom. Canelones is the place where we live, is a little town inside a little country, very few people, nothing new to see, experiencing with drugs and playing music has been the most enjoyable way to spend our free time, sharing real feelings and connecting with each other.

Q: Who are your influences?
Everything around us stimulate us, either in a good way or in a bad way. Our town, our friends and family, our jobs our education, and way of living… culture in general, the society, dreams, even the weather can influence a song.

Q. Make a list of 5 albums of all time…
Spacemen 3 - Sound of Confusion
Suicide- Suicide
The velvet underground- The Velvet Underground & Nico
The Brian Jonestown Massacre- Thank God for Mental Illness
Caetano Veloso- Transa

Q. How do you feel playing live?
We haven't played live, so we still can't say how we feel doing it, but without doubt we are going to try. Some weeks ago we started rehearsing with the guys from Color Horror, the other band Leandro is part of, to try to make the whole thing happen.


Q. How do you describe Las Cobras sounds?
Dark, trippy, we sing all the time in unison generating an ethereal climate in our voices, the guitar is washed with reverb and fuzz, the drum machines are aggressive as a knife and the synthesizers have a melodic and hypnotic sound.

Q: Tell us about the process of recording the songs ?
We really don't have any rules at the moment of the recording, we just do it spontaneously. Friday nights, after work, we got together in our blue room, we connect the bass, guitar, synth and mic, put some music on, take some stuff to warm things up, and start recording the tracks over and over. We begin with a bass riff or a synth sound, then we try to generate a vocal melody that shapes the whole song, then we start recording the arrangements and differents overdubs. We record and produce everything ourselves, so there's no middle man in our music. The major feature of the album is that the songs were composed and recorded during the same night, so we did not rehearse the songs before recording them, improvisation and spontaneity is very important in our sound.

Q. Which new bands do you recommend?
I can't tell nothing specific, but we are really into the neo-psychedelic movement that is appearing, luckily many of them are in our record label so you have to check Fuzz Club Records catalogue.

Q: Which band would you love to made a cover version of?
Well in fact, we start making some covers before start doing our music, the first cover we made was “Colours“ by Donovan and then “you really got to hold on me“ by The Miracles. Sometimes as a warm up we make Spacemen 3 or The Brian Jonestown Massacre covers, we had really fun times making that.

Q: What are your plans for the future?
Keep doing what we do, playing music, start playing live, make another record, make a tour, have a little fun.

Q: Any parting words?
Try to free your mind, be yourself, tell the truth and enjoy the ride.
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Thanks

https://fuzzclub.bandcamp.com/album/temporal
https://www.facebook.com/lascobrasband/

Premiere - The Ludvico Treatment - "Spinning Away" (Eno/Cale)


O caso de amor entre TBTCI e os canadenses do The Ludvico Treatment já vem de alguns bons anos, mais precisamente desde 2007, quando do lançamento de "Romanticism" e fortaleceu a níveis eternos graças a perfeição de "Politeia" de 2011.

Os caras já participaram de projetos do TBTCI, vide o Strange Fruits, o tributo ao Catherine Wheel, e muito em breve estarão figurando em um futuro projeto.

Mas, agora o The Ludvico Treatment aparece novamente por aqui por conta de sua releitura hipnótica e envolvente para "Spinning Away" de autoria dos mestres Brian Eno e John Cale, presente no álbum "Wrong Way Up" de 1990.

E como aqui no TBTCI temos o hábito de sempre conhecer as histórias por detrás das criações das bandas amamos, convidei Adam Veenendaal para nos contar os segredos da lindíssima versão da banda.

Escuta alto e preferencialmente com fones de ouvido para saborear todos os detalhes.

***** Spinning Away by The Ludvico Treatment *****


Q. When and why did you choose "Spinning Away" to make this version?
Years ago our guitar player (and ex-Hinterland member) John Lucas showed me Spinning Away, saying he'd always wanted to cover it. I've since come to love the rest of the album it comes from, Brian Eno and John Cale's Wrong Way Up, but Spinning Away's vocal melody is tailor-made for a shoegaze reimagining. In 2016, we worked with Felix Fung at Little Red Sounds, an amazing studio in Vancouver with a very vintage rock & roll feeling, planning to record two songs: Broken Head for TBTCI's Catherine Wheel compilation, and In The Park, which was released on TBTCI's shoegaze compilation earlier this year. Felix is a wonderful producer and a fan of Spinning Away, so I suppose it was inevitable, really.

Q. How was the creative process?
The other two songs we did during the sessions with Felix were recorded with the entire live band, which was something new for us since most of our recordings tend to have me (Adam) playing most or all of the instruments. For Spinning Away, Felix and I just started jamming out the chords using different instruments lying around the studio, and when friends would drop by the studio we would invite them to play on the song. Eventually we had a great roster of people on it; in addition to Felix and myself, we had Phil Western (great electronic musician and member of Download) playing some cymbals, Emily Bach from Dirty Spells on violin, Eric Campbell from Eric Campbell & the Dirt on vocals, John Lucas on guitar, and Alex Kennard from Ludvico on vocals as well, although his parts were recorded on the other side of the country. Musically, we focused on the melancholy element of the vocal melody. The guitar on the original track gives the song a sunny, reggae-like feeling - that was the first thing we decided to leave out. Then Felix suggested we change the bassline and play different chords between the guitar and bass to give the song a different feeling in the second half of the song when the wall of vocals comes in. I think it worked wonderfully and couldn't​ be happier with the results.
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Thanks

https://soundcloud.com/theludvicotreatment/spinning-away
https://www.facebook.com/theludvicotreatment/

quinta-feira, 25 de maio de 2017

Shyness with Todavia - An Interview


A música pode causar infinitas sensações dependendo do seu estado de espírito. Pode te levar a loucura plena, nervosismo caótico, intimismo completo, ou ainda, te fazer flutuar sem ao menos você se mexer.

A música de Rhyan Riesgo através de seu projeto Todavia ativa a leveza da alma, conduzida por camadas suaves e cristalinas envoltas em um perfeito mundo de sonhos.

Evocando os mitos da cultuada 4AD, o Todavia cometeu um dos discos mais suavemente encantadores que ouvi neste ano, "Shyness", lançado em Abril, é uma preciosidade, simples assim.

Hipnoticamente envolvente.

***** Interview with Todavia *****


Q. When did Todavia start? Tell us about the history...
1. Todavia started in 2013 as a bedroom project. I was studying music theory at the time and had been on a music writing hiatus. everything I wrote, I felt was never good enough and in a way I still suffer from that mentality. I was heavily influenced by groove armada and washed out around that time, and so 'zoology' which was released in 2014, was intentionally very open, lots of space, more keyboard. all the guitar sounds ironically were keyboard. I didn't play guitar then. 'zoology' has everything to do with the beginning of todavia. from start to finish, 'zoology' tells a story. todavia for me is a space to exist where I feel I can't. it is dark, safe and intentional. it wasn't until 'stay' was released that I learned how to play guitar, and truly work on what todavia has become now. 'shyness' which I just released on 4/28 has everything to do with this new sense of myself. in 2013 i was very much afraid of showing the universe what I felt/thought/etc., and shyness (ironically, considering it's title and all) is a "coming-out". i want and try to love myself. I want to show the universe n o w what makes me unique, different, special and against any and everything conventional.

Q: Who are your influences?
2. my biggest influences are beach house, cocteau twins, erasure, and washed out. #1 will forever be beach house. I never thought analytically about presenting my music in the marketing world, I was solely focused on the artistry. but watching beach house on their last DC/TYLS tour really helped show me that there really is no disconnect from marketing + artistry. there is plenty of room for both as a brand. my image, my self, my music, my feeling is what todavia should be as a whole, always. siempre y todavia.


Q. Make a list of 5 albuns of all time…
3. top 5 records of all time :
1. the hurting - tears for fears,
2. four calendar cafe - cocteau twins,
3. devotion - beach house,
4. remain - them are us too,
5. mind out wandering - astronauts, etc.

Q. How do you feel playing live?
4. playing live has always been so odd to me ! there I am, facing a crowd, revealing who i am, having to translate a feeling so deep inside me. I had been obsessed with this idea of perfection and what was conventional for people in a 'band' like setting. once I started to own myself, really romanticize the 'multi-instrumentalism' aspect of me (because I play a lot of different instruments and not one do I truly feel I identity with entirely), I really started to think more about what is special about me, and what I can bring to a space so that others can understand what I am trying to translate in my music. gradually and slowly, I am being much more comfortable on stage. I wear a hat and mostly look down the entire time, but that is for comfort. I am so preoccupied with playing different parts that i forget anyone is even watching me.

Q. How do you describe Todavia sounds?
5. todavia is a feeling. it is dark, comforting, intentional and lush. it is dream-like but also very lucid. it is a space I hope will generate heartbreakingly beautiful ideas, feelings, and desires. it is purple and it is hard to see, but very easy to feel. it is a space to get to know yourself.


Q: Tell us about the process of recording the songs ?
6. tracking songs + writing songs typically happen together. it always starts with a loop. on my roland fantom I am able to build tracks and loop different sounds. I can have the loop going for hours, building, playing, jamming different ideas. I'll have vocals being looped, I'll usually be playing guitar. once I fall in love with it, I'll track it right away. mixing usually happens while I track just for efficiency and because everything is being done on my laptop anyways. i tend to obsess over things for short periods of time. I will completely fall in love with a track but throw it in the trash 3 weeks later. I might save a loop from years ago, but appreciate it's feeling and never reveal it. it all depends.

Q. Which new bands do you recommend?
7. *new* bands are tough. I'm obsessive so I always recommend beach house. I don't know any new bands but I do recommend them are us too, grave pool, seeame, and ghost noise as far as what I've been into lately.

Q: Which band would you love to made a cover version of?
8. I would totally say beach house, but I tend to cover them already. it would be fun to cover cocteau twins because I feel like it would be so difficult to hear each individual layer of elizabeth fraser's vocal tracks and to capture it truly. I also don't play guitar that well either so that would be difficult too ! I started working on a cover of britney spears' 'toxic' but that got weird quick.

Q: What are your plans for the future?
9. my plans are to keep playing, working, and hustling as much as I can. I am completely d.i.y, I do my own booking, marketing, mixing, mastering, tracking, playing, writing, design, etc. etc., so it is incredibly validating the response I get from this project, and because of that it makes it easier to not give up or slow down. every now and then when I get frustrated with my own abilities I consider giving up. if I give up though I think I would probably die. a lot of energy is spent in my music, and why not keep going even if no one is listening? my life revolves around music. teaching, learning, absorbing as much as I possibly can. i suppose my only set plan is to keep working and to keep being involved with music.

Q: Any parting words?
10. my only parting words are to thank you for the opportunity to speak on myself and todavia. it is one thing to reach out to people in an effort to get noticed versus someone else reaching out because they noticed. thank you again for the opportunity.
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Thanks

http://www.todaviamusic.com/
https://www.facebook.com/pg/todaviamusic
https://todaviamusic.bandcamp.com/

quarta-feira, 24 de maio de 2017

Des Vagues De Nuages with Morning Drops - An Interview


Quando falamos em sofisticação e estilo na música, o que vem a minha cabeça é Roxy Music, Associates, Serge Gainsbourg, Stereolab, artistas com algo que é um selo de qualidade atestando autenticidade, e para se entrar nesse seleto rol é algo assim, digamos, complicado.

Quando conheci os franceses do Morning Drops, tudo isso me veio a mente, esse elixir casando estilo e sofisticação cai como uma luva para definir o primeiro single do debute deles, "Des Vagues De Nuages" é daquela canções cinematograficamente perfeitas, entende o que quero dizer?

Caso você não consiga entender o que quis dizer, esqueça tudo e apenas ouça, sinta o que o Morning Drops nos oferta apenas como aperitivo. Acima.


***** Interview with Morning Drops *****


Q: Who are your influences?
We are mainly influenced by psychedelic, dream pop and shoegaze music like My Bloody Valentine, Slowdive, Jesus and Mary Chain, Galaxie 500, Telescope, Pale Saint. But also some 80’s adnd 90’s bands like, Felt, Les Rallizes Dénudés, Stones Roses, Primal Scream, Broadcast, Stereolab.

Q. Make a list of 6 albums of all time…
Loveless - MBV
Bloom - Beach House
Noise Made By people - Broadcast
Julie Cruise & Angelo Badalamenti - Floating Into The Night
Love - Forever Changes
Can - Tago Mago​

Q. How do you feel playing live ?
We try to create an atmosphere and to make our sound evolve based on the different live experiences, without forgetting to let go and allow some improvised parts that make every show different. We like to have a few drinks too.

Q. How do you describe Morning Drops sounds?
Morning Drops is mainly marked by a psychedelic-pop and shoegaze identity for now. But it’s the beginning and over all, we don’t necessarily want to keep our music in a closed range. I think the general idea is trying to produce a sound that evolves.

Some of our latest compositions are more progressive, for exemple. We also always thought our music in a cinematographic way. It’s interesting because we actually played in a movie theater in our hometown recently. We took advantage of this experience to test the link between our sound and a video projection. It’s was great and we want to go further in that direction. Basically, we think we want to explore a lot : how we sound, what it's going to narrate, the link we can create between that and another medium. We have the objective to do so.


Q: Tell us about the process of recording the songs ?
We've been recently recorded by Arnaud from Jaro Mil who knows our sound very well. We worked together a lot on the mix and mastering to really make everything more precise and elaborate an atmosphere. We recorded our forthcoming 4 tracks EP with him, and also the live session single called «Des vagues de nuages».

Q. Which new bands do you recommend?
We love many contemporary bands like Beach House, Deerhunter, Drugdealer, Connan Mockasin, Ty Segall, Thee Oh sees, Horsebeach, Trementina, Pond, Velvet Morning, Cemeteries, Death And Vanilla, Pinkunoizu, Soundcarriers, Winter, Fat White Family, Cate Lebon, Mars Water. We also recommend french bands like Forever Pavot, Dorian Pimpernel, Bank Myna, Satellite Jockey, Clara Clara, T/O, Brace! Brace!, Avions, Hermetic Delight...

Q: Which band would you love to made a cover version of?
Just you by Angelo Badalamenti
Links : https://www.youtube.com/watch?v=7r05WHrH_-A

Q: What are your plans for the future?
We are going to release our first 4 tracks EP soon.

Then, we want to play in a different cities in France and travel with our music to share it in other countries, meet different people.

Q: Any parting words?
We are going to do a crowdfunding soon to help us release our EP on vinyl format and we can't wait to see Twin Peaks season 3!

Thank you for the interview and hopefully we can catch up soon!
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Thanks

https://morningdrops.bandcamp.com/releases
https://www.facebook.com/themorningdrops/

Dark Music with Dead Serpent - An Interview


A nome do primeiro álbum do enigmático projeto chileno Dead Serpent resume e explicita exatamente do que se trata, "Dark Music", simples, curto e direto.

O Dead Serpent em sua estreia mescla todos os direcionamentos possíveis da música "dark" ou gótica se preferirem.

Navegando pela escuridão do gótico clássico, passando pela Bat Cave, adentrando em terrenos mais pesados em alguns momentos, sobrando espero para viagens etéreas em menor escala., mas o que mais deixa o trabalho do Dead Serpent interessante é a transposição desses momentos para os dias atuais, sem perder o charme nostálgico da coisa.

Fãs do lado escuro da música não podem deixar passar.


***** Interview with Dead Serpent *****


Q. When did Dead Serpent start? Tell us about the history...
A. Well Dead Serpent is a new project, just a few months on the air (From August 2016) I always been making music, since I was in school. Start with a dark ambient project called "Porcelain Doll" a few softwares, some intruments, etc... My influence in music always been from dark, underground music. I finally decide to make this proyect with all I've been learned all this time and start with a new sound more personal, mixing what I was living in that time of my life, a kind of rebirth, and that was the result, a dark music full of ethereal landscapes, light and dark, night and day, thats why the name too, It's a kind of a gnostic feeling, some kind of balance.

Q: Who are your influences?
A. Since i was a kid I always loved experimental music, dark ambient, gothic, some influences I could tell you is Devil Doll, Mr. Doctor was one of my bigest inspirations and motivations to start making music. I love the kind of songs with a melancholic taste, with that sense that makes you want to cry and smile, and it's not propious from a genre or style, i mean in my tastes are tracks from Trip Hop till Depressive Black Metal, so is a big question for me.

Q. Make a list of 5 albums of all time…
A. 1.- Devil Doll – Sacrilegium
2.- Aphex Twin - Selected Ambient Works 85-92.
3.- Cinema Strange (I cant decide what album are my fav xd haha)
4.- Dead Can Dance - The Serpent's Egg
5.- Bjork - Homogenic.

(There so much more like Cocteau Twins – Four Calendar Coffe, The Cure – Disintegration, Sopor Aeternus – Dead Lovers Sarabande (The 2 faces), Lacrimosa – Einsamkeit, NIN – Pretty Hate Machine and I could go on and go on and go on so stop here!)

Q. How do you feel playing live?
A. I''ve been invited to play in some parties here in Santiago but I was specting to finish the album, and now that's been released I'm so exiting to start to play live with Dead Serpent.


Q. How do you describe Dead Serpent sounds?
A. Dead Serpent is a mix of gothic rock, dream pop, darkwave, coldwave (and other styles too) I describe my music as beautiful dreams from the past and future. I love to reach for deep melodies, drown into ethereal waves of sound.

Q: Tell us about the process of recording the songs ?
A. That's my favorite part, it's been so satisfactory to record DARK MUSIC. With the years I been buying a lot of stuff to make my own bedroom music study, so I record everything in my room, I believe that is more consistence the final work if I work alone. To play live I've some musician friends who will play with me.

Q. Which new bands do you recommend?
A. Ozean really blow my mind with his same titled ep. Blind Seagull. Search about "Incidente Tunguska" from Spain, very very nice tracks. Queridas from Argentina and r. from Chile (r. Is not new but very under, search about her ;).

Q: Which band would you love to made a cover version of?
A. I'm not much about made covers, but if i made one, would be definitly Cinema Strange or Devil Doll.

Q: What are your plans for the future?
A. Well keep making music and who knows mayber travel. I've so much material I'll keep working on, so maybe soon there will be a DARK MUSIC PART II hehe.

Q: Any parting words?
A. Thanks a lot to the people who share, download and support my music, to you for this instance to show more about Dead Serpent to the world, and keep in touch with my neetworks, new surprises coming soon!
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Thanks

https://deadserpent.bandcamp.com
https://www.facebook.com/deadserpent/

terça-feira, 23 de maio de 2017

Decay with Glass Arcades - An Interview


Pelo segundo dia consecutivo a cultuada gravadora Sarah Records aparece nas páginas do TBTCI sendo citada como referência.

Pode ser um sinal de que existe sim uma nova tendência com novos artistas e bandas que logicamente bebem na fonte da "sonoridade sarah".  Como pode ser também, uma bela e simples coincidência.

De fato o Glass Arcades projeto de um homem só, Anton Salmine, com uma sonoridade tipicamente inglesa, o galês Anton, cria suas saborosas melodias melancolicamente ensolaradas com enfase em suas influências que, claro, incluem a tal "sonoridade sarah", afinal de contas o nome de seu projeto é uma referência explicita a essencial coletânea "Glass Arcade" lançada em 1991 pela Sarah. Mas as referências de Anton flutuam e passeiam também pelo lirismo de Luke Haines e sua fase áurea no The Auteurs sem esquecer da deliciosa safra da Class of 85.

Obviamente que todas essas referências explicitam apenas uma importante coisa, o Glass Arcades é puro perfect pop, na acepção perfeita do que isso representa.

***** Interview with Glass Arcades *****



Q: When did Glass Arcades start? Tell us about the history...

A: It never really properly ‘started’ as much as I just had some songs ready for release and needed a name to placate the whole thing with. I reckon most people tend to assume that it’s a band or a collective of some sort but in reality it’s just me, alone, under the thinly veiled guise of being something a wee bit more than just some bedroom solo recording project. It’s been very much a zero budget, completely DIY affair so far — can’t say much for the future.

I’ve been releasing things for a (very) slowly growing audience for about a year and a half now. There’s that old cliché people repeat about the Velvet Underground that only a thousand people ever bought their records but each and every one of them started a band of them own, and similarly, I feel like I’ve now reached the point where only about 150 people have ever listened to Glass Arcades but every one of them posted about it on their extremely genre-specific post-post-post-twee-shoegaze-dreampop blog. I haven’t really done any advertising or anything so I suppose they’re just the only sort of people who care enough to scour through all the thousands of new obscure releases available.

Q: Who are your influences?
A: I’d love to just be able to list a million obscure folk records from the 60s or something but I must admit that most things that I’m influenced by tend to just sound quite a bit like the music that I make. A lot of the bands that I love have themselves been accused of sounding ‘derivative’ or whatever… and I’m perfectly happy to embrace that!

Quite a bit of 80s indiepop: C86, Sarah Records (esp. Another Sunny Day and Secret Shine), Television Personalities, The Pastels; all manner of things uglily labelled ‘shoegazing’; Teenage Fanclub, The Smiths, The Cure, Mary Chain, AR Kane, Dinosaur Jr, New Order, Pet Shop Boys, Pulp, a bit of cheesy 70s glam rock, some trip-hop and ambient. All in all I feel like it’s really quite a limited scope of things that I ever get that excited about, and obviously I’m a bit stuck in 1991 by the look of things.

Q: Make a list of 5 albums of all time…
A: The Auteurs - After Murder Park
Cocteau Twins - Treasure
David Bowie - Low
My Bloody Valentine - Loveless
Suede - Dog Man Star

Q: How do you feel playing live?
A: So far Glass Arcades has been a strictly studio-based thing so I’m not sure if I can answer that… but if you happen to live near Cardiff and feel like you’d be the best possible drummer/bassist/keyboardist/tambourinist/Bez in the so-far-non-existent Glass Arcades live band, do feel free to contact me!

Q: How do you describe Glass Arcades sounds?
A: Relatively straightforward pop songs lying underneath varying amounts of layers of jangly guitars, cheap second hand fuzz pedals, mellotron string samples, half-decipherable falsetto vocals and an overabundance of reverb.




Q: Tell us about the process of recording the songs ?
A: I’ve no musical or technical education whatsoever so I’ve basically just learnt to layer and twist and arrange sounds on top of each other until they start sounding good enough. There’s lots of trial and error involved and it can be quite a labouring process, especially unless you’re the sort of person who enjoys spending a whole warm summer’s day working on a 90-second-long song that you never plan on releasing. (I am.) Probably at least 95 per cent of the stuff I record never ends up being heard by anyone else but myself.

The one exception to that is the first Glass Arcades release, ‘nov 02’, which was just a bit of an experiment with how fast I could come up with an EP worth of new music — I think it took me about 18 hours to write, arrange, record and mix six songs which is something I was quite proud of at the time, seeing as how I usually tend to just leave things to wait for half a year or so before doing anything concrete with them. There’s this one song on the next (still totally secret, for the time being!) EP/mini-LP that I wrote when I was fifteen or sixteen, I think — weirdly enough it just seemed to fit quite well amongst all these things that I’d recorded five years afterwards.

Q: Which new bands do you recommend?
A: 1) From London (via Humberside, as they like to make it clear) there’s the ever so brilliant Night Flowers, who I’m in constant awe of — they’re probably also sonically the closest to Glass Arcades out of all the newish bands I can think of. 2) Then there’s this band from Gothenburg called Agent Blå who are apparently all 16-year-olds or something, and again, I’m insanely envious of the stuff they come up with. 3) The best live band I’ve witnessed in about a year would be another Swedish one called Tussilago — they somehow managed to encapsulate every single thing I’ve ever loved musically into one 45-minute live set. On top of that: Lost Film, The Goon Sax, Pure Morning, Moon Loves Honey, Beverly, Retro Candy Mecca, and (even though they’re not really ‘new’ — merely criminally underrated) Evans The Death.

Q: Which band would you love to made a cover version of?
A: There’s quite a few songs that I’ve always wanted to cover in some form or other — the first one I can think of is ‘Just the Same’ by The June Brides, which I think is just the three-minute pop song perfected — there’s nothing I’d change but I’d love to record an (almost) note-to-note cover of it. I’ve also dreamt of covering the entire Sarah Records compilation album ‘Glass Arcade’, which is where this whole thing got its name from…

Q: What are your plans for the future?
A: I’ve got a few hours worth of songs lined up for future releases and it’s just a matter of how and when but there should hopefully be something coming out in the next couple of months — you read it here first! (Also the complete and utter destruction of lad culture, the Church of England and global capitalism.)

Q: Any parting words?

A: Please buy my records but if you can’t afford to just download them for free on bandcamp… or at least leave them playing overnight on your streaming service of choice. Brush your teeth twice a day. Don’t vote Tory. Be kind to waiters and shop assistants. Call your grandparents once in a while. The world will end on 29 April 2049. Cheers, thanks, see ya, bye, ta-ra!
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segunda-feira, 22 de maio de 2017

Winter Evergreen with Some Gorgeous Accident - An Interview


Dale Marquez é um filipino radicado em São Francisco, Califórnia, e se por um descuido você ainda não conhece a música que ele produz sob a alcunha de Some Gorgeous Accident, faça um favor agora, imediatamente, ouça.

Eu poderia apenas parar por aqui e deixa-los sob a doce aura cristalina que Dale destila em toda sua discografia, seja no último EP, "Winter Evergreen" de 2015 ou na soberbo "Sleep In Symmetry" de 2012, pouco importa por onde você vai iniciar, não há pontos baixos na música do Some Gorgeous Accident, e digo mais, se você é adorador da cultuada Sarah Records vai encontrar um grande amor neste momento.

Veja, quem me conhece sabe que não sou lá muito fã das clássicas bandas da Sarah Records, mas sempre que escuto o Some Gorgeous Accident, fico tendencioso a rever meu conceito.

Sublime resume.


***** Interview with Some Gorgeous Accident *****


Q. When did Some Gorgeous Accident start? Tell us about the history...
It was probably around 2006-2007. I was working with my brother on an Apple Orchard album and I had a few songs which I felt was not suitable for the record. So I found time to finish recording them on my own, which became most of what's in Winter In Watercolors, a cassette-only release issued by Best Kept Secret. Initially, yes it was just myself doing everything including singing but I felt uneasy and was not satisfied by it. In the follow-up release, Imaginary Lines, I thought having some of my musician friends sing was a good idea. Luckily, I have some really talented mates and it worked itself out.

Q: Who are your influences?
There's just so many. Blueboy is an obvious one certainly. I've been heavily influenced by the usual shoegaze suspects like My Bloody Valentine and Slowdive. Pale Saints and Spoonfed Hybrid were big inspirations too, along with bands like Riverside, The Railway Children, Insides and Swallow. Cocteau Twins of course played a huge part in my life as a musician and as a person as well.

Q. Make a list of 5 albums of all time…
It's tough to do only five and it usually changes depending on my mood but I'll try:

Cocteau Twins - Victorialand
Riverside - One
Pale Saints - In Ribbons
Slowdive - Souvlaki
Blueboy - Unisex

There are so many great stuff left out though like Aztec Camera's High Land, Hard Rain, Prefab Sprout's Steve McQueen, MBV's Loveless, New Order's Power, Corruption And Lies, Red House Painters' Self-titled Rollercoaster album...

Okay, that's ten and I feel there's still a bunch more that needs to be included on here.

Q. How do you feel playing live?
I have not played live in years! I like playing live though - I have done so in the past. However, Some Gorgeous Accident wasn't developed to become a live band. Given the right time, the right personnel, who knows? I might gather some friends around, rehearse a few times and maybe play an intimate gig or two somewhere far away.

Q. How do you describe Some Gorgeous Accident sounds?
It's dreamy and wintry, it has a shoegazey feel so whenever I genre tag my music on iTunes, I put dreamgaze or wintergaze. I have a thing for labeling stuff and it's really just to amuse myself so don't take it seriously.


Q: Tell us about the process of recording the songs?
It really starts with an idea. Like a sound in my head and I go from there. Everything is done in my home studio, Hush Hush. I could start with programming a beat or with just weird guitar noises and then structure it with "dummy tracks" which are deleted in the final mix. I like structure in the songs, it helps make my life easier. But I love chaos too so I try to find a balance between the two. The tricky part is the vocals which always come in last and usually, I already have someone in mind by the time I am finished writing the song. I have collaborated with friends from bands like Silver Screen, Outerhope, Jenny Arson, Archaster, Candy Apple Pops, The Wentletraps, Slow Hello and Arigato, Hato!. All have contributed their vocal parts (and on occasion, some guitar work as well) by sending digital files online. Apart from my wife, who has sung in a couple of songs, I have never been in an actual studio with anyone involved in the vocal recording. I think that's pretty cool.

Q. Which new bands do you recommend?
I'm really not as updated as I was in previous years. I've enjoyed the past singles by Night Flowers so I'm eagerly awaiting their debut LP. Girl Ray, Friedrich Sunlight and Lake Ruth are a few of the new-ish bands I really love. Maybe I should mention Death And Vanilla as well, although their last album came out two years ago. But I love them to bits.

Q: Which band would you love to made a cover version of?
Actually I would love to re-do a cover version I did many years ago. It was a cover of "Brighter" by The Railway Children. It's lost in internet obscurity probably so I don't think many people have heard it. But then, I'm not too sure if I can find time to re-record it.

Q: What are your plans for the future?
I'm currently working on a compilation album of sorts that features a few old songs, a bunch of new tracks, reworkings of older ones, among a few others. I feel like this has taken a lot out of me and I'm uncertain if I will continue making music as Some Gorgeous Accident. I'm not saying I won't be making music anymore. I might change my mind, sure but most likely if I make more music, it won't be for the next few years. Or perhaps, it will be in some different form or another.

Q: Any parting words?
Thank you for the support and taking time to interview me, Renato! It's been a pleasure. Please do anticipate an album coming out real soon!
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Thanks

https://somegorgeousaccident.bandcamp.com
https://www.facebook.com/Some-Gorgeous-Accident-Ph-154904064595236/

domingo, 21 de maio de 2017

Cousin Larry with D.E.B.B.I.E. - An Interview


Quando a metade do duo D.E.B.B.I.E., Warren Ard entrou em contato comigo, introduzindo a mim "Cousin Larry" primeiro EP do duo, que é formado também por Edmand Pace, me senti muito próximo do que o Roxy Music era em sua fase áurea ainda com o gênio Brian Eno.

Assim é a música do duo, dançante, romântica, cínica, e glamourosa, feita sob medida para se jogar numa pista e dançar e viajar com os olhos fechados.

Sortudo é o TBTCI que ainda pode contar com a presença deles no recém lançado tributo ao The Sound.

Sugiro a você, caso ainda não os conheça, se jogar imediatamente, vale cada segundo.


***** Interview with D.E.B.B.I.E. *****




Q. When did Debbie start? Tell us about the history…
We got started about a year ago, but we’ve known each other forever and have played in bands together since the early 2000s. We’ve been kicking around ideas for a few years, but it’s only really come together in the past few months.

Q. Who are your influences?
Roxy music is one of our favorite bands and we have the utmost respect for Brian Eno and Bryan Ferry. The Sound and Magazine are simply amazing and we don’t understand why they aren’t remembered more widely. The Cars and New Order would be on the list as well. We both grew up in the 80s, so new wave is an obvious influence.

Q. Make a list of your Top 5 albums of all time.
Big Star – Third
Brian Eno – Here Come the Warm Jets
Sparks – Kimono My House
Roxy Music – Roxy Music
The Sound – Shock of Daylight


Q. How do you feel playing live?
D.E.B.B.I.E. was started as a recording project, so we haven’t played any live shows yet, but we’ve played in a number of bands in the past. We don’t like to prepare too much, so performing live always feels like jumping off a cliff in some ways… just go for it and worry about the rest later. We like to drink a lot as well, which always adds some element of surprise. D.E.B.B.I.E. will be a much more refined live experience, however.

Q. How do you describe your sound?
Our first e.p., Cousin Larry, was released last month and it’s pretty straight forward indie rock with some new wave flourishes. The stuff we’ve recorded since is much more grounded in new wave and post-punk. With all due respect to Bob Dylan and Kurtis Blow, I’d describe our current sound as “street rock”.


Q. Tell us about the process of recording the songs…
We both contribute to song writing, but Warren handles most of the actual recording. I usually work on the vocals separately until we’re ready to put it all together. We pretty much just bang on a bunch of stuff until it sounds cool.

Q. Which new bands do you recommend?
The new albums by Merchandise, Soft Kill and Preoccupations are great.

Q. Which band would you love to cover?
We just did a cover of The Sound’s “New Way of Life” for a tribute album which was awesome. We’ll likely cover a few Roxy Music songs once our live band is ready.

Q. What are your plans for the future?
We’re about to start recording our second e.p., Drug Friends, in a few weeks and we hope to record our first full-length album by the end of summer. We’ve got around 20 songs ready to go, so it’s just a matter of finding the time to do it. After that, we’ll start working on a live show. We may be on a soundtrack for an upcoming movie, but we don’t have much to share about that currently. The Sound tribute album we’re on is coming out in May, so look for that.

Q. Any parting words?
Many, many thanks to Renato Malizia and The Blog That Celebrates Itself!!!
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Thanks

https://www.facebook.com/d.e.b.b.i.e.musicDEBBIE
https://debbiemusic.bandcamp.com/releases

sábado, 20 de maio de 2017

Deriva with El Camino de los Caminos - An Interview


Nicolás Garimano e Nicolás Castello já estão se tornando habitues aqui nas páginas do TBTCI, depois de conversamos com eles acerca do Nax, leia aqui, os caras retornam novamente por conta do projeto paralelo dos dois, o El Camino de Los Caminos.

Ao contrário das pérolas sonhadoras do Nax, o El Camino de Los Caminos é estritamente experimental, tortuoso e denso. Conexões com Windy & Carl, Flying Saucer Attack, E.A.R. podem ser perceptíveis na construção das anti canções dos caras.

Para melhor exemplificar a desconstrução da canção, transformando-as em viagens de drones, repetições ou quebra total da forma tradicional, sugiro a audição do novo single "Deriva", "Huit Nuit Huit" e "Transfigurar" certamente te levarão a outras dimensões sem você perceber.

Tranque-se sozinho e experimente o El Camino de los Caminos, a viagem é certeira.


***** Interview with El Camino de los Caminos *****


Q. When did El camino de los caminos start? Tell us about the history...
El camino de los caminos started on late 2015, recording the first material on early 2016, and it was meant to be an expression of my own concepts of sound beyond the other projects I was involved at that time. It started (and continued) as a lo-fi , home recording intended sound, focused on concepts and textures.

Q: Who are your influences?
I would say I grabbed, in the good sense, the musical concepts from both Flying saucer attack and His name is alive as my main influences, though I enjoy the landscape and textures from shoegaze, drone and ambient music in general.

Q. Make a list of 5 albuns of all time…
1- My bloody valentine – Loveless.
2- His name is alive – Home is in your head:
3- Radiohead – Amnesiac
4- Cocteau twins – Treasure
5- : Bjork - Homogenic

Q. How do you feel playing live?
It’s a great experience, I tend to prefer darker and ambient-oriented places, and not to be seen by public if possible, as it enhances the musical experience.

Q. How do you describe El camino de los caminos sounds?
I would say I create 2 kinds of music;, textural ones and conceptual ones. Within every release resides a concept, being duality, cycles, nature or whichever every one could interpret. There´s also a per se appreciation of texture itself, isolated from any concept that I would like to communicate in some of the tracks.

Q: Tell us about the process of recording the songs ?
Composition often start spontaneously, exploring harmonic progressions I enjoy ot simply textural effects combination I feel comfortable with. Later on, I would develop the concept of the track, what would I like the music to communicate and find the means for it (instrumentation, sound effects, noise). Later on, and not every time, I work towards cohesion of the full album, though I don´t find this step a must.

Q. Which new bands do you recommend?
I´m currently enjoying Mac Demarco quite a bit, also Tame Impala, Pond, The War on Drugs, Tweens and probably many more I am surely missing. From the local scene, I enjoy Dietrich, Entidad Animada, Nax and Bertier y la maquina.

Q: Which band would you love to made a cover version of?
I would love to make an Animal Collective cover!

Q: What are your plans for the future?
I intend to keep on making music, following whichever direction it may take, and sharing the wonderful experience with everyone.

Q: Any parting words?
I´d like to thank the blog for this opportunity to be interviewed, and all of my friends support on this project.
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Thanks

https://www.facebook.com/elcaminocaminos/
https://elcaminodeloscaminos.bandcamp.com

sexta-feira, 19 de maio de 2017

Drowned in a Sea of Sound with The Daysleepers - An Interview


Bem, chegou enfim o momento aqui nas páginas do TBTCI que iremos reverenciar uma das mais apaixonantes bandas que surgiram nos últimos anos, dispensando qualquer tipo de apresentação para os iniciados, estou falando dos mágicos de Buffalo, NY, The Daysleepers.

Dez entre dez amantes de shoegaze, certamente os colocarão entre seus prediletos, também, com um arsenal contendo "Hide Your Eyes", "The Soft Attack" e a obra prima "Drowned in a Sea of Sound" chega a ser desnecessário qualquer argumento maior.

Simplesmente o The Daysleepers é predileto do TBTCI. O único problema é que desde "Drowned in a Sea of Sound" estamos órfãos da maestria deles em criar sofisticadas pérolas de puro delírio gaze com enfoque no pós punk.

Mas, certamente essa espera terá um breve fim, afinal Jeff, explica em detalhes, que "Creation" o tão esperado novo álbum deles estão sendo criado com todo cuidado e zelo, mas antes dele, teremos aperitivos em formatos de singles.

Sugiro não perder nenhum passo, porque o The Daysleepers é absolutamente necessário.

Magistral resume.


***** Interview with The Daysleepers *****


Q. Hello Jeff, how are you? Thanks for doing this interview. It is an honor for TBTCI !!
To begin tell us the story of The Daysleepers, how it all started?
I'm doing great! I wish the story of our formation was a bit more exciting but really it's just that Mario (Drums) & Scott (Bass) were in a post-hardcore band with some of my friends. They recorded at Watchmen Studios with the Producer of our first 3 releases, Doug White, who is also in the band Makara's Pen. When they found out Doug was a big Shoegaze/ambient music fan they told me knowing I was also a big fan of the genre. I started thinking how great it would be to start a shoegaze band and actually record with someone who knows the genre well. It takes a special engineer to understand how to produce shoegaze music and I wanted to work with someone who could get me the sounds I wanted. Long story short, I asked Scott and Mario if they’d like to try making music together and they accepted. Our first practice was a huge success. We warmed up by playing “Souvlaki Space Station” by Slowdive and we thought it sounded amazing! Right after that we wrote our first song which turned out to be “Loved By The Sun” from our first EP “Hide Your Eyes". Also, I asked Mario if he would ask his sister Elizabeth to sing in the band and she joined us as well. I knew she was a lovely singer but I had another motive in that too…I was very attracted to her. It all ended up just working somehow. The rest is history really, we have a bunch of material out there and Elizabeth and I have been married for almost 10 years now.

Q. What are your influences?
So many really, but to name a few: The Cure, Cocteau Twins, The Chameleons, The Smiths, Slowdive, Sade, Swervedriver, Dinosaur Jr., My Bloody Valentine, Interpol, Catherine Wheel, The Verve, Ride, Lush...

Q. Make a list of 5 albums of all time …
Tough question…It changes a bit from time to time but:

1.) The Cure - Disintegration
2.) Slowdive - Souvlaki
3.) Sade - Love Deluxe
4.) The Smiths - The Queen is Dead
5.) My Bloody Valentine - Loveless


Q. How do you feel playing live?
I personally love playing live, but the Daysleepers are really more of a Studio project. We love messing with sounds, creating compositions and producing material, so that is really where we shine. We now have our own small recording studio so we are really enjoying being sound chemists, mixing up some incredible soundscapes. We can’t wait for you to hear what we are doing now…It’s a whole new dimension for us!

Q. How do you describe The Daysleepers sounds?
I would say very melodic, indie pop music wrapped in dense layers of reverb, overdrive, distortion and delay. Our focus is always on atmosphere and melody. I always try to make guitar and vocal hooks that get stuck in your head.

Q: Tell us about the process of recording the songs?
It used to be easy. We’d just write the songs, go to Watchmen Studios and record it. Doug would Mix & master and we’d be off with a new release. Now it’s a bit more complicated. Since the beginning of this year we have our own functioning home studio, and with that there is much more freedom to experiment and create amazing sounds without being pressed for time like we were in a studio. The down side is that there is a tendency to go a bit crazy and never finish anything because we are constantly tweaking, trying to make things better. I must admit I’ve been going a bit Kevin Shields crazy lately…That is, overthinking everything. At some point I have to tell myself, "this is really good so finish it up so you can actually get the material out to the people!” It’s very taxing on me at times. We all get involved in this process but on this new album I am the head producer, head of marketing/design, guitar player and the lead singer. Oh, I write all the lyrics too, which for me is almost the hardest part. It’s all a bit new for me to take on all of this, and I'm still in the process of figuring things out but I’m sure It will get easier as I learn and gain more experience producing our tracks.

Q. Which new bands do you recommend?
Nothing, From Indian Lakes, Drab Majesty, Jay Som, Vibragun, Funeral Advantage, Ducktails, Warpaint, Roosevelt (New Wave/Electronic), Flamingo (The Australian Electronic indie band by that name)...not sure how new some of those are but it's what I've been listening to lately. I listen to DKFM a lot when I want to dive solely into the world of Dreampop/Shoegaze, and there's tons of stuff I love on there but I don't always get the names of the bands.

Q: Which band would you love to cover version of?
Well, we just covered one of our favorite songs by The Smiths “There is a Light That Never Goes Out”. I’ve always loved that song so I’m glad we got to put our spin on it. We probably won’t be doing any more covers for a very long time but a few songs I’d love to take a crack at would be “Dreams” By Fleetwood Mac and “No Ordinary Love” by Sade. Two songs I've always loved, that I think would work well with our sound. I’d love to cover anything by The Cure, maybe one of my favorites like “Same Deep Water as You” or "2 Late", but it's just too intimidating. To me they are a near perfect band and somehow I just feel our version would end up sounding like a not-as-good version of the original...haha! Not a lot I feel I could bring their sound...it's so good as is.

Q. What are the plans for the future (we are all looking forward to the new album)?
Yes, the new album “Creation” is in the process of being written and recorded a we speak. We have 2 songs near completion which we plan on releasing as singles as soon as they are done. We’ve been away so long that I can’t wait to release it as a whole album, so I’ll be feeding out some singles before the whole thing releases. I’m setting Spring 2018 as the latest I'd like the entire album to be released. Ideally I’d love to have it out by Fall or Winter 2017, but at this point I’m just not sure how realistic that is, but It could happen If I pick up the pace with my engineering skills.

Also, I hope to get a new simple website up with a store that will have cool merchandise like shirts, exclusive vinyl releases, art prints and cool stuff like that. Vinyl is another big thing we are pushing for. We are planning on re-releasing all of our previous material on limited edition colored vinyl right up until our new album comes out. That's the plan anyway, don't hold me to every detail!

So, yes we will be very busy right up until the new album is ready. There’s a lot to do and a lot to focus on but we’re going to have fun doing it!


Q. Any parting words?
Just a humongous thank you to folks like you here at TBTCI and others out there who are keeping this scene alive and supported. This dreampop/shoegaze scene would not have lasted to this day without people like you and the passionate fans giving it a push. I also really want to thank our amazing, very patient Daysleepers fans out there. When I decided to get things moving again I wasn’t sure there were many fans of ours left in our absence. I was blown away by how many of our great fans, old and new, came flocking back to contact us on our official Instagram page. That really means a lot to us!

Also, please continue being patient with us as we try to make our best album yet...so far we are on track! We have deadlines we want to hit but ultimately we want to give you the best sounding music we can possibly make. You deserve that.
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Thanks

https://www.facebook.com/The-Daysleepers-275664598095/
https://thedaysleepers.bandcamp.com

We Are A Curse with The Dream Eaters - An Interview


Harmonias sonhadoras é o que o duo The Dream Eaters, formado por, Jake Zavracky e Elizabeth LeBaron, criaram em seu debute, "We Are A Curse", esbanjando suas deliciosas e delicadas criações.

Em um clima absolutamente envolvente o duo passeia sem se prender a nenhum gênero, de pepitas entre o dreampop e uma doce psicodelia passando por leves doses de um shoegaze agridoce, o rótulo é secundário para o The Dream Eaters o que importa na realidade é o contexto.

Especialmente recomendado para ser degustado em dias como os de hoje, chuvosos e melancólicos.


***** Interview with The Dream Eaters *****


Q. When did The Dream Eaters start? Tell us about the history...
I met Elizabeth during the time when we worked at the same bar. Her husband told me she was a singer, so I had her come over and we recorded a couple songs I had lying around. They were good, not great but we could tell there was something there. This was about two years ago. We started to develop our sound and we added lot more harmonies and over the next couple years everything really came together and our new album is the culmination of the whole thing.

Q: Who are your influences?
The five albums that I seem to continuously turn to when I'm writing are The Beach Boys' Pet Sounds, Pink Floyd's Dark Side of the Moon, Bowie's Hunky Dory, Marvin Gaye's What's Going On and Air's Moon Safari. While recording We Are A Curse I also listened to a lot of Broadcast, especially their soundtrack to Berberian Sound Studio; there's definitely a big influence on the sound from that.

Q. Make a list of 5 albuns of all time…
Well there's the five that I just listed above but my top 5 of all time would be slightly different because some of them are not as much of a direct influence on me:

Stevie Wonder: Innervisions
Curtis Mayfield: Curtis
D'Angelo: Voodoo
Air: Moon Safari
Erykah Badu: Mama's Gun

My top 5 changes almost weekly but all of those are mainstays.

Q. How do you feel playing live?
We've been experimenting live for the last few shows. We've been using a looper and recording the audience clapping and singing and playing it back through the speakers and playing along with it. Sometimes it works brilliantly, sometimes it's a disaster, we're still working on it but it's really cool!

Q. How do you describe The Dream Eaters sounds?
I think of it as a sort of choral pop, a lot of harmonies, a lot of voices; it's really centered around the voice. It's somewhat dreamy but the lyrics can also be very inward and explorative.


Q: Tell us about the process of recording the songs ?
The album changed so radically over the course of recording it, so it's hard to nail down a specific process that we used. We started with the two of us singing together in the same room at a studio while I played guitar, so the basic tracks are essentially a live performance. But a lot of that didn't work so we ended up replacing quite a bit of it with overdubs. It took several months to mix it, it was maddening. Over the course of doing things over and over again we finally carved out a sound for it and when we started putting the whole thing together we were surprised how distinct the sound was.

Q. Which new bands do you recommend?
I was just listening to the new Foxygen album before I did this interview and I was really enjoying that. I love the new Thundercat album, I've been listening to that on repeat. I really like the simplicity of the new Julie Byrne album, and the new Dirty Projectors has some truly astonishing moments on it. Sometimes I think the production puts too much of a distance between them and the listener but "Little Bubble" is definitely the best song I've heard all year.

Q: Which band would you love to made a cover version of?
For some reason we have a really hard time choosing covers. Maybe you should suggest one!

Q: What are your plans for the future?
We're touring all over the Northeast US this summer, trying to promote We Are A Curse as much as possible. We think we might do a live album that captures that experimentation I mentioned before too. We also want to try and get a new studio album out sometime next year.

Q: Any parting words?
Buy our album! Check out our website thedreameaters.com, it's updated all the time and has all the
information you could possibly need on us with links to follow us on twitter, facebook, etc.....
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Thanks

http://thedreameaters.com/
https://thedreameaters.bandcamp.com/
https://www.facebook.com/pg/thedreameatersnyc

quinta-feira, 18 de maio de 2017

There Will Be No Peace with The Angelus - An Interview


Quando uma banda chama atenção de gente como Simon Raymond (Cocteau Twins) manda a lógica que esta receba ao menos crédito e seja conferida com extrema atenção.

Inspirando-se em referências como Swans, Nick Cave, Lift to Experience entre outros, o, hoje, trio, The Angelus cometeu no início do ano um álbum mantrico, onde ao término de sua audição tem-se a impressão que "There Will Be No Peace" é composto por capítulos. Tal qual um livro, o disco e suas canções interlaçam-se entre si, criando um conteúdo unificado. Uma epopeia musical que te suga desde os primeiros momentos de "Will There Be Peace" até os últimos suspiros de "There Will Be No Peace".

Intenso resume estas orações em formas sonoras.

***** Interview with The Angelus ******



Q. When did The Angelus start? Tell us about the history...
The Angelus is and will always be the songs that I, Emil, write alone, and most often in darkened corners of the rooms of my house but I've been lucky to have been joined by talented musicians over the years to bring these songs to life as a band. The current line-up is a three-piece band featuring Emil Rapstine, on guitar and vocals, Justin Evans on drums and backing vocals and Ryan Wasterlain on bass guitar. This is our first release as a three piece and our first with Ryan in the band.

The band started as a solo project in Denton, TX before Justin joined on drums and we soon after added bass and keys. We quickly released an EP in late 2004 but struggles of different sorts set us back a while before moving to Dallas and finally releasing our first full length in Oct. of 2011. More band member changes set us back again until adding Ryan on bass. Progress often hasn't come quickly but we slowly continue to chisel away at this rock hoping to create something beautiful. The band name comes from the painting "The Angelus" by Jean-François Millet which depicts two peasants bowing in a field over a basket to say a prayer while the church bells toll in the distance. I was inspired by the feeling of lonesome supplication the painting conveys.

Q: Who are your influences?
SWANS, Woven Hand, Joy Division, Fugazi, Lung Fish, Leonard Cohen, Slint, Nick Cave, Tinariwen, Earth, Lift to Experience, Centro-matic, The Baptist Generals, The Angels of Light
So many more . . .

Q. Make a list of 5 albums of all time…
Woven Hand - Mosaic
The Angels of Light - New Mother
DJ - Shadow Endtroducing
Fugazi - The Argument
Slint - Spiderland
Lift To Experience - Texas Jerusalem Crossroads

Q. How do you feel playing live?
We always hope to be lost in the melody and wash of sound as much as the audience and to feel the sublime release and transcendence that only music can bring. That is the best case scenario. We are firm believers that music saves and is good for the soul. This is why we make the music we make.

Q. How do you describe The Angelus sounds?
Pretty. Bleak.
Gothspell music.
Hymal slowcore.

We have a lot of funny descriptions for it. I'm not sure any of them are quite right. They are sweeping and majestic sounds that build like storm systems and burst into bone-rattling sonic downpours.

Plaintive and intoning vocals, despairing lyrics and darkly droning guitar, with thundering bass and percussion. That's what we do.



Q: Tell us about the process of recording the songs?
We wrote the newest album "There Will Be No Peace" as a song cycle with each song being connected to the next and the first and last song share the major theme.

Emil brings all the songs in most instances but they are generally fleshed out/arranged in practice. Sometimes though even from the smallest kernel of an idea a new song emerges from us just playing away in rehearsal. "An Interceding" and "The Other Side of The Mountain" are good examples of this on our most current album. The album was engineered, mixed and co-produced by Alex Bhore. Bhore, formerly of This Will Destroy You, oversaw the recording process and pushed up to experiment with layers and sounds while maintaining the band’s fundamental essence.

Q. Which new bands do you recommend?
Emma Ruth Rundle, Anna von Hausswolff, True Widow, Chelsea Wolfe, A Dead Forest Index, Pallbearer, Dead to a Dying World and most recently Oathbreaker and have been on heavy rotation.

Q: Which band would you love to made a cover version of?
Here are several that would be fun:

High on Fire - Brother in the Wind
Townes Van Zandt - Lungs
Johnny Cash - Ain't No Grave
B52's - Private Idaho
Justin Timberlake - Cry Me a River

Q: What are your plans for the future?
We are already deep into writing the next record and hope to return to the studio this year. We hope to get out and play a few places that we haven't before and we will be playing all over Texas. New music videos are in the works as well.

Q: Any parting words?
Thank you and . . .
There Will Be No Peace
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Thanks

quarta-feira, 17 de maio de 2017

No Sun with Workhorse - An Interview


Ouvir os australianos do Workhorse é fazer uma viagem rumo a uma perdida e esquecida geração que ficou cruelmente renegada sob os espectros da new wave, post punk, tecnopop entre outros, estou falando da deliciosa psicodelia feita durante a era da Paisley Underground. Gente como Opal, Rain Parade, Dream Syndicate, Green on Red entre outros transportaram uma certa psicodelia folk dos 60´s para o início dos 80´s e injetaram um pouco de raiva punk, mas infelizmente naquela época todos sucumbiram a si mesmos.

E é exatamente nessa esquecida cena, que a sonoridade do quinteto australiano Workhorse mais se aproxima, obviamente com trejeitos modernos de psych, o Workhorse debutou com um disco absolutamente pegajoso e ácido, "No Sun" é o nome da preciosidade e deve ser escutado em volume máximo, junto a sua bebida ou psicotrópico predileto.

Uma literal, viagem ao submundo dos bons sons, como deve ser....

***** Interview with Workhorse *****


Q. When did Workhorse start? Tell us about the history...
-I checked the internet today and apparently Workhorse started almost a year ago! Which seems unbelievable. I think as soon as we had our first band practise I booked us a show as a way of forcing us to play. We haven't played a whole lot since then and I feel like we are still our place, but it's been lots of fun so far.

Q: Who are your influences?
- We all have very different influences and probably some very similar ones too. I think we all have common ties in country music, for myself it's some classic Americana or folk like Townes Van Zandt, Gene Clark Lucinda Williams and Emmylou. And big ones for me are other powerful female muso's like PJ Harvey, Patti Smith and Cat Power. I'm also going through a big The Cranberries revival.

Q. Make a list of 5 albuns of all time…
That's very difficult.
In no particular order and with lots of room to move - but most consistently it might go something like this....

Cat Power - What Would The Community Think?
PJ Harvey - Stories From The City, Stories From The Sea
Sibylle Baier - Colour Green
Leonard Cohen - Songs Of Leonard Cohen
Jackson C. Frank - Jackson C. Frank.

Q. How do you feel playing live?
-Very weird. Confused. Happy. Nervous. Proud and grateful to my band mates and friends.

Q. How do you describe Workhorse sounds?
-I'm not very good at genres but it has been helpful hearing other peoples perspectives. We have so far been referred to as things like 'alt-country' and 'dream-blues'...somebody called it Americana which seems funny because we are Australiana but influenced by, sure. I myself would describe it as 'music that we made.'


Q: Tell us about the process of recording the songs ?
-The process was pretty informal and 'organic'? Is that the right word? In a similar way to me booking us our first show after having one rehearsal, I coaxed everybody into recording before we even knew how the songs went, so that we would be forced into figuring it out. I mean, I knew how the songs went, but nobody else did.

Our drummer Liam came over with a 4-track cassette and we played the songs, and now that's how they go! Then I reluctantly chose some words to accompany, and our friend Patrick Lockwood helped us record the vocals in a big old church with nice natural reverb.

Q. Which new bands do you recommend?
-New bands, hm, well my favourites from Australia are...
-Angie (https://angelabermuda.bandcamp.com/album/shyness)
-Primo (https://primocassetto.bandcamp.com/releases),
-Bent (https://emotional-response-recs.bandcamp.com/album/bent-snakes-and-shapes)
- Aldous Harding (https://aldousharding.bandcamp.com/)
-Dag
And aside from that, really into Jessica Pratt, Exploded View, Weyes Blood and Kaitlyn Aurelia-Smith.

Q: Which band would you love to made a cover version of?
-We were thinking about trying a Shocking Blue cover, maybe the song Mighty Joe.

Q: What are your plans for the future?
-We'll be doing a small Australian tour in the next month or so to launch this cassette tape, and then who knows! Hopefully keep playing music together in one shape or form. I was just thinking I'd love to get back out to America where I've recorded with another band called Wireheads twice now, and maybe test out the big studio thing by myself. You know. Play with all the fun instruments.
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Thanks

https://www.facebook.com/workzorse
https://tenthcourt.bandcamp.com/album/no-sun

Gazing At You with Somewhere - An Interview


Não vou estragar a história de como o trio mexicano Somewhere se formou, deixarei isso para quando você iniciar a entrevista um pouco mais abaixo.

Vou me ater ao que Ivan, Osvaldo, Mauricio e criaram em seu debute, o EP, "Sadness" lançado há pouco mais de um mês, de forma, claro, independente e que deve ser prestigiado na página do bandcamp dos caras. 

Um shoegaze melancolicamente lento, denso que vai te sugando pra dentro da massa sonora, principalmente na poderosa "Gazing at You", um verdadeiro pequeno hit gazer instantâneo, ou ainda na mezzo post punk mezzo noise "Deep Ocean" outra preciosidade dentro dessa beleza chamada "Sadness".

Uma estreia gigante de meninos que merecem toda e qualquer atenção. Acima.


***** Interview with Somewhere *****
Q. When did Somewhere start? Tell us about the history...
A. All started in 2014 , me and my friend Ulises San Juan formed a grunge band called "Teen Crypts" , we record a couple of demos and later I met Osvaldo Gonzalez by my friend Ulises, he joined to the band, but later, the project was dismisssed, and this was useful to know more about the music scene of my country.

Later, Ulises joined to a punk band called "Nelson y los filisteos" and Osvaldo invested his time on his band "Lancastell".

On January-february of 2016 I started to write new songs and formed a new project called "Junk" , then, when the project become more seriusly , Osvaldo joined to this new project on the bass guitar , Mauricio Cruz, (that play with Osvaldo on Lancastell) joined us too, to play the drums.

In the latest 2016, we decide to change the name of "Junk " to "somewhere", because there were many bands with that name. On January of this year we decided to record our debut EP.

Q: Who are your influences?
A.We love the shoegaze band of the gold era and contemporary; like Slowdive , Ride , Drop Nineteens , The Jesus and Mary Chain , Swirlies , Chapterhouse , TOY , Ringo Deathstar , My Bloody Valentine , we had too, a lot of brit pop influences like The Charlatans and Blur .

Q. Make a list of 5 albums of all time…
Slowdive - Souvlaki
Drop Nineteens - Delawere
Yuck – Yuck
Ride – Nowhere
Nirvana - Bleach

Q. How do you feel playing live?
A. Its weird right know, because we are starting the promo of the EP, we are so in love of the moment of the rehearsal; the chemistry, the ideas, the atmosphere; so, when we play alive, its weird (in a loveable way), kimd of a glory moment.

Q. How do you describe Somewhere sounds?
A. It's a strange mix of melancholy and noise


Q: Tell us about the process of recording the songs ?
A. Was a long process, because we didn't have money to record in a formal way , I had to sell part of my pedalboard to get.

We have a friend called Eduardo Guiterrez that has an studio called "Black Bedroom Records", he helped us to record and produce the EP , to reduce costs we had to record the bass and drums in a live session , then on those recordings we worked the guitars and the voices , were 3 days of recording and 3 weeks of mixing and mastering.

Q. Which new bands do you recommend?
A. We like "Sadfields" from Mexico city , "La Casa al Mare " from Italy and "Skinny Dream" from UK

Q: Which band would you love to made a cover version of?
A. Maybe The Telescopes or The Brian Jonestone Massacre.

Q: What are your plans for the future?
A. For now we will continue promoting our EP , we are working on new songs and there is the possibility that at the beginning of the next year we launch a new single or a new EP , we will work a lot in envolving our Sound.

Q: Any parting words?
Just a thankful greetings to Renato, is huge what he is doing for the genre, for the bands, and seeing us in the blog is a dream come true; thanks amigo.
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Thanks

https://somewhereofficial.bandcamp.com/releases
https://www.facebook.com/somewhereofficialmusic/