sexta-feira, 16 de março de 2018

Volker with Blurred City Lights - An Interview

Quando dois maestros encontram-se é sabido que a genialidade dará o tom do trabalho.

E é exatamente isso que acontece com a junção de Jarek Leskiewicz (Sunset Wrecks / Opollo) , e Dean Garcia (Curve / SPC ECO, entre outros).

Sob a alcunha de Blurred City Lights os dois voltaram a ativa há questão de um mês atrás com "Volker", segundo trabalho deles. Ainda mais enigmático do que o genial "Anamorphic", "Volker" exala uma atmosfera de mistério. Como no trabalho anterior, o disco conta com participações especialíssimas como Rose Berlin (SPC ECO), Fillipo Gaetani entre outros.

O ponto é que, por entre sombras e luzes o Blurred City Lights novamente cometeu um disco perfeito.

***** Interview with Blurred City Lights *****

Q. Hello, first of all, congratulations on the new record. It's really brilliant. What is your analysis after conclusion of record? Are you happy with the result?
Jarek: Thank you, Renato! I'm pretty content with the end result. It's a snapshot of 3 months of us collaborating and shaping out musical ideas. Keeping each other's virtual company. Night crawling. It started with an EP in mind but it gradually morphed into a complete album.

Q. How was the process of creating "Volker"?
Jarek: For me, it started slightly rusty as we didn't do that project for quite a while (4 years!!) but with every new track it became more and more natural and inspiring. I think Dean also needed a bit of warm-up and motivation. From my perspective of working with him, he is most musical when in the right frame of mind - darkly inspired but optimistically creative. Willing to explore sonic pathways and give songs/ideas a chance.

Q. What are the main differences between "Volker" and "Anamorphic"?
Jarek: I feel like "Anamorphic" was created in a different time-space and emotional landscape. We were still bathing in the afterglow of very fruitful co-writing work on SPC ECO's "Sirens & Satellites".To me, it was a very euphoric and creative period. More hopeful. On Anamorphic we composed the tracks as songs with vocals in mind and while working on Volker the vocals became optional and more additional voices-like, accompanying. We fleshed out some of the parts but mostly we left things the way they presented themselves. Warts and all. Although there was a Click Inquisition going on for a bit ...haha. More instrumentals and cinematic vibes were welcomed on the album. The sound and production on those 2 records while unmistakably Dean, is a bit different too.

Q. What were the influences for creating the new record?
Jarek: The cover image was one of the main inspirations. It gave the record an evocative face and vivid sound direction. Musically there weren't direct influences except me using some Fairlight CMI sounds inspired by Peter Gabriel's early records and my usual nods to Eno-Byrne stuff. I also remember Dean mentioning Godspeed Young Emperor somewhere during the process.You still can hear trademarks of both of our styles on Volker but what I like about working with Dean is that he usually won't allow us to repeat ourselves too much. I think that's a great instinct.

Q. What are your plans for 2018?
Jarek: I'm finishing records of my other projects (Sunset Wrecks & Opollo) and hopefully will start working on another 2 after that :). I plan to check out some new music, read a few auto-biographies, make cool photos, watch a lot of movies and spend quality time with my close ones. That's all I need and wish for. Everything else is a bonus.

"Air Traffic" by Maine - Track by Track

Mike Robertson é um dos fundadores do High Climbers, banda já devidamente apresentada e conhecida para quem frequentas as páginas do TBTCI.

Durante a trajetória do High Climbers, Mike foi registrando gravações suas em meio aos trabalhos de sua banda e o resultado disso tudo veio ao mundo há pouco menos de um mês sob a alcunha de Maine, o disco chama-se "Air Traffic" e tem todo seu enfoque na relações humanas, analisadas psiquicamente, tudo envolto em uma atmosfera intimista e beirando o lo fi, apesar da qualidade da gravação ter ficado bem acima do que se comumente se atribui ao aspecto de baixa qualidade.

Um trabalho interessantíssimo que soa como uma experimentação de seu criador com seus "brinquedos", leia-se pedais entre outras coisas.

Uma trip desacelerada e melancólica que merece ser analisada a fundo, e para isso, o TBTCI convidou seu criador para dissecá-la.

Dê play e submerja-se a esta odisseia.

***** "Air Traffic" by Maine - Track by Track  *****

This song came out of my first experience using open C tuning. I found an intriguing melancholy with simple picked arpeggios, so I used it as a canvas to write about the underpinnings of my life at that time- namely, restlessness in a disasstifying routine. It happens so often that we start down a road which is positive but eventually turns. It can then become hard to discern what one's true feeling is, as they slowly descend in quicksand. This is a bit of a thematic introduction.

Low (No Reason)Feeling the push/pull of power verses freedom, all around us and in far-off places we only hear about. I think this was written around the time of the Brexit vote, where two ideological camps (created by the media) were being pitted against each other. Leading oneself down a road of ignorance and exclusion seems to be a tiresome one; their exhaustion is spread across the front page but with such a contradictory inherent power. I instead try and see the colour beyond the chaos.

Can You See It?This track is a conversation with no one person in particular, but perhaps those in a certain ideological camp. I'm no saint, but I can't help but see examples of complacency in dire situations. There is a definite lack of awareness to their submission. My questions are to the broken-hearted and minded; tiresome discontent with no courage to step up.

First PointMy first real song with my Boss RC30 looper. I'd just bought a keyboard for £3 at a local Chinese market and discovered looping the same key would produce different pitches. With this in mind I decided to play the basis of the track live, adding in layers sparingly. The guitar and voice followed and were guided by the loop I'd created. First Point is a homage to the beginnings of a relationship - the launching point to a higher state of being. Any self-doubt is swept away by the love of a newfound significant other.

A trip to the aqaurium prompted this, especially as I saw the elegence in the seahorses there. Coinciding with new love, I began shedding the skin that kept me closed. This beautiful state of purity was mimiced by these little creatures as I watched them swim around so graciously. It's more an exploration of a feeling and transitioning.

Good Go UpThe loss of a friend far too soon was the sole inspiration here. Made in a time of grevience, my head and heart were filled with the deepest sadness I have felt in my life so far. It was coupled with anger, especially as many people carry on living worthless loved. I began thinking about reincarnation also, and concluded that he would be rewarded for his selflessness and purity on earth.

PreoccupationsThis shifts back to an earlier narrative. I was in conversation with myself, trying to recognise my power to initiate change. A cross-roads had appeared and I was to make a definitive choice either way. It stood as 1 of 2 loop-based songs I wrote on a grey Friday - this one being set on advice and recommendations on how to live and be. Maybe a bit like a road map or guidebook with definite things to stay away from.

I Know This Much Is TrueMore of an exploration of a feeling, ignited by certain social relationships. It's about the fakes, untruthfulness and unreliability, and fixated on things not changing. What's more, negative energy is the destroyer of social cohesion and I became set on removing it far away from me.

For This Life (I'm In)An appreciation of lessons learnt, and a dedication to see them clearly. There's an awareness that demons won't die and shadows may not lighten, so we must learn to live with their presence.

quinta-feira, 15 de março de 2018

A Time for Roses with Blood Bells - An Interview

Já nos primeiros instantes de "A Time for Roses", debute do combo de Denton, Texas, Blood Bells, a primeira coisa que veio na minha cabeça foi "Batcave"!!

Um mix soturno, rápido e agressivo do gótico clássico e do punk, em tons ásperos e angustiantes, o Blood Bells desfila os nove petardos  em pouco menos de trinta minutos, sem o menor tempo para qualquer respiro.

Definitivamente os bons tempos da Batcave estão sendo revividos e reatualizados, cortesia do Blodd Bells.

***** Interview with Blood Bells *****

Q. When did Blood Bells begin? Tell us about the history...
A: Blood Bells is in its infancy. The concept started back in early 2015 and came To fruition in spring of 2016. We have been playing music in mostly punk bands for the past 15 years and we wanted to do something more our style that was more fulfilling.

Q: Who are your influences?
A: Definitely early trad goth bands (all the classics that generally come to mind) as well as a lot of 80’s synth pop

Q. Make a list of your 5 favorite albums of all time…
A: This is a hard question.
- Drab Majesty “The Demonstration”
- Cocteau Twins “Blue Bell Knoll”
- Sergio Mendes & Brazil ‘66 “Herb Alpert Presents”
- Boy Harsher “Yr Body Is Nothing”
- The Chameleons “Script of the Bridge”

Nick Cave & The Bad Seeds “Murder Ballads”
Tom Waits “Blood Money”
Townes Van Zandt “Delta Momma Blues”
Earth “The Bees Made Honey in the Lion’s Skull”
The Cure “Pornography”

Q. How do you feel playing live?
A: We’ll let you know after we’ve played more than one show! The stage is a comfortable place for the both of us in general, though we don’t plan to oversaturate Blood Bells with too many shows.

Q. How do you describe Blood Bells sounds?
A: Dark and sparkly with just a hint of dancy razzle-dazzle!

Q: Tell us about the process of recording the songs ?
A: It was very easy and took only one weekend. It’s nice when your album engineers are old friends.

Q. Which new bands do you recommend?
A: Drab Majesty, Boy Harsher, Night Sins, Geneva Jacuzzi, Kontravoid

Q: Which band would you love to make a cover version song of?
A: Strawberry Switchblade

Q: What are your plans for the future?
A: To keep creating music and releasing records.

Q: Any parting words?
A: Have a good time all the time

Don't Talk with Anne Shirley Supersad - An Interview

A hungara Zita Csordas é a criadora do projeto Anne Shirley Supersad que debutou em Janeiro com um belo e contemplativo álbum chamado "Don´t Talk".

Zita cita Erykah Badu como uma de suas principais influências, mas muito além da conexão com Erykah, a sonoridade de Anne Shirley Supersad paira acusticamente por entre um folk dark e o slowcore, tons melancólicos ecoam por entre as canções, mas uma suave sensação de leveza e candura é sentida intimamente.

Música delicada e sensível, que, infelizmente, poucos terão o prazer de saborear.

***** Interview with Anne Shirley Supersad *****

Q: When did Anne Shirley Supersad begin? Tell us about the history...
ASS.: I wrote my first song which was Don't Talk in 2016, after my aunt's death. That was a hard period for my family and me, especially my mother. I was the only one in my close family who could comfort her but because of that i repressed my real sadness and it became a serious anxiety. I wrote this song to ease the pain. The other songs just came up with the happenings in my life. I wrote my thesis and my topic influenced these songs and i broke up with my boyfriend, then had a new one and broke up with him and got depressed (good news, we've been a couple for more than a year now) .. Most of the songs are about him. Being deep in the shitriver gave me an extra power and inspiration to write these songs.

Q: Who are your influences?
ASS.:To be honest at first when i came up with idea of a solo album i wanted to make something rnb and soul influenced like Erykah Badu or Georgia Anne Muldrow but life gave another shape to it. I don't think about aesthetic things i just grab my guitar and sing and then do nothing with the songs just add more vocal layers. And i listened to Inti Illimani which is closer to the music i can make than soul music. After i finished the album i realized how much it shows from all the similar music i like, like Devendra Banhart, early Animal Collective or the choir pieces i sang when i was a child.

Q. Make a list of 5 albuns of all time…
ASS.: Well. I dont know. I can't tell one album that i like from the beginning to the end. I always listened to the songs as just songs and not as parts of an album. I know that most music fans think that the measurement rate is the album but not for me. There are always one or two songs on every album that i dont have the patience for, that i dont like, so I just skip them. But if i really had to pick some i would say:
Somethin' Else by Cannonball Adderley,
IV by Badbadnotgood,
Baduizm (live) by Erykah Badu,
Rejoicing in the Hands by Devendra Banhart,
Feels by Animal Collective
and the Atom Heart Mother by Pink Floyd. (I know this is already six

Q. How do you feel playing live?
ASS.:It's hard but good. I asked our synth player, Emma Nagy (who studies jazz singing btw) from my other band (Mayberian Sanskülotts) to perform these songs with me so they almost sound the same live as recorded.

Q. How do you describe Anne Shirley Supersad sounds?
ASS.:For me it's sounds like songs in a funny and sad dream performed by a choir of magical narwhals

Q: Tell us about the process of recording the songs ?
My boyfriend asked one of our friends Domokos Lázár to help me with the recording. He came to our place, brought some microphones and stuff i sat on a chair in the middle of the room and played all the songs two or three times in the same sequence as they are in the album. I used my first guitar what i got as a present from my godfather when i was twelve. Its a simple nylon string guitar. I prefer the nylon stringed ones because they sound so soft. I sang and played the guitar at the same time so the songs doesn't sounds perfect but we wanted to imitate the feeling when you're singing alone and some ghosts come and sing with you in your room. After we were ready with the songs we recorded the vocal layers and that's all.

Q. Which new bands do you recommend?
Huh. Hm. Yesterday i heard this superhot Marlon Williams guy, and i listened to his new album two times already and last weekend i was in prague on a minitour with Zombie Girfriend (great hungarian band) and i heard a band called 7/9 and i liked it.

Q: Which band would you love to made a cover version of?
For our first official Anne Shirley gig we covered two songs by Erykah Badu and it was such fun to sing and play them so something like this but I always loved to make covers of anything.

Q: What are your plans for the future?
I want to be famous and rich. (Hehe) and i wanna improve my vocal skills and wanna be a better (or a good) musician.

Q: Any parting words?
I don't know. Thank you for reaching out to me. It's really touching.

quarta-feira, 14 de março de 2018

A Cold Gaze with Deaf Dance - An Interview

Talvez a melhor definição para o duo de Los Angeles, Deaf Dance seja o título de seu primeiro disco, "A Cold Gaze".

Sinteticamente não vejo, ou, percebo nada, que os defina melhor do que um shoegaze gélido, melancolicamente guiado por synths e uma atmosfera pra lá de cinzenta.

Sonoramente o Deaf Dance aproxima-se de gente como Drab Majesty, Second Still, Bleib Modern e outros que conduzem suas sombras sonoras por veias que pairam entre o pós punk e o lado melancólico do shoegaze.

Perfeito para acompanhar notívagos noites adentro.

***** Interview with Deaf Dance *****

Q. When did Deaf Dance begin? Tell us about the history...
We played our first show January 2017 in Los Angeles with Choir Boy. I (Jerry - singer/songwriter) was in a post-punk band Flaamingos for a few years then decided to start Deaf Dance so I had more control over the sound and visual presentation. Hannah was keen to start rehearsing and playing shows
so we went for it.

Q: Who are your influences?
There are thousands but here are some: David Bowie, Killing Joke, Johnny Marr, Jesus and Mary Chain, Iggy Pop, Siouxsie and the Banshees, My Bloody Valentine, The Stranglers, Joy Division, Lives of Angels, Deathrock/Goth in general, Scottish postpunk (like Low Life and Josef K), The Germs, Depeche Mode, The Cramps, etc.

Q. Make a list of 5 albums of all time…
Tears for Fears - The Hurting
Depeche Mode - Black Celebration
Iggy Pop (and Bowie) - Lust for Life
Slowdive - Souvlaki Space Station
The Smiths - Queen is Dead

Q. How do you feel playing live?
I feel lucky and excited to play live. I try to escape for an hour, escape the reality of living in the big city and have a healthy energy exchange with the audience. I am sober (no alcohol or drugs) so sometimes I get nervous before haha.

Q. How would you describe Deaf Dance´s sounds?
Death-gaze. Hazy, minimal, dark. Classic early 80's sounds mixed with a touch of 90's guitar noise.

Q: Tell us about the process of recording the songs ?
I write and record at the same time usually. I often use a favorite song as a guide for structure or arrangement ideas. I write the bones of the song usually on acoustic guitar. Then work on the rhythm track and bass. Experiment with guitar/synth lines.Throw it all together and edit the structure. Then usually add the vocals last.

I record everything in my apartment onto my Pro Tools rig via my API A2D interface.

Q. Which new bands do you recommend?
Drab Majesty, The Tissues, Choir Boy, Human Leather, Bleib Modern, Exit Order, Terminal A

Q: Which band would you love to made a cover version of?
hmmm, maybe "Lie to Me" by Depeche Mode, or "She Sells Sanctuary" by The Cult

Q: What are your plans for the future?
Playing a lot of shows this year for the first time. First tour hopefully later this year then 2019 heading to maybe Mexico City and Eastern Europe, where they love good post-punk and darkwave.

Q: Any parting words?
Thank you very much for your interest in my music and my process. I love making this art and I'm glad it is slowly beginning to reach people all over the globe!

Daydream Cathedral, "Every Drop a Different Color" - Track by Track

Shawn Michael ou Daydream Cathedral para os mais íntimos é figura conhecida aqui no TBTCI.

Desde "Ancestors" primeiro trabalho do cara em 2016, o TBTCI acompanha a trajetória do Daydream Cathedral, que além do EP tem no currículo uma série de singles e covers que por honra fizeram parte de alguns projetos do TBTCI,

Mas ainda faltava o primeiro disco cheio, e ele enfim chegou, no meio de Fevereiro, "Every Drop a Different Color" conheceu a luz do dia, e as tonalidades a partir daí tornaram-se mais coloridas.

Porque o Daydream Cathedral apesar que pairar por entre o dreampop e o shoegaze carrega doses generosas de uma psicodelia dançante misturada a tudo isso. Ecos de Madchester certamente.

No álbum é possível fazer comparações com The High, os Roses, entre outros, "Every Drop a Different Color é um doce psicodelicamente sonhador.

E para decifrar os significados ocultos desta pequena pérola, o TBTCI convidou o Shawn para dissecar sua própria obra, e o resultado é digamos, delicioso.

Boa viagem.

***** Daydream Cathedral, "Every Drop a Different Color" - Track by Track *****

First and foremost I am grateful and humbled to be presented with the opportunity to share a deeper glimpse of my debut album, ‘Every Drop a Different Color’.

This is an album that has always been and almost never was. Meaning, this is a collection of songs that have been circulating within my ears for years, but for various reasons, personal and professional, never saw the light of day.

The delay in revealing my music was due almost entirely to the introverted and perfectionist personality I was gifted with as a Virgo. This has always been a strange paradox for me as an artist. I thrive on the creative energy from crafting songs, melodies, lyrics and harmonies, and yet rarely feel comfortable enough to share them with others (including my closest friends and family). In some ways this album is also a bit therapeutic, it represents purging these self-imposed hurdles that have been weighing me down for so long. Enough was enough, I had to get this music out there, in my own voice, and in my own way.

The tools available to a solitary musician are unimaginable these days. I was able to produce this entire album with minimal gear in the privacy of my own home, free from the distractions and pressures of others. It’s not that I don’t enjoy or appreciate the input of others, but I needed at least this first album to be written, produced and performed in an entirely solitary fashion to give it a sustainable personal value -- it just needed to be that way.

For those interested in where these songs come from, their inspiration and what they could be attempting to convey, the following track-by-track breakdown is for you.
- Shawn

. ...- . .-. -.-- / -.. .-. --- .--. / .- / -.. .. ..-. ..-. . .-. . -. - / -.-. --- .-.. --- .-.

‘Take Time’

The album begins with this short, intentionally incomplete piece of music bearing a simple message: “Take me far away, time drags today”.

This is dedicated to everyone who utilizes headphones as a means to escape -- which ended up being a appropriate mood-setter for the entire album.

The swirling sound effect over the intro and outro is taken directly from the cassette that contained the original demo of this song -- it’s the sound of the fast-forward button not being pressed all the way down causing a scrubbing sound upon the tape head.

‘Symbols and Candles’
Originally a much darker and morbid personal lyric about leaving flowers upon a grave, I decided to lighten it up a bit -- it was just too heavy a scene to revisit with each listen.

Goal was to rewrite the lyrics around something more uplifting and inspiring. I found it in the various encounters you can have with astrologers, fortune tellers, psychics, witches, occultists, and mystics at the Renaissance Faire.

There is a lot of imagery contained within this track. Kind of a blend between Milton’s ‘Paradise Lost’ and legends of the Knights Templar is about as direct as I can be while remaining intentionally vague.

During pre-production for this track we lost the great Craig Gill, drummer for the Inspiral Carpets. This immediately transformed this song from it’s originally folky roots to a heavier bass and drums approach in tribute to the Inspirals’ rhythm section.

To round off the tribute, a few nods to the Carpets’ were inserted into the lyrics. The line, “Memories of you, delivering memories deep in the hues we drew.” is one of them.

‘I Live to Love with You’

Nothing over-complicated or mysterious, the theme is about realizing the beauty and benefits of love and commitment. I admit I had some fun tracking the California-inspired vocal harmonies.

‘Melt into the Blue’
I honestly never expected this tune to make the cut when picking through demos of songs to include. Second only to ‘Watch the Waves’ in being one of the earliest of tunes I had collected over the years in my do-something-with-someday pile.

Originally it began as an attempt to do something heavy with what I like to call chainsaw guitars. Since the early version contained such horribly goofy lyrics it was always avoided when considering tunes.

But then inspiration struck and an entirely new theme manifested itself. The song instantly went from its original teenage lament about being ‘As Cool as You’ (the original title), to a song seeking a return to those days as the remedy for the blues.

‘On the Way from the Earth Today’
I included this on the album as a sorta take-a-break or mood-resetting song. The original demos always featured vocals but I decided against tracking them with this version. I’m sure future versions of this will appear someday re-imagined with different approaches. There is a lot that can be done production-wise with drones like this.

‘Stuck in Between’Lyrically one of the more direct, say-what-you-really-mean, songs on the album. Musically it represents my attempts to create a push and pull between harmonic dissonance and beauty during repeated refrains, “Stuck in between you and the machine”.

The extended instrumental solos are some of the my favorite sections of the album. Originally what began as a two-chord back-and-forth outro-jam ended up becoming multiple journeys around the ‘Cycle of 4ths’ (familiar terminology for fans of music theory).

‘Got Hypnotized’
Written on ukulele during my years of life in Hawaii while a member of a the band Kanekoa (who have since resurrected several great versions of this song after my departure from the band).

I was hesitant about including it on the album for being ‘too catchy’. There seems to be an unspoken rule that indie music should avoid being too catchy, groovy, or commercial -- I never really quite wanted to acknowledge or understand these restrictions.

If seeking a meaning this song will likely come off as a bit unfocused -- which is intentional -- it’s more about word-association and word-play.

Honestly I’m not sure what I was thinking, I was just writing down came to me at the time -- which is in keeping with the whole ‘got hypnotized’ thing. The chords and melody just fell into my lap on a lonely rainy day in a matter of moments.

‘Gazing in Gratitude’
The most recently written, and most organic of all the songs that appear on this album. This song represents exploring new directions and revisiting past influences.

There were vocals that followed a traditional, almost stereotypical, 80s gothic approach that were accidentally left muted during one of the mixdowns. After a few listens I decided to keep the mistake and leave it as an instrumental.

‘Everything’s Round’This is the only track included from a marathon writing session I had which resulted in nearly a dozen songs written and rough tracked in about as many days -- none of which made the cut for this album, but will almost certainly appear in the future.

Lyrically it’s about when sparks fly between new lovers, or within our own minds.

One thing special about this track for the musicologists is that it has several changes in timing and progressive beat-counting cued by the syllable counts of the lyrics.

‘Watch the Waves’I remember the day I wrote this while wandering the beach dwelling on all the loves and lives I’ve lost in my life.

“Lost within the sand, lost without your hand”.

It’s one of the few moments where I felt I really accomplished everything I wanted to express in a song.

- .... .- -. -.- / -.-- --- ..- / ..-. --- .-. / .-. . .- -.. .. -. --.

And with that, I thank you for reading this extended novel I wrote while sipping coffee tonight. I remain humble and grateful for all the support, friends, and fans this music has made along the way. There is still so much music, so many ideas and projects ahead for Daydream Cathedral. I am excited to continue to share all of them with you.

I appreciate each and every one of you for taking this journey with me and energizing the scene with vitality and life -- the scene that celebrates itself, on the Blog the Celebrates Itself.

- Shawn
Daydream Cathedral

.-- .. - .... / .-.. --- ...- .
-.. .- -.-- -.. .-. . .- -- / -.-. .- - .... . -.. .-. .- .-..

terça-feira, 13 de março de 2018

Spectroscope with Vymaanika - An Interview

Liberte sua mente e aperte bem os cintos, ou melhor, o senso, pois a partir desse momento, o TBTCI convida a todos a embarcar em uma viagem alucinógena, repleta de drones, repetições, alterações psíquicas, mesmo com ausência de psicotrópicos, neste caso, a música cumprirá todas as funções de delírios.

Em seu primeiro trabalho, o EP "Spectroscope", o Vymaanika, quarteto psych de Barcelona, Espanha, transcende, até mesmo o mundo psych atual, apenas duas canções, que somadas geram uma viagem de quase vinte minutos. Seguindo duas doutrinas, primeiramente o krau, principalmente, NEU! e Can, e por outro lado as experiências sônicas do Spacemen 3 e do do Bardo Pond, assim concebe-se a síntese do que o Vymaanika, criou.

O ticket desta viagem o TBTCI oferta gratuitamente, agora a volta, dependerá apenas do seu estado psíquico.

Boa viagem.

***** Interview with Vymaanika *****

Q. When did Vymaanika begin? Tell us about the history...
Vymaanika began as an Idea for a project between all of us. Through out the the last couple years of the2000's we all had been playing in bands around Barcelona. Some of us actually played together in other projects. Some Bands of the underground were really forward thinking and for Spain, a bit out side the typical status quo rock or electronica. Barcelona is a great place for finding a mix of international and Catalan musicians. So as some of the past projects broke up or fell into oblivion, the idea of Vymaanika (although it did not have a name yet) was only a seed around 2015. It was an idea to take our influences and the best elements of our past projects and bring it together into a band that continues the projection of all the ideas we really wanted to explore through sonic journeys. Basically using two guitars to weave together textures through minimal playing (no shredding) pushing the envelope of what guitars could sound like using lots of effects pedals and extended techniques. At the core of that was to have really primal drums that would, when you listen close are very complex but at a distance, would drive the songs into frantic rhythms or intricate waves of textures. Of course to bring all the elements together, we wanted the bass to lock down the beat and bring a groove to the clouds of sonic atmospheres and to be the pulsating heart.

Q: Who are your influences?
Spacemen 3 : Can : Velvet Underground

Q. Make a list of 5 albums of all time…
Spacemen 3: Dreamweapon: An Evening of Contemporary Sitar Music (Ben)
Oneohtrix Point Never: The Fall Into Time (Jose)
Boredoms: Vision Creation Newsun (Carles)
Portishead: Third (Lander)
Can: Tago Mago (Vymaanika)

Q. How do you feel playing live?
Playing live is one of the best feelings ever. It is very addictive. It is like creating a Sonic trip for people to get lost in. Intentionally our songs are longer then conventional rock songs... So as we typically play 9 plus minute songs, we use repetition to kind of allow people to loose track of time and from that point it is a great point at which to create a sonic journey. We really like to use visuals and smoke machines to help enhance the atmosphere, allowing the audience and ourselves to get further adrift and outside oneself within a kind of communal trance.

Q. How do you describe Vymaanika sounds?
Space Mantra Drone Ritual Music :maybe a little Krauttrock from an ideological point but not much more, in the sense that we our trying to create new sounds from our instruments and create different ways of approaching rhythm and song structures. At the same time minimal and in moments drone sounding. Also I would mention loud, but not for the sake of being loud.... it is just a great state at which the guitar amps begin to feedback and all the instruments begin to morph into one giant multi-colored panorama.

Q: Tell us about the process of recording the songs
In the pre-production stage we spent about 2 to 3 months choosing the songs and working out the structures and textures.

 We found ourselves really lucky because we had some friends studying at a sound engineer school called SAE and they wanted to record us for their final project for school. We’ve recorded in 2 days.
After that we had 4 long and enjoyable sessions of mixing at Jose’s Studio and finally Jose did the master.

The artwork from the Ep it’s made by the great Pablo Roman

It was a pleasant work to do, and we’re really happy about all the good things that came out from it.

Q. Which new bands do you recommend?
10.000 Russos , Follakzoid, Kikagaku Moyo, Minami Deutsch, Dreamweapon, Thurston Moore, Beak, Amsia, Rayo-60, June or July, Christina Vantzou, Camera.

Q: Which band would you love to made a cover version of?
John Cage 4:33

Q: What are your plans for the future?
Right now we are in pre-production for our next LP. We really want to get back in the studio and record new songs. The other main goal we have right now is to find as many gigs as we can. We really want to set up as many shows as possible to play live and to Tour around Europe and the UK. After that we would love to go around the world to play live.

Q: Any parting words?
Check out our music at and if you like it, support us and share it.
Thanks for the interview Renato and to the Readers of The Blog that Celebrates Itself.

Humdrum with OS NU

Para quem possa estranhar ao entrar na página dos britânicos/dinamarqueses radicados na Alemanha o trio, Astral Tide, e notar que agora os caras se chamam OS NU, não fique assim tão espantado, os caras deram uma repaginada sonora onde o último suspiro da antiga fase foi justamente a participação deles no Tribute ao Wire organizado pelo TBTCI no ano passado.

Agora, o OS NU, em seu primeiro single, "Humdrum" deixa a barulheira pós punk com menores traços em sua sonoridade dando enfase a uma proposta mais eletrônica, algo como eles próprios definem como "drumgaze".

E para melhor exemplificar toda a mudança o TBTCI convidou o trio para dissecar essa proposta em "Humdrum".

Escute alto e em noites escuras.

***** "Humdrum" by OS NU *****

Nona: Making “Humdrum” gave me/us the possibility to develop our production skills. I learned a lot from the process. It's good to have a new start and a fresh beginning.

Matt: It's about cycles of time passing by and progress. Whether we learn anything on a personal level, as communities or as a species, or if we just repeat all the same mistakes over and over again, or even regress in all kinds of ways. Like the concept of 'de-evolution'.

Mark: The challenge was trying to convey the sense of monotony that “Humdrum” encapsulates without the song becoming monotonous itself. New direction has brought new energy. Invigorated. So many possibilities no borders no boundaries. Next track trad sludge jazz!

segunda-feira, 12 de março de 2018

Olympia II with Creams - An Interview

Uma nuvem cinzenta carregada de melancolia e angústia é o que exala do segundo trabalho dos alemães do Creams.

"Olympia II" combina perfeitamente com o habitat no qual foi criado, a cidade de Leipzig, gélido e denso, conduzido obrigatoriamente pelos ecos do pós punk, agregando por vezes guitarras mais intensas, mas o que se ouve no álbum é o frio, o frio emoldurando sentimentos dispares, seja de desespero, solidão, ou, apenas raiva.

Uma verdadeira colisão entre algo como o Sad Lovers And Giants e o mundo gazer.

Para noites intensas e sem luz.

***** Interview with Creams *****

Q. When did Creams begin? Tell us about the history...
We released our first single in 2014. Since then we worked together on two records, furthermore we all work on different music projects. For us it was a conscious decision to play with only three people, we see this as an opportunity to develop our own sound out of the possibilities of being a three piece band.

Q: Who are your influences?
We don't count any particular bands among our influences, but for sure there are many bands, artists and concerts that have an impact on how you hear, understand and also play music. Still we try to stick to our unique way of playing and still develop our sound.

Q. Make a list of 5 albums of all time…
Explosions in the Sky - All of a sudden i miss everyone
Nirvana - Bleach
Księżyc - Księżyc
Portishead - Third
Neil Young - Weld

Q. How do you feel playing live?
We see ourselves as a live band. Even when we work in a studio the live playing element still plays a certain role in our work. Its important for us to be able to play everything the same way as on the record.

Q. How do you describe Creams sounds?
Creams Sound develops from three different characteristics. We work with driving, up-tempo beats covered in cloudy, noisy guitar patterns and straight bass lines. Our vocals are considered as an extra instrument picking up different melodies of our songs.

Q: Tell us about the process of recording the songs ?
As we are composing our Songs live, we wrote the whole album before getting into the studio. In the End there were only a few changes in the sound or in some particular parts, but apart from that we recorded everything as we would play it live on stage.

Q. Which new bands do you recommend?
Heroin in Tahiti, Accident du Travail, BNNT, Lovely Heroin, Dolphins

Q: Which band would you love to made a cover version of?
None. We don’t like covers at all. We tried Nicolas Jaar’s „Space is only noise if you can see“ once though. Still you can’t deny that great covers exist: Portishead’s version of Abba’s SOS is superb - to lay emphasis on the lyrics by creating a dark atmosphere with trembling vocals is a brilliant way to turnaround the mood of a song. Also the interpretation of ‚Where did you sleep last night‘ by Kurt Cobain ending In complete ecstasy is stunning too.

Q: What are your plans for the future?
We are looking forward to play as many shows in as many different countries all over the world as possible. And of course we are all exited how our third record will sound like.

Q: Any parting words?
Thank you

Joyful Hesitation with Syrup, Go On - An Interview

Umas das melhores coisas em se tratando de música, é acompanhar o nascimento e o crescimento de uma banda, simplesmente sentir aquele frescor que um dia também já foi parte integrante de todos nós.

É basicamente esse sentimento que guia o TBTCI, e lá vamos nós novamente apresentar mais um daquelas novas bandas que deveriam e poderiam, porque não, ter um reconhecimento imediato.

Novamente é da Austrália, que mais uma bela promessa aterriza nestas páginas, o quinteto, Syrup, Go On.

Depois de soltar algumas demos e o single "Adore", o Syrup, Go On, iniciou o ano com seu primeiro EP, "Joyful Hesitation", que infelizmente dentre tantos lançamentos que já ocorreram neste ano, me parece que ficou precocemente esquecido, como muitos belos trabalhos, sinal dos tempos cruéis em que vivemos.

Mas, o TBTCI presta a devida e merecida atenção ao guitar sound com nuances gazers, sonhadoras e indies, melodias em primeiro plano, barulho dosado sem agressividades ou experimentações extremas, apenas aquele doce e suave assovio para fazer o tímpano tremer e a cabeça levitar.

Experimente o Syrup, Go On, contra indicações não haverão de aparecer.

***** Interview with Syrup, Go On *****

Q) When did syrup, go on begin?
· Syrup, go on started around 2016 as a recording project. Our founding members include, Tom Briese, Kris Briese, Liz Dick and Ken Kimura. Since our formation, we have added new live members and instrumentalists.

Q) Who are your influences?
· Our influences include indie, dreampop, shoegaze and melodic pop outfits, including…
My Bloody Valentine / Beach boys / Tame Impala / Pond / Slowdive / Cymbals Eat Guitars / Number Girl

Q) 5 albums of all time
· Tame Impala – Currents
· Beach Boys – Pet sounds
· Flaming Lips – The Soft Bulletin
· My bloody valentine – Loveless
· Yo La Tengo – I can hear the heart beating as one

Q) How do you feel about playing live?
· We really enjoy playing live. We seem to have an awkward but lovable demeanour and stage presence.

Q) How do you describe syrup, go on’s sound?
· For our latest EP we are a mix of shoegaze, dreampop, and post-punk with a focus on melody and driving bass.

Q) The process of recording songs
· Tom Briese is the primary song writer in the band. He usually comes up with an idea for a song then, as a band, we work on the arrangement and add our own individual parts and sections.

Q) Which new bands do you recommend?
· Electric Zebra is a Gold Coast band that produce hooky and powerful alternative rock sounds that we really like.

· Cakes is a 2-piece Gold Coast outfit with a massive sound and catchy melodies – reminiscent of METZ.

· Leavings are another Gold Coast band with interesting and dynamic sounds that at times sound like Number Girl meets Modest Mouse meets Sonic Youth.

· For dreammpop/shoegaze fans, Cassette Cathedral from the Gold Coast is another band worth checking out.

Q) Which band would we love to cover?
· Kris - My bloody valentine
· Tom – beach boys
· Liz – The Smiths

Q) What are your plans for the future?
· Our immediate plan is to go back to recording. We are planning to start recording our first full length album in March and hopefully release it in early 2019. Apart from recording, we will keep playing shows and try to keep progressing onto bigger and better line-ups.

domingo, 11 de março de 2018

Strawberry Cough with Deceased Squirrel On The Phone - An Interview

Guitarra e bateria apenas, e uma gigantesca sensação de desordem.

Para o duo da República Tcheca, Deceased Squirrel On The Phome, Tomas aka Warren e Bubu, respectivamente  guitarra/voz e bateria, não se faz necessário absolutamente mais nada. Tudo pode ser devidamente atestado no debute "Strawberry Cough", lançado em Janeiro. 

Um exercício de minimalista noise freak, agressivo, experimental e caótico. Referências de kraut, no wave, art noise e brutalidade sonora são os predicados que guiam a obra.

Perfeitamente recomendado para curar melancolias agudas. Definitivamente não recomendado a indie kids.

***** Interview with Deceased Squirrel On The Phone *****

Q: When did Deceased Squirrel On the Phone begin? Tell us about the history...
Deceased Squirrel on the Phone begin in 2010. Inspired by squirrel corpse, which was fried in neon of erotic club Moulin Rouge. Our band has two members. I play the guitar and sing and Bubu play two toms and cymbal. I write poems and do paintings too. Bubu is a photographer. We use it in a band then. We love surrealism and dada.

Q: Who are your influences?
Musical influences: Roky Erickson, Syd Barrett, Damo Suzuki, Half Japanese, Baby Woodrose, Laraaji, Bobby Conn Other influences: Wilhelm Reich, Terence McKenna

Q: Make a list of 5 albuns of all time…
Can - Monster Movie
Genesis - Foxtrot
Starship Beer – Nut Music As Free As The Squirrels
Daniel Johnston & Jad Fair - It's Spooky
Bobby Conn - The Homeland

Q: How do you feel playing live?
We like to play in small clubs, where people are close to us. We love to play for example in Fluff fest, where is Psychtent stage. It´s great place. Bubu is very serious before our show. It is not fun for her, she wants to change the world with playing. I enjoy it.

Q: How would you describe Deceased Squirrel On the Phone´s sounds?
Minimalist, lo-fi songs influenced by noise and psychedelia, with lyrics based on surreal humor, for example: Adrien Brody double gets hiccups at the shop with fishing equipment in Oslo. Or song Strawberry Cough is transcription of Michael Caine and Clive Owen dialogue from The Children of Men movie.

Q: Tell us about the process of recording the songs ?
Most of songs we recorded in studio: guitar, vocal and drums together. Just Dead Holidays Heal Slowly was recorded lo-fi in rehearsal room with sounded little woods and guitar effect Pulsar. In I Stopped Smoking In The Mirror we recorded two guitars and cymbal in rehearsal room too.

Q: Which new bands do you recommend?
We recommend fOfY, project of our friend from Italy. His composition Dusk is amazing. Best listening is with Mango Sapphire. Next Octopoulpe. The best live concert experience. French drummer, which lives in South Korea. He plays in octopus disguise. We recommend Stoned to Death records too. It´s cassettes label. Everything, what stoned bear publishes, is cool.

Q: Which band would you love to made a cover version of?
 Shake Sugaree by Elisabeth Cotten. We like this song so much. We would do it as sugar mantra.

Q: What are your plans for the future?
We´ll go to London participate in Europan Poetry festival. We prepare literary-musical performance for this festival.

Q: Any parting words?
Thanks a lot to The Blog That Celebrates Itself for interest in DSOTP. We are happy! Music and all being is energy. We are part of everything. Things falling into the ground are not to be found if you call a deceased squirrel you might get back Things falling into the ground

sexta-feira, 9 de março de 2018

Bloody Knives, "White Light Black Moon" - Track by Track

Antes de qualquer coisa, eu devo dizer que se por um descuido, você desconhece o hoje, trio de Austin, Bloody Knives, você obrigatoriamente deve preparar seus tímpanos e principalmente seus instintos, apenas porque poucas bandas atualmente soam tão agressivas e terroristas sonoramente falando como os caras.

Então prepare-se, se você é virgem a obra dos caras, ok?

Bem, não é novidade para os que acompanham o TBTCI nestes anos, o que o maestro da desordem, Mr. Preston Maddox e sua gangue cometem desde o lançamento de "Bloody Knives" o primeiro EP de 2009. Uma verdadeira avalanche de agressividade e caos é o que os caras fazem.

Nem pense em tentar rotula-los, esse exercício seria absolutamente dispensável, visto que o Bloody Knives é apenas, então, somente, um perfeito expoente do verdadeiro caos em que vivemos, seja ele, sonoro, ou refletindo apenas o mundo moderno fodido em que vivemos.

Vou, me abster de situá-los neste ou aquele nicho musical, apenas gostaria de dizer, que se o apocalipse fosse agora, você estaria sendo submetido a perfeita trilha sonora do final dos tempos.

"White Light Black Moon", o novo trabalho dos caras virá ao mundo em 5 de Abril, todavia, o TBTCI antecipa todo o esporro através dos próprios criadores dessa catarse apocalíptica.

Desnecessário comentar que estamos falando de algo essencial, ok?

***** Bloody Knives, "White Light Black Moon" - Track by Track *****


PRESTON----Reminds me of AK1200’s “Prepare for Assault”

JAKE -------This song ended up being a great opener. It retains quite a bit of the heavy atmospheric elements that define our sound while introducing the jungle/drum and bass elements we wanted to add to this album. Preston and I used to go to drum and bass nights when we lived in Dallas in the early 2000's that a couple of my friends were dj'ing and they played some great records, ones that we always kind of wanted to incorporate somewhere, but never really could, and this song showcases that time of musical influence.

JACK--------The whole song is very fluid sounding. I think I was trying to rip off Rowland S Howard and the Dick Dale on this one.


PRESTON-------I get to do the double downstroke crust punk thing on bass on this song and that kinda makes it for me.

JAKE--------This is one of my personal favorites. It's possibly the darkest song and those tend to be the ones I gravitate towards on albums. I like how the combination of the drum break on top of live drums turned out, similar to UGK's “Diamonds and Wood” where they stack two separate drum tracks with different tones on top of each other. I've been trying to do that for a while, but haven't been able to pull it off. It creates quite a big drum sound and Preston and Jack's guitars make everything so much heavier.

JACK--------This song is like 3 chords over and over again and its really fun to play live ‘cause I can pretty much do anything I want on stage at this point.


PRESTON-This track was one of the songs that got cut from the DEATH ep, came back and revisited it and it came together for this record.

JAKE--------Dig The Hole might be the catchiest one on the record. The intro keyboard riff is one of the highlights to me, and the minimal drums on the verses adds a dynamic element we've never really incorporated before. This is the one that usually gets stuck in my head after listening to the album.

JACK--------My guitar sounds like it was a synth sampled from an early nineties hip hop record, but its not. Its a Boss CH-1 and my fingers.


PRESTON------------This song is about how evil people with machines are eventually going to win the tech war and take over humanity. Those fools at Boston Dynamics need to watch the TERMINATOR movies again. YOU ARE CREATING SKYNET.

JAKE--------Another personal favorite. This to me is a heavy one you can bob your head to, something to kind of amp you up. The screeching melody at the beginning is a sample of a chop saw and I thought it added a great grinding element to sort of throw you out of whack before the melodies settle you in to even you out. And then Jack's guitars at the end kind of make the song for me.

JACK---------Preston told me “No happy notes” and “Rip off the guitar solo at the end of Romeo and Juliet by Dire Straits”. I improvised two leads and sent them to Preston from Florida.



JAKE----------This is the last song we recorded for the record. After we finished the rest of the songs Preston thought we needed one more to kind of bridge the gap from “I Will Cut Your Heart Out For This” to this one. It turned out great and not only did it end up making for a good segue from the old to the new, it makes a great intro to the second half of the record. It kind of settles you down after New Machines and brings back some airy atmospheric textures to the mix.

 JACK--------This song sounds like detoxing on a space station. The breakdown at the end sounds very witch house meets hardcore which is really fun to play.


PRESTON------This song is about a person who thought they got away with something finally getting caught and taken out and how beautiful that moment of vengeance is.

JAKE-------- This song to me is the most rock oriented one, an element I'm always glad we've been able to retain. I think a lot of the influence for this one comes from playing and seeing so many shows at Beerland in Austin over the last few years. A lot of the bands that play there regularly have an intensity you don't really see at most other venues. Hopefully we were able to capture the punk and noise elements from those bands properly.

JACK----This song gave me a cramp when I recorded it.


JAKE----------The hardest song to play live probably. Preston used an old drum beat of mine sped up for the foundation of the song and the fast hats sounded so good I wanted to keep them. It's also one of the most fun to play.

JACK----------I think this is the oldest or closest to the oldest song on the record that I’m aware of. It sounds like a ghost with a boombox in a well.


JAKE---------I always thought HKV had a sort of Downward Spiral vibe to it, one that I've always kind of wanted on an album. Jason did a great job arranging the intro on this one as well as mixing in the programmed hi hats. I love the driving nature and abrasiveness of everything, t's like an aggravation building up during the verses and then all out calculated chaos in the chorus.

JACK----------I don’t know what HKV stands for. This song also gave me a cramp when I recorded it. Its a fucking rager.


PRESTON-my favorite part of this track is the juno coming in near the end of the track. It was laying around in the studio we recorded the drums. I locked a sequence into the arpeggiator and twisted knobs.

JAKE-----------Another personal favorite, a great back and forth between Preston's musical influences and my own and then Jack adding his own voice and style to everything to round it all out. It has nice melodic verse to bring you back down from the harshness of HKV with a big, heavy chorus to keep you dancing.

JACK------------There’s a couple songs I used a baritone guitar on. Its a DC59 that I painted and slapped an after market baritone neck on. I play very little on this song. Its great to do live when we can.


PRESTON---------This is about how the global elite need to wiped out in the entirety and replaced with no one, their money and wealth distributed among all of us so we can create a society that we want, and the degree to which they need to be exterminated.

JAKE------------This one is my favorite to play live, and another dark one for sure. If there is any kind of narrative or story this album is trying to tell, the ominous vocals on this song signify a complete transformation from a kind of hopefulness on Darkstar to being completely consumed by some form of malevolence.

JACK------------This is the other song I used the baritone on. Its heavy.


PRESTON---------this is the ouroboros of the record. The title is a tribute to Lonnie Liston Smith and my favorite work of his, the song “Prelude” from Lonnie Liston Smith Live (1977)

JACK------------Deceptively simple guitar work on this one.

quinta-feira, 8 de março de 2018

A Charcoal Night with Writ on Water - An Interview

A história da música por muitas vezes prega peças cruéis com muitos artistas, belas e promissoras bandas muitas vezes caem no limbo do submundo dos bons sons e o esquecimento torna-se seu único companheiro.

Em todas as décadas isso aconteceu e continuará acontecendo, agora, em alguns momentos, o feitiço veira contra o feiticeiro, já reza o ditado popular, este é o caso do Writ on Water.

Resumidamente, os caras iniciaram suas atividadas em 1991, lançaram um belíssimo álbum de estreia, "Sylph" e depois disso, somente com o advento da internet, já aquecendo o mercado de distribuição e sendo um facilitador os caras conseguiram enfim construir sua discografia, riquíssima diga-se de passagem.

Sonoramente, o Writ on Water passeia por entre o pós punk melódico com pitadas psicodélicas, para quem se lembrou do The Church, sim Church é uma bela referência para o Writ on Water, mas obviamente que pela época em que surgiram, elementos em alta naquela época são notadas, o dreampop, o shoegaze, o lirismo do The Chills, Go-Betweens, enfim, as conexões poderiam se estender por décadas de boa música.

O Writ on Water, durante os anos 00´s gravou belos trabalhos, "Pelléas", "Wunderzeit!" e "A Wingless King" são discos a serem descobertos, ou redescobertos, dependendo do seu envolvimento com os caras.

No final do ano passado o Writ on Water, soltou um lindíssimo EP, "A Charcoal Night", que soa como uma revisão de toda a discografia da banda mas olhando para um iluminado futuro.

Que assim seja, afinal, o Writ on Water, merece ter sua obra devidamente reconhecida, ou apenas, conhecida.

***** Interview with Writ on Water *****

Q. When did Writ on Water begin? Tell us about the history…
JEFF MacKEY: Dan and I started playing music together in Southern California in 1990, and Writ on Water began in 1991 when we added drummer Joel Hughes, and then guitarist Miles Williams soon after. We started off as more of a regular “band," practicing in a garage, looking for gigs. But after our first album (‘Sylph,’ 1992) came out, the record company we were signed to went belly-up and we found ourselves without a label. Joel and Miles went on to other pursuits around that time, and Dan and I have continued on since then as a recording project. Dan and I have both moved to the East Coast over the intervening years, and we’ve worked with drummer Matt Akery on our last couple of releases. I write music pretty regularly, and we periodically find ourselves with material that seems like it would work as an album. We’ve been independent, releasing albums and EPs ourselves online for almost 20 years now.

Q: Who are your influences?
DANIEL JOHNSON: The Church, the whole 4AD sound from the late 80s/early 90s, David Sylvian

JEFF: I feel like everything I hear is an influence to some extent. But I’ll mention a few things that kind of changed my ideas about music along the way. The classic 4AD sound of the late ‘80s was a big influence. I still remember the first time I ever heard Cocteau Twins, and I couldn’t believe my ears, just seemed like the most magical sound I’d ever heard. I was also fascinated by The Wolfgang Press’ unconventional, linear approach to song structure when I first started listening to them. David Sylvian’s ‘Gone to Earth’ really affected my thinking as well, with its mix of sparse and densely textured arrangements, instrumentation weaving in and out…still one of my favorite records. Dan and I both listen to a lot of orchestral music, which may also impact our approach to song arrangement as well.

Q. Make a list of 5 albuns of all time…
JEFF: Not necessarily my top 5, but the first five important (to me) albums that leap to mind:
• ‘Gone to Earth’ - David Sylvian
• ‘Loveless’ - My Bloody Valentine
• ’Spirit of Eden’ - Talk Talk
• ‘Unearthed’ - Steve Kilbey
• ’New Gold Dream (81-82-83-84)’ - Simple Minds

DANIEL: Here are some favorites, in no particular order:
The Blue Nile - A Walk Across The Rooftops
Bowie - Low
Joy Division - Closer
Mark Hollis - (self titled)
Secret Chiefs 3 - Book of Horizons

I also listen to a lot of jazz and classical.

Q. How do you feel playing live?
DANIEL: I love playing live, but I haven't done so for many years. We thought about getting a live band together about ten years ago, but because we live several hours' drive apart, it never quite happened.

JEFF: That’s an especially tough question for us since we haven’t done a Writ show in more than 20 years. I did some acoustic sets of mostly Writ on Water material back around 2001, and that’s the last time any of our material has been performed live. I think my original idea was to be primarily a studio project as I found playing live very stressful and exhausting. Looking back, I regret that we weren’t more active in trying to do shows because I think we might have developed into a pretty good live act. I still occasionally get the crazy urge to get a lineup together, but it seems unlikely at this point.

Q. How do you describe Writ on Water sounds?
JEFF: I’m fond of “expansive minimalism” as a description. It obviously doesn’t apply to every song we’ve recorded, but I think one of our fundamental philosophies is experimentation and layering on top of a minimalist foundation. I’ve never really been sure in what category we belong—we’ve heard terms like space-rock, post-punk, post-rock, even Goth used over the years, but it was never really our intention to be any of those things.

Q: Tell us about the process of recording the songs ?
JEFF: Our recording process has evolved over the years. In the early days, we would do 4-track demos with the intention of going into a proper studio later to record them. Eventually, Dan and I wound up setting up home recording spaces, and we do our tracking independently since we live in different states now. I write/record pretty regularly at home, but most tracks never see the light of day. When I have a song idea, I’ll start putting down tracks and work it into shape over time, and then the file goes to Dan for additional tracking (or vice-versa). When we finally released 'The Greyest Day' in 2014, we had been tinkering with some of those tracks for a few years by the time it was finished. Digital recording in a home studio can be kind of a blessing and a curse—a blessing because it is so convenient to try things whenever you feel inspired but a curse because it removes the urgency and cohesiveness that comes with a limited amount of time in the studio.

Q. Which new bands do you recommend?
JEFF: I defer to Dan as I’m just about the worst possible person to ask—my recent rotation has been the first few Simple Minds records, The National, some Smiths. But in terms of current bands, I like The Radio Dept. and The Mary Onettes a lot, stuff coming out of Stockholm…neither band is exactly new, but wonderful.

DANIEL: I hear that Aidan Knight is coming out with a new album sometime soon — his first two records are fantastic. As far as jazz goes, you should listen to Yazz Ahmed, a British-Bahraini trumpeter based in London.

Q: Which band would you love to made a cover version of?
JEFF: We’ve never released a cover before, but we played a couple of things live way back when.

DANIEL: We once covered the Virgin Prunes (“Pagan Lovesong”) and Jim Reeves (“He’ll Have to Go”) in the same concert.

Q: What are your plans for the future?
JEFF: We're not really sure at this point. I have been recording some new material lately, but I’m still trying to figure out what it is. I do expect that there will be more Writ on Water releases in the future, maybe some side projects.

Q: Any parting words?
Thank you for giving ‘A Charcoal Night’ EP a listen, and please stay in touch!

quarta-feira, 7 de março de 2018

Double Life with Secret Crush - An Interview

Depois de alguns singles e do EP "Birth", o quarteto de NY, Secret Crush enfim chegou ao seu primeiro álbum. "Double Life" veio ao mundo em Novembro do ano passado e aprimora os passos que os caras vem dando desde 2014, um indie rock como nos velhos com jeitão moderno.

Guitarras sem experimentações extremas, curtas e econômicas servindo de alicerce pros caras praticarem um alternative rock sem fírulas.

Nada de novo, nada que irá mudar o universo, apenas música pra ser consumida em volume alto.

Simples assim.

***** Interview with Secret Crush *****

Q. When did Secret Crush begin? Tell us about the history...
Our first show was on Halloween in 2014. Matt, Nick, and Greg were playing in other bands in Brooklyn respectively and came together with the intent on starting a band that featured two songwriters and an amalgam of genres taking inspiration from our contemporaries as well as music from the past.

Q. How do you describe Secret Crush sounds?
Guitars, effects pedals, singing. We aim to be a well oiled machine. Sometimes there's a splash of shoegaze, sometimes alternative rock. There is little to no 'jamming.' It is premeditated.

Q: Tell us about the process of recording the songs ?
In the early days we recorded singles on a mix of digital and tape. The EP was recorded at Converse Rubber tracks and we did mixing and mastering at Gravesend Recordings.

For the album, Double Life, we tracked live back at Gravesend, recorded vocals and overdubs at our own practice space, did some mixing ourselves, and took it to Time Castle Recordings for the final mix and master. I'm overall content with the 'quality' of the record considering we were on a budget. Recording is expensive and time consuming. Given these restraints we worked within the system, worked with some great people and did the simpler, but more menial tasks ourselves to cut costs.

Q. Which new bands do you recommend?
Russian Baths are doing interesting things and I enjoy the soundscape they are creating. They recently were signed by Good Eye Records - a label we were talking to about putting out our album. We ended up doing a self release. I respect their decision.

Prima is another example of a wonderful band with a distinct sound. Rose Blanshei is featured on our record and I really enjoyed working with her.

Q: Which band would you love to make a cover version of?
We have not done a cover song ever. Not that there's anything wrong with that. We've been joking about doing a cover of Johnny River's "Secret Agent Man" as a lark.

Q: What are your plans for the future?
We stopped playing shows while we were working on the album and we feel that took us off the radar. We are just getting back into the swing of playing regularly with our new drummer, Ali Yildiz. Venues in Brooklyn are constantly closing and changing so that's something we and everyone else have been navigating. We love playing live and want to keep doing it regularly to promote this album.

Q: Any parting words?
Thank you for finding us and including us on your blog. It is comforting to know we have an audience outside of our local vicinity and for that we are truly grateful.

terça-feira, 6 de março de 2018

Just Had To Smile with The Finest Drops - An Interview

Infelizmente nos dias de hoje, muitos lançamentos acabam passando despercebidos por muitos, não que no passado não tenha sido igual, mas existe uma diferença brutal e fundamental, nos dias de hoje, muitos discos são lançados exclusivamente em ambiente digital, ao contrário do que acontecia no passado, onde mesmo que muitos discos tenham caído no limbo, eles tiveram um registro físico, coisa dos tempos modernos.

Enfim, cabe a nós nos adequarmos ao momento atual, e exatamente dentro deste contexto esta inserido o debute dos ingleses do The Finest Drops, no caso o EP, "Just Had To Smile". Sonoramente, o disco soa como um descendente direto dos momentos mais cândidos do Spacemen 3 e seus derivados, desnecessário citá-los certo?

A diferença entre os mestres e o descendente é na intensidade da viagem, visto que a proposta do The Finest Drop navega e flui muito mais suavemente, sem extremos, apenas sugerindo a imersão profunda para dentro do íntimo de cada ouvinte.

Retornando ao início desta introdução, pena que infelizmente poucos terão a oportunidade de desfrutar a experiência que o The Finest Drops proporciona, talvez em algum momento futuro, quem sabe...

***** Interview with The Finest Drops *****

Q. When did The Finest Drops begin? Tell us about the history...
The Finest Drops are Stu and Dave, with drums provided by local drummer-extraordinaire Ad

I’ve been playing Guitar in a band for over 15 years (Blackflower playing shoegaze, melodic Indie, alt-country, & psychedelic music, which I love doing and continue to do. But I had been writing a bunch of songs that I thought didn’t suit the Blackflower sound for various reasons. I always wanted to do something with those songs and in July 2017 I asked Dave if he wanted to work on them and see how it went. We had no preconceptions of how it would go. We started off with 2 songs and a bunch of riffs and instrumentals, and spend a few sessions developing the songs. Over the next couple of months we started laying down the tracks, sharing the instruments rather than working in a fixed band set-up. I had already demoed 2 of the songs (‘just had to smile’ and ‘hefty’) so there was a basic structure there, but the other 2 have developed from a basic riff and ended up how they sound today. We posted the songs separately on Soundcloud as we finished them, and once we had the 4, released them as our first EP on Bandcamp.

Q: Who are your influences?
For song writing its Robert Pollard and Gene Clark, guitar playing its Johnny Marr and bands like Can and Neu

Q. Make a list of 5 albums of all time…
Built to Spill - Perfect from now On
Galaxie 500 – on Fire
Slowdive - Pygmalion
The Smiths - The Queen is Dead
Loop - A gilded Eternity

Q. How do you describe The Finest Drops sounds?
Lo-fi alternative melodic guitar music with some epic shoegaze!

Q: Tell us about the process of recording the songs ?
Once we have an idea on the sequence and a general sound, we get Ad to record the drums as soon as possible, usually playing along to a demo. After that we see how it develops and record as many guitar ideas as we can. The songs always surprise us with a sound or style that we were not expecting. for example 'when you go' was a jangly guitar ballad, then one day I picked up the ebow and the riffs all came out in one go, and its ended up completely different, so all the jangly guitar tracks have gone in the bin! One of our goals is to make sure we don’t aim for perfection, and fall into the trap of tweaking the tracks over and over. We like happy accidents and will leave in things to add more character or to deliberately avoid sounding too polished. We don’t want the songs to sound like they have been through the corporate music industry processes, whether that's studios or whatever. We do everything, playing, recording, mixing etc. We want it to sound like The Finest Drops and nothing else.

Q. Which new bands do you recommend?
Tchotchke, they have a great shoegazey-Pixies sound. check them out at -

Q: Which band would you love to made a cover version of?
I think covers are only worth doing if you bring something new to the song, so its hard to cover a great song because its already great! Some bands have a really good feel for this, like Galaxie 500 who have recorded covers better than the originals (in my opinion). I would like to cover 'the 15th' by Wire, but how would i improve it?! I have an idea to cover a Nico song but I’m keeping that a secret for now!

Q: What are your plans for the future?
We’re already planning the recording of our second EP, and have been jamming the songs to begin working on ideas. We haven’t decided on all the songs yet but have 2 we will definitely do . I expect the next EP will be more up-tempo but who knows how it will turn out! Longer term we might try and perform the songs live, but that’s not our priority at the moment.

Q: Any parting words?
We’re really happy with the levels of interest were seeing, especially as we won’t compromise in any way to please others. It’s really satisfying to know that people like what we do.

segunda-feira, 5 de março de 2018

Penance with Russian Baths - An Interview

Caos em formas dissonantes, tribais e doentias, pense numa colisão frontal entre Big Black, Pale Saints e Band of Susans.

Guitarras comandam o triturar do crânio nas quatro caóticas canções de "Penance", do primeiro EP do quarteto de NY, Russian Baths.

Brutal, como os tempos atuais pedem, a música do  Russian Baths, é como ser submetido a ininterruptas sessões de de marteladas na cabeça, sem a menor possibilidade de haver saída.

Steve Albini e Robert Poss se ouvissem, certamente abririam sorrisos de ponta a ponta.

Escute alto se puder.

***** Interview with Russian Baths *****

Q. When did Russian Baths begin? Tell us about the history ...

Jess Rees: Luke and I met a few years ago when we were working together. It was just after I had moved to New York. We had shared musical interests and wanted to play. I met Evan briefly while we were guests at Luke’s karaoke birthday party. The next time we were all together was in a rehearsal space in Brooklyn. We’ve evolved quite a bit since then.

Q: Who are your influences?
JR: Swirlies, Beach House, Women

Luke Koz: Pale Saints, Talk Talk, Mamaleek, Uniform, Band of Susans, too many

Q. Make a list of 5 albums of all time …
LK: This is impossible, but a few albums that never leave rotation are Talk Talk’s Laughing Stock, Mingus’ The Black Saint and the Sinner Lady, Cocteau Twin’s Treasure, Boredom's Super æ, and Unwound’s Leaves Turn Inside You.

Q. How do you feel playing live?
JR: I used to get nervous. Now, I focus on playing the best I can and try to perform a little better than the show before. It’s very satisfying to play music with other people.

Q. How do you describe Russian Baths sound?
LK: I think that’s up to listeners.

Q: Tell us about the process of recording the songs?
LK: We recorded in a basement. It’s called Time Castle and has unusual powers.

Q. Which new bands do you recommend?
JR: Bambara, Weeping Icon

LK: Parlor Walls, Big Bliss, Nilufer Yanya, Snail Mail

Q: Which band would you love to cover?
JR: We always talk about covering My Bloody Valentine. Maybe someday we’ll do it.

LK: When we first started, we used to practice Fugazi’s “Arpeggiator” to warm up. We covered “Two People in a Room” live for a while.

Q: What are your plans for the future?
JR: Shows, touring, releasing an LP after this EP.