quarta-feira, 18 de abril de 2018

Let You In with Sleeping in - An Interview


Umas das tendências atuais onde mais surgem bandas é aquele crossover entre a melancolia dos 80´s e a barulheira noventista desacelerada, mezzo gazer, mezzo emo, mezzo post hardcore.

Neste cenário, o quinteto de Vermont, Sleeping in endossa o coro de tocar alto, denso e arrastadamente,seguindo os passos de gente Nothing e Whirr por exemplo, mas realçando as matrizes, Pumpkins, Sunny Day Real State, Fugazi, etc, etc.

O primeiro álbum dos caras que veio ao mundo no ano passado é tudo isso escrito acima em decibéis altíssimos, e, certamente ao vivo o negócio deve ficar dolorosamente estridente, assim é "Let You In".

Se por acaso você cruzar com o Sleeping in por aí, não perca a oportunidade de se jogar sem limites.

***** Interview with Sleeping in *****


Q. When did Sleeping in begin? Tell us about the history...
Sleeping in began in summer 2014. I was working at a music store and met Jordan, we ended up talking a lot about music and jamming a bit. From there we added more members. I just moved back to Vermont at the time so I was a little disconnected from the scene. We went through a few different lineup changes before settling in how we are now.

Q: Who are your influences?
The band as a whole has a wide variety of musical interests. Jordan comes from more of a hardcore and metal background, so does JT. My early musical interests were classic rock. I was really into Pink Floyd, the Syd Barrett era along with Animals and Dark Side of the Moon. After exploring those interests more I found Dinosaur Jr, Sonic Youth, Nirvana, Beck, Smashing Pumpkins, Red House Painters, Codeine, Bedhead, My Bloody Valentine, etc. I pretty much learned guitar through playing along to Dinosaur Jr and looking through tabs.

Q. Make a list of 5 albums of all time…
I could take years to answer this question so here are each of our all time fav albums

Sonic Youth - Daydream Nation - Mason
Say Anything - Is a Real Boy - JT
My Heart to Joy - Seasons in Verse - Rob
The Cure - Disintegration - Jordan

Q. How do you feel playing live?
Real nice, love to play lock music. Kinda nervous sometimes. Sometimes I have to pee but I hold it. Never had an accident. That's it.

Q. How would you describe Sleeping in´s sounds?
We used to be real into being LOUD. We had 3 guitars at one point. That was a fun time. We've kinda moved into more of a "rock" vibe, singing more instead of mumbling, and actually listening to the sound guy.


Q: Tell us about the process of recording the songs?
'let you in' was recorded over the course of a year and a half. We recorded it at our friend Dylan Sylvester's apartment in Allston, MA. We live about 3 hours from there so it was a lot of back and forth. We also hit some pretty serious speedbumps on the way, our van got stolen while we were recording drums. (we got it back eventually) It just took a while to complete and for us to be happy with it. Now were working more locally with our past member Adam Wolinsky on recording, trying to expedite the process so we can release music at a more steady pace.

Q. Which new bands do you recommend?
Babylawns, Jouska, Clever Girls, The Onlys, Psychic Selves, Something//Something

Q: Which band would you love to made a cover version of?
We did a Smashing Pumpkins cover set this past Halloween which was pretty fun, we don't ever do covers usually. Maybe The Cure or something? Not sure.

Q: What are your plans for the future?
Writing, touring, recording. Trying not to slow down and keep being productive. Life is long and there are a lot of things that can get in the way. Trying to focus on my own mental health/treating my anxiety and depression while at the same time being creative and productive and reaching my goals.

Q: Any parting words?
Thanks!! xoxo
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Thanks

https://sssleepingin.bandcamp.com
https://www.facebook.com/sleepinginmusic/

terça-feira, 17 de abril de 2018

We with Honeymoan - An Interview


Cidade do Cabo, Africa do Sul. É de lá que vem o ensandecido e deliciosamente viciante quinteto, Honeymoan.

Pense no seguinte, imagine o Blondie com toda a doçura e sexy appeal da Debbie Harry, pensou? Então ok, adicione modernidade, um pouco de querosene, acelere tudo as vezes, desacelere de novo, e acrescente décadas de boa música, pronto, aqui esta o Honeymoan.

Dançante, barulhento, sedutor, ácido, tudo em apenas um single, as dispares, "<3 a="" alta="" ao="" apesar="" as="" blondiano.="" bubblegum="" cacetada="" complementam-se.="" de="" diferen="" div="" e="" em="" estilo="" gostoso="" groovy="" melhor="" notadas="" o="" primeira="" rota="" segunda="" suas="" um="" uma="">

Sem maiores explicações, escute imediatamente, e eu desafio você a não deixar o Honeymoan no repeat.

Delicia total.

***** Interview with Honeymoan *****


Q. When did Honeymoan begin? Tell us about the history...
H O N E Y M O A N began very recently, in mid 2017 as a fun project with a group of like minded friends who felt like doing something different. Some of the members play in various other Cape Town bands including Sakawa Boys, Dangerfields, Retro Dizzy, Yndian Mynah & Wildernessking. My initial idea when starting the band was to do something very pretty and dream pop like Slowdive but it naturally turned into it's own thing.

Q: Who are your influences?
Tame Impala, Beach House, Kurt Vile, Slowdive, Smashing Pumpkins, Alvvays, Cocteau Twins, Thee Oh Sees, Drake, Beyonce, Kanye West, Ty Segall, At The Drive In, lots more...

Q. Make a list of 5 albums of all time…
1. Pink Floyd - Dark Side Of The Moon
2. Lauren Hill - The Miseducation of Lauren Hill
3. Cocteau Twins - Heaven Or Las Vegas
4. Talking Heads - Remain In Light
5. At The Drive In - Relationship Of Command

Q. How do you feel playing live?
We actually haven't played any shows yet as a band...

Q. How do you describe Honeymoan´s sounds?
Honestly it is really an early stage for us right now and as we are in the process of writing a full album, every song is quite different so far. Imagine people who listen to and play psych rock, prog, shoegaze, black metal etc trying to write fun, accessible pop music and this is the result of that experiment.

Q: Tell us about the process of recording the songs ?
We recorded at our friend Josh Berry's home studio. This was one of the more pleasant recording experiences I've personally had in a while, where Josh played a huge role in the entire project from the beginning - he really is a natural producer. He spent a long time getting the drum sound perfect in that room so I think that comes through really nicely in the final product. For
Q. Which new bands do you recommend?
Not really new but would definitely recommend Alvvays, Chastity Belt and Frankie Rose internationally and in terms of local South African acts - Twin Weaver, Mouse and Amy Ayanda.

Q: Which band would you love to make a cover version of?
Would love to cover Beyonce, Rihanna or another big pop act in a unique, washed out style.

Q: What are your plans for the future?
Currently our lead singer and songwriter lives in Amsterdam while the rest of us are here in Cape Town but we're hoping to play a few shows locally when she comes to visit! Other than that, keep recording, writing and getting an album out is our biggest goal.

Q: Any parting words?
Many thanks for the feature and for listening! Keep an ear out for more music later this year :)
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Thanks

https://honeymoan.bandcamp.com
https://www.facebook.com/honeymoanband/

Bedroom Paradise with Lust - An Interview


Lust é um duo israelense que passeia por terrenos cinzentos, fruto de sua forte influência e predileção por Robert Smith e seu The Cure, mas sobra espaço para outrass conexões com o dreampop e o trip hop, em menor escala, diga-se de passagem.

Dois singles no currículo e um novo em vias de nascer, a dica é, ouvidos e olhos atentos aos próximos passos dos caras.


***** Interview with Lust *****


Q. When did Lust begin? Tell us about the history...
They say 2 is always better than 1. That's why we - Asaf Sandhaus and Asaf Cohen, long time friends decided to lock ourselves up in the studio for a large chunk of 2017 and came up with this band called 'lust'. After writing and playing on all the instruments on the album with the vocals and production on Sandhau we started touring Israel with the help of Maya Tal on drums, Sharon Kvatinsky - Keys and Ypssi Almagor - Bass. of Sandhaus..

Q: Who are your influences?
Influences - Cohen: My bloody Valentine is a huge influnece on my guitar sound, sonic youth and the Cure too

Sandhaus - As a singer Im most inspired by Jim Morrison and Michael Hutchnes of INXS

Sandhaus - Lou Reed and David Bowie influenced me most as a song writer

Q. Make a list of 5 albuns of all time…
Isn't anything - My bloody valentine ,
disintergration - the Cure
treasure - Cocteau twins ,
violator - Depeche Mode
velvet Underground - Velver Underground

Q. How do you feel playing live?
We have a special bond whitin our band, the songs get another meaning when we play it to our audience, it is a bit like a religious experience


Q. How do you describe Lust sounds?
We mix electronic drums with live guitars and lyrics , the sounds are dreamy and are meant to aspire our listeners to take a walk on the dark side

Q: Tell us about the process of recording the songs ?
Our sounds is based in the 80's and 90's but mixed with todays production techniques to give it a 2018 touch and feel. We produced the album in Sandhaus's studio in Tel Aviv where we played on all the instruments. Diamonds started with a guitar riff then in the studio Bass and electronic drums, were added. The lyrics and vocals where done at the end.after the music was ready. Mixing and Mastering was also done in the studio by Sandhaus

Q. Which new bands do you recommend?
We like Diiv, TigerCub,, Emily Nichols, Fufanu

Q: Which band would you love to made a cover version of?
Betty Davis eyes by Kim Carnes

Q: What are your plans for the future?
We are curently touring Israel and will have an album relase party in May followed by a European tour where we will shop for a record label and booking agencies..
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Thanks

https://soundcloud.com/lustband
https://www.facebook.com/lustmusicband/

segunda-feira, 16 de abril de 2018

Blush Response, "Hearts Grow Dull" - Track by Track and "Still Life", Video Premiere


Depois de dois EPs absolutamente sensacionais os seguidores da escola Kevin Shields de fritações sonhadoras, no caso os australianos do Blush Response, que enfim soltaram seu primeiro álbum.

Um grande período de hibernação, ou melhor, confecção de "Hearts Grow Dull" perdurou deste 2014, mas a espera chegou ao fim em quatro de Abril.

E, sinceramente, os quatro anos valeram a pena, pois o disco é qualquer coisa de genial. Genial nos parâmetros gazers de produção é claro. "Hearts Grow Dull" é uma obra que reverencia o passado sim, mas com ares modernos, logicamente escuta-se doses cavalares dos ensinamentos do Loveless, mas existe uma aura que dá um toque quase blasé ao Blush Response. Analisando resumidamente, o disco é um caldeirão que engloba toda a produção shoegaze desde seu advento até seus atuais desmembramentos.

Para iniciados, certamente o Blush Response criou um dos melhores álbuns do gênero no ano, talvez dos últimos anos, pouco importa, o disco é como uma fumaça entorpecente, vai te sugando gradativamente e quando você percebe já esta imerso às toneladas de efeitos e delírios criados por Alister Douglas e sua trupe.

Falando em Alister, o TBTCI pediu a ele que esmiuçasse o álbum, canção a canção para que eu, você e todos os gazers de plantão pudessem compreender a fundo o que é "Hearts Grow Dull".

De quebra, o Blush Responde ainda coloca o vídeo de "Still Life", um dos pontos altos do disco, se é que isso é possível, agora em premiere no TBTCI.

Deleite-se e boa viagem.


***** Blush Response, "Hearts Grow Dull" - Track by Track *****


Blasphemy is a plea for someone to open up and trust that you'll accept them, no matter how weird or unlovable they think they are. I feel like the EPs are quite up-tempo and pop-focussed, while Blasphemy was the result of me wanting to write something darker and a bit more slow burning. An early version of Blasphemy appeared on a The Blog That Celebrates Itself compilation, but I wanted to re-record it and include it on the album because it was thematically from the same place of the mind as the rest of the songs on the album. We’ve been opening shows with Blasphemy for a while now – the way the lead section hits after the deceptively quiet intro is a fun way to start a set.

Cruel was written after Emily [Retsas, bass] alerted me to the fact that that the album was becoming a very sombre, mid-tempo affair. Often when writing I build songs down from the top down, starting with melody and guitar chords. Cruel was built from the rhythm section up – the driving beat with the persistent kick pattern dictated the direction that the rest of the instruments took. I think the lyrics speak for themselves in this one, there's no grand metaphor or anything. This song is special for the fact that it features Emily on bass (my favourite bass line on the album is in this bridge), a mind-melting solo by Brodie [Brummer, Flyying Colours], both of which I could have never come up with myself.

Fall Apart is about that paralysing fear that comes from feeling responsible for another person's actions and the feeling that things out of your control are directly your fault, which is really just a form of self-important paranoia. Most wouldn’t know, but I’ve been living with obsessive compulsive disorder for as long as I can remember and, while I’ve touched on it lyrically before, this song probably contains the most direct references to my thought patterns. This song is different in that it started with a bass guitar part (that can be heard alone in the intro), which is the first time I’ve started this way. The feel of the rest of the song was dictated by the rhythm of this bass line. I tried to give the structure a somewhat fragmented feel, as the song jumps between parts, not lingering on any section for too long. I'm really happy with how the vocal harmonies turned out on this song.

Horizon. This is the second version of Horizon. The first version, which appeared on the first recording of the album (before I scrapped it and re-recorded everything) was written before the album's direction had taken shape. It was much lighter and featured a Hal Blaine 'Be My Baby' style drum beat. I couldn't find a place for it to sit in the track list so I rewrote it. I had just discovered the band Title Fight and was digging the chorus guitar that was all over Hyperview, which is what influenced the main guitar line that carries the song. Lyrically, Horizon is about the hole that is left in your life when someone just leaves suddenly and unexpectedly. Bonus fact: there is a discordant note just before the outro/chorus thing. That was a mistake in the performance, but when I listened back to it, I really liked how jarring and dark it sounded. Happy accidents.

Hearts Grow Dull was my attempt to double down on the quiet/loud dynamic that I played with in the EPs. It's also in an annoying tuning that none of the other songs are in. I wrote the lyrics for this song not long after Dead Air was released. A relationship I was in had just burned out after attempting to adjust to a long distance arrangement, which inspired the seemed-clever-at-the-time play on the phrase "distance makes the heart grow fond". This song cemented in my mind the direction I wanted to take with the LP: a bit heavier, darker and more of myself personally in the lyrics. A lot of the songs follow on from Hearts Grow Dull thematically with the album loosely exploring distance in relationships, mental and/or geographical.

Without You first appeared on the Dead Air EP and was always one of my favourites so I felt like it deserved to have its waveform smooshed into vinyl. This version is entirely re-recorded. I wanted the lyrics to be a bit more audible this time, as they were obscured under a blur of delay, chorus and reverb on the EP. I only noticed recently, having gone back to listen to the original version, that I inadvertently changed a lyrics in the second verse: "Feel like I'm losing time" has become "feel like you're losing time". I think I often default to the second-person "you" to remove myself from sensitive subject matter. It's kind of a lyrical self defence, projecting onto a You character to create a comfortable personal distance. I'm not sure if that was the case here, but I found it amusing.


Still Life is probably the most positive song on the album both lyrically and musically. When writing lyrics, I generally lean to the side of being matter-of-fact and linear, almost conversational. I admire lyricists that can create a feeling or communicate the broad strokes of an emotion with more abstract language and structure. That sort of free-form writing doesn’t come easy to me, but I think Still Life’s is the closest I’ve come to writing in this way. I like the ambiguity in this one, so won’t ruin it with specifics. Musically this one started a lot more distorted – almost a Silversun Pickups type sound – but I wanted to try something different and lay off the distortion for a bit in the verses and lead parts. Though it still creeps in towards the end.

Drive, like Horizon, started off as an entirely different sounding song. I'm not a confident, nor prolific lyricist so, when I write something that doesn't make me cringe uncontrollably, I feel like I need to find it a place, regardless of how many rewrites it takes. The first version of Drive had a very Beach House feel to it – a lot of guitar wash, very little distortion, cascading vocals. I liked it as a standalone song, but it didn't really fit anywhere. I was trawling through old Blush demos that were never given lyrics and found one called "Quiet Loud in C# (new one)" (I have folders and folders of ideas named this way) which just instantly fit. I remember the frustration of being so excited that I'd found the right home for the lyrics but it was raining really heavily and any vocal takes I did were covered in the sound of rain on corrugated iron. I like the sense of space Drive affords the second half of the album, it kind of meanders along at its own pace.

The Week That Never Was started as a dinky little song on acoustic guitar that I was convinced wouldn't work for Blush Response but, as with a lot of these songs, it was drawn to its place in the album through the lyrics. The first attempt I had at turning it into a Blush song was pretty much just me trying to write my own When The Sun Hits, but it felt forced and didn't fit with where I thought the lyrics belonged so I started again. After another failed attempt, I decided to try the original chord progression and to my surprise it sounded right as a jangly dream pop song, so I just built it up from the original chords and structure. This song continues my habit of writing happy sounding music for dark subject matter. The lyrics focus around a week, several years ago, where my girlfriend-at-the-time's life fell apart. I felt so terrified and helpless at the time and I'll forever be in awe of the strength she showed pulling herself out of the mire.

Safe and Sound is probably the most important song on the album to me. Along with Hearts Grow Dull, it typifies the quiet/loud dynamic I wanted to achieve with this album. It was a strange song to write, though. It was around two years after I wrote Hearts Grow Dull and I found myself in a new relationship that I was fearing was going to turn long distance and end similar to the last. I wrote the lyrics almost preempting my feelings should things turn out the way I feared. Turns out the song was unnervingly accurate, both in the sequence of events and in the way it would leave me feeling. While Hearts Grow Dull focuses on the guilt of growing weary in a long distance relationship, and Horizon on the hurt and anger of feeling left behind, I think Safe and Sound is a hopeful, reflective song.
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Thanks

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

sexta-feira, 13 de abril de 2018

Light Pollution with Pastel Goth - An Interview


O submundo dos bons sons esconde segredos e mistérios que muitas vezes permanecerão intactos durante anos, décadas e poucos, realmente muito poucos terão acesso, ainda mais no cruel mundo atual, onde tudo é devorado tão ferozmente, onde as informações são despejadas vorazmente sem haver tempo para a apreciação devida.

Um desses casos é o duo de Denver, Colorado, Pastel Goth, onde talvez, a banda, propositalmente não utiliza o, hoje, grande meio de comunicação mundial que é o Facebook, o duo dispensa esta ferramente focando sua música, único e exclusivamente em sua página no Bandcamp e seu perfil, com pouquíssimas informações no Instagram.

Enfim, estratégias e predileções a parte, o duo debutou há pouco menos de um mês com seu primeiro EP, o intenso, belo e climático, "Light Pollution", um dream pop com traços melancolicamente acinzentados dão o tom das quatros canções.

Epicamente doloroso, o Pastel Goth ficará fadado e permanecer no anonimato, salvo os deuses da música aprontarem uma daquelas obras do destino, todavia, se eu fosse você, faria parte do seleto grupo que os apreciará deste o início, a escolha é sua.


***** Interview with Pastel Goth *****


Q. When did Pastel Goth begin? Tell us about the history...
Lauren: Sometime last year, we kind of just fell into it. Once Zac and I realized we both had similar taste in music and that we were both musicians, it just sort of happened.

Z: We pretty much met and decided we wanted to make music.

Q: Who are your influences?
L: For me, Beach House is a big one, especially as far as synth sounds go. Victoria Legrand is also very good at crafting an atmosphere with vocals alone, even if the lyrics are at times simplistic, and I really admire that. I think sometimes a song needs more space, more room to breathe. Other than that- Cherry Glazerr, Radiohead, Slowdive, My Bloody Valentine, Asobi Seksu, the Jesus and Mary Chain, Brand New.

Z: I think we have a lot of traditional dream pop influences, like Beach House, My Bloody Valentine and stuff like that, but also some grunge for sure.

Q. Make a list of 5 albums of all time…
L: It changes constantly but there are few that stay the same. I’d say:
Radiohead’s In Rainbows,
Angel Olsen’s Burn Your Fire for No Witness,
Beach House’s Bloom,
Nirvana’s In Utero,
Kendrick Lamar’s DAMN.

Z: In no particular order,
Nevermind-Nirvana
Loveless-My Bloody Valentine
Ok Computer-Radiohead
Marquee Moon-Television
Sticky Fingers-The Rolling Stones

Q. How do you feel playing live?
L: It’s hard to describe that, it’s just such a different realm than anything else. It’s exhilarating to be able to create an atmosphere like that. I fuckin love it.

Z: I mean, I get nervous of course, but as soon as I start playing it's really just a ton of fun. All the stress just disappears after the first note.



Q. How do you describe Pastel Goth’s sound?
L: I think our sound has evolved even from we first started writing, which was only a few months ago. Our sound really relies on lush, layered guitar and washed out vocals.

Z: We've got a pretty airy sound, with waves of chords and stuff, but sometimes I just hit the fuzz and it's just like this wall of distortion. Like from light to heavy to back again.

Q: Tell us about the process of recording the songs?
L: Well, it’s been kind of harrowing. It took a lot of time and effort, but Zac actually did almost all of the guitar parts in one take. And I was whispering the lyrics in his ear while he recorded so he would know where he was in the song. The recording itself was easy, but the production was pretty difficult, as Zac ended mixing our songs and had to learn Ableton <3 .="" br="">
Z: Almost all of the recording was done in our producer, Will's studio. All the songs start with guitar, played to a metronome. Usually there's two mics on the amp, to get a phase effect. Then we do vocals, and Will adds drums and other instruments. I did a good chunk of the mixing myself, also.

Q. Which new bands do you recommend?
L: Right now, I’ve been listening to Snail Mail, Japanese Breakfast, Smino, and we actually met a great band from San Francisco when we were in Austin during SXSW- Tino Drima, look em up.

Z: Blushing, Grivos, Tino Drima, Alexalone and Wyldest are some really cool bands I saw play recently.

Q: Which band would you love to make a cover version of?
L: Honestly, we’re not huge on covers, but we occasionally cover Heart Shaped Box and also do a pretty great rendition of In the Suburbs by Arcade Fire.

Z: We always have fun playing covers of Nirvana songs.

Q: What are your plans for the future?
L: Well, I guess graduate film school first. Overall, I want to be able to make films or music for a living. With the band, I think we really just want to start playing more and hopefully tour soon, then release our album.

Z: Well, we've got an album pretty much recorded already, so after playing some shows locally we'll start to focus on mixing and releasing that.

Q: Any parting words?
L: Bird up

Z: Thanks for the opportunity!
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Thanks

https://pastelgothband.bandcamp.com/album/light-pollution
https://www.instagram.com/pastel.gothofficial/

quinta-feira, 12 de abril de 2018

Self Control with The Lost End - An Interview


Da escola Interpol de melancolia cinzenta vem o quarteto de Oklahoma The Lost End, que debutou há pouco menos de dois meses com seu álbum homônimo.

Feita a conexão inicial com o Interpol, é necessário dizer que o The Lost End é um tanto mais ácido, enquanto o Interpol, no início paira por entre as cinzas melancólicas do pós punk, o The Lost End, pega estas cinzas e vai as triturando gradativamente por entre as sombras, sem haver a menor hipótese de haver uma luz. Consciente ou inconscientemente os caras evocam a versão dark do The Cult, o The Southern Death Cult por diversas vezes, deixando tudo mais pesado mesmo.

Se você procura por peso e sombras, o The Lost End é certamente algo que você não deve deixar passar de forma alguma.


***** Interview with The Lost End *****


Q. When did The Lost End begin? Tell us about the history...
1) The Lost End began as a three piece in March 16’, Trevor Helm on Drums, Brian Daniel on Bass, Scott Jones on Guitar.

The three of us were previously in a band together with a different vocalist and after a brief stint he decided to leave. After his departure we decided to keep writing and continue as a new band. So we looked for a new vocalist while we worked up this new set of songs

(That would later make up our recent LP)

Fast-forward four months, Ryan Taylor responds to our ad. Impressed by his range and capabilities we invite Ryan to join the band.

Now a complete unit, we continued to work on our new set of songs. We performed the set live for the first time in February 17’

Q: Who are your influences?
2) Joy Division, Bauhaus, The Cult, Siouxsie and the Banshees

Q. Make a list of 5 albuns of all time…
3)Trevor (Drums) Koi No Yokan-Deftones

Brain (Bass) October Rust-Type O Negative

Scott (Guitar) JuJu-Siouxsie and the Banshees

Ryan (Vocals) Hard Nose the Highway-Van Morrison

We share a common love for Joy Division’s Unknown Pleasures.

Q. How do you feel playing live?
4) Performing live is where we excel as a band so its often rewarding


Q. How do you describe The Lost End´s sounds?
5) Dark, Energetic, Distorted Melodies with lots of Reverb and Delay led by driving rhythms

Q: Tell us about the process of recording the songs ?
6) Our album was recorded and mixed by Trent Bell of the Chainsaw Kittens at his studio in Norman, Oklahoma. The recording sessions began in December of 16’ and completed in June of 17’

Our process was recording all the instrumentation first then laying down the vocals.

Q. Which new bands do you recommend?
7) Bloody Knives, Actors, Soft Kill, Second Still

Q: Which band would you love to made a cover version of?
8) We have not considered doing a cover at this time. What time we do get as a band we spend working on original material.

Q: What are your plans for the future?
9) We start recording our next album in April at Bell Labs. We are scheduled to perform at Norman Music Festival and have been invited to play at a couple of national festivals next year.

Q: Any parting words?
10) We would like to give a huge THANK YOU to all the radio stations, DJ’s, podcasts, blogs, (like TBTCI) webzines and independent playlists from all over the world who have included our songs on their shows and who have reviewed our album since we released it one month ago.
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Thanks

https://www.facebook.com/thelostendok/
https://thelostend.bandcamp.com/releases

quarta-feira, 11 de abril de 2018

Magnificent Summers with Lubulwa - An Interview


O quarteto australiano Lubulwa é daquelas gratas e deliciosas surpresas que só, e somente no submundo dos bons sons podem acontecer.

Anoushka, guitarras, Peter, vocais, teclados, synths, e eletronices diversas, Kristen, baixo e Miranda, bateria, debutaram há pouco mais de um mês, com seu disco homônimo, onde a eloquência das canções e grandiosidade sonora deles, simplesmente impressiona.

Conexões diretas com os heróis australianos, The Go-Betweens são sentidas em sua essência, mas existe muito mais diversidade na música do Lubulwa, a começar pelo lirismo de Peter que, inclusive, empresta seu sobrenome ao nome da banda, e sua força vocal, o exuberante entrelaçamento entre a parte sônica, sem haver dissonâncias, mas sim experimentos, mesclado a uma consciência pop absolutamente sublime.

Sabe quando se ouve algo e se apaixona imediatamente? Pois é, com o Lubulwa é exatamente isso que acontece.


***** Interview with Lubulwa *****


Q: When did Lubulwa Begin?
(A)Similar to the Bing Bang, Lubulwa appeared… first hydrogen and then huge stars.. lol

(M) I think it was a fairly organic creation, only a year ago since our birth!

(P) Yes, there was a call out through social media, through friends. I had some old songs which needed to get out that I had been performing solo. New songs were in the works and a band sounded like a fun idea!

(K) There have been a couple of changes of bassists over time, but we are all in similar circles of friends and click well musically, so it all works well and comes naturally when it comes to writing.

Q: Who are your influences?
(A)Beautiful post punk femme bands.

(K)I think what is magical about Lubulwa is that we all call come from various musical influences. I grew up listing to Bikini Kill, Sleater Kinney, Nirvana and a lot of Seattle scene 90’s punk.

(P)Lyrically for me there is a lot of Belle and Sebastian and The Smiths. While sonically I would say more influences through Beck, Sonic Youth and Pere Ubu.

(M)Nick Cave, Portishead and The Dirty Three have been pretty influential through a lot of my musical life, but there’s always influences popping up from the Melbourne local scene… So many of our good friend’s play in so many amazing bands that we all admire.

Q: Make a list of five albums of all time:
A: Fleetwood Mac- Rumours
Sonic Youth- Sister
Nirvana- Never Mind
The Peep Temple- Joy
Rowland S Howards- Pop Crimes

Q: How do you feel playing live?
(P)Live is where we spend most of our time and it’s what we enjoy most!

(M)I think being a ‘live band’ is important to us all and that comes through with the amount of shows that we get involved in.

Q: How do you describe Lubulwa’s sounds?
(k)haha. This is probably one of the hardest questions we get asked, we have a very diverse but cohesive sound depending on the song. I think the closest we have come is from our Bio – “….a wall of cinematic sound with dreamy synths, spacey guitars and devastating vocals…”.

(A)…Dream pop universal love.


Q: Tell us about the process of recording songs:
(P)Nick Edin recorded our debut album in a live studio environment, all playing together in one giant room. He saw us play a few times and suggested live recording over lots of tracking and overdubs; He’s certainly captured that live energy and made it super professional-shiny.

(M)I think because of how we play and interact with each other, we were all happy to go for the ‘live’ recording situation, we aren’t a band to spend a long time in the studio.

Q: Which new bands do you recommend?
(k)We are lucky to have so many amazing bands in our circle right now. It is a great vibe in the Melbourne music scene.

(P)Cannot get enough of Moody Beaches right now..

(M)Big loves for Spiral Perm, Loobs and RVG.

(A) Camp Cope, Loose Tooth, Cable Ties, Wet Lips, Chastity Belt and Child Birth.

(K)Yes, most bands on Poison City or Milk! Records are amazing, that is a good starting point for people wanting to understand Melbourne independent music.

Q: Which band would you love to make a cover version of:
(A)Fleetwood Mac. (P)It is odd, we have messed around with covers of different songs, but none have really gelled and made it into our live shows. Covers can be a tricky thing; you almost need to spend more time on the cover version than you do on your own songs!

Q: What are your plans for the future?
(A)Make cool new music and hang out together and have some beers… Maybe play a show in Brazil!

(K) We would really like to tour internationally in 2018/19. (P) Europe…!

Q: Any parting words?
(A)Thank you.
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Thanks

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

terça-feira, 10 de abril de 2018

Fun with deathlist - An Interview

O terceiro álbum do hoje, trio de Portland, deathlist, tem o irônico título de "Fun", o que de diversão, passa um pouco longe, salvo se seu conceito de diversão for as avessas, tal qual a banda o projeta.

Como uma terapia perigosa, a música do deathlist é crua, áspera e provocativa. Inserções de pós punk, art noise, ou um elo entre ambos, Jenny Logan, comanda o exorcismo sonoro.

Sob ares cinzentos e sombras, o deathlist transforma lamúrias em desespero, e melancolia em caos.

Pós punk em letras maiúsculas senhoras e senhores.

***** Interview with deathlist *****



Q. When did deathlist begin? Tell us about the history...
Deathlist started as a solo recording project in between tours with my other band, Summer Cannibals. After I released a demo tape in 2017, I got a live band and started performing around Portland and the west coast of the U.S.

Q: Who are your influences?
The Cure, Suicide, Joy Division...I really like post-punk and goth music, but I try to make it my own. I was also influenced by a lot of hardcore/metal bands like Neurosis and Botch.

Q. Make a list of 5 albuns of all time…
Neurosis - Times of Grace
Joy Division - Closer
Iggy Pop - The Idiot
The Cure - seventeen seconds
The Wipers - Youth of America

Q. How do you feel playing live?
I love playing live, it gives me a lot of energy. It is also very emotional for me, because my songs are very personal.


Q. How do you describe deathlist´s sounds?
I think I provide a female perspective on genres that were traditionally performed by men.

Q: Tell us about the process of recording the songs ?
I write everything in my bedroom on an acoustic guitar and then adapt them in the studio. I do a lot of experimentation to find sounds and beats, and I play every instrument on the records.

Q. Which new bands do you recommend?
Sweeping Exits, Maarquii, Savila. They're all new Portland bands I'm very into right now.

Q: Which band would you love to made a cover version of?
The Wipers

Q: What are your plans for the future?
I'm going to keep making records! Writing music is like therapy for me, it keeps me sane and makes me a better person.

Q: Any parting words?
Thank you for listening to my music! I love hearing from fans so please feel free to reach out to me through my bandcamp page (deathlist.bandcamp.com) or my instagram @deathlisttt
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Thanks

https://deathlist.bandcamp.com
https://www.facebook.com/deathlistband/

segunda-feira, 9 de abril de 2018

Flying with Waves of Dread - An Interview


Fazia um certo tempo que os ingleses não aportavam por aqui, mas a ausência enfim foi suprida em grandioso retorno.

De Newcastle, o quinteto Waves of Dread pega suas guitarras e as direciona ao paraíso. Com a benção de Neil Young e J. Mascis aliada a um lirismo e inclinação ao pop, cortesia da influència dos irmãos Paddy e Martin McAloon, pra quem não sabe os fundadores do Prefab Sprout, o Waves of Dream moldou seus dois primeiros singles neste ambiente.

A sedutora e viciante "In Your Mind" e "Flying" são os cartões de visita de uma banda a ser acompanhada desde o início.

Lembre-se, Waves of Dread e das guitarras do paraíso ok.

***** Interview with Waves of Dread *****

Q. When did Waves of Dread begin? Tell us about the history...
The dread started a long time ago. I’ve been writing the songs for quite a while too

Q: Who are your influences?
I've always loved the way Neil Young plays guitar, that raw style. J Mascis and Kevin Shields too

Q. Make a list of 5 albums of all time…
I’m gonna try to avoid any potentially obvious influences here...

Love - Forever Changes
Prefab Sprout - Steve McQueen
Bark Psychosis - Hex
Tears For Fears - Songs From The Big Chair
Aphex Twin - Selected Ambient Works 85-92

Q. How do you feel playing live?
I’ve not played any shows yet! I'll hopefully get some booked soon

Q. How do you describe Waves of Dread sounds?
Loud. Like a blimp crossed with a hovercraft, maybe

Q: Tell us about the process of recording the songs?
I recorded the demos at home, I've got a pretty basic setup but it does the job

Q. Which new bands do you recommend?
Not so much new bands but I’m listening to Ariel Pink’s most recent album a lot currently. The new UMO tracks are great too

Q: Which band would you love to make a cover version of?
Simple Minds - Don’t You Forget About Me

Q: What are your plans for the future?
Release some more demos, maybe put a band together and do some gigs

Q: Any parting words?
I don’t actually own an electric guitar at the minute, could I borrow one off someone please? Thanks
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Thanks

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

domingo, 8 de abril de 2018

Familia de Lobos by Familia de Lobos - An Interview


Os fantasmas de Jim Morrisson e Mercedes Sosa certamente permeiam a obra do quinteto argentino Familia de Lobos.

Música para cruzar desertos áridos em busca da cura da alma, embalados por uma psicodelia xamanistica e mantrica, os caras também poderiam servir de trilha sonora para algum filme de Quentin Tarantino, sem maiores problemas.

O debute "Familia de Lobos" é feito sob medida para uma imersão, ou seria uma emersão, o sentido certamente vai depender muito do seu estado psíquico, ou do que você mais necessitará no momento.

Para esta viagem, a Familia de Lobos lhe oferta o ticket de ida, a volta, dependerá único e exclusivamente de você.....boa viagem.

***** Interview with Familia de Lobos ******


Q. When did Familia de Lobos begin? Tell us about the history…
It began something like 3 years ago, in my apartment Eric (voice and guitar) and I (charly, guitar) we used to play together before, many years ago. None of us were playing at that time and decided to get together again. By that time we were listening to other music and bands, so we spent some time forming and shaping our sound. We wanted to do something different from what we used to play and from what we listened in bands in Argentina, but separated from international influences. We used to live something like 1:30 hour away from each other, so we settled fixed days for working, as if we were in an academy or something like that. We tried several formations, and we couldn't get a band together for several reasons, so we started programming bases and experimenting with other ways of composing, trying to play live with less musicians. In between we started trying other instruments, andean precolumbinian instruments, in a very instinctive way, bombo legüero, quenas, sikus, percussive instruments, and little by little started forming that sound that we were looking for, wanting to sound like a rock band but from Argentina, with south american sounds. Argentina has a very rich rock history, but we always had the feeling that everybody tended to look outside, instead of looking in, we started looking in. Once we had that sound in mind and some songs, we went to the studio to record an album and having the material to look for musicians and showing what we had. Mari Anselmo (one of our percussionists) joined the band in between, and slowly some friends join aswell, Andy Merlo in synth and sampler, and Matias Blanco also in percussion.

Q: Who are your influences?
From argentina: Vox Dei, Pescado Rabioso, Micaela Chauque, Atahualpa yupanqui, Mercedes sosa… From abroad: The Doors, Pink Floyd, Can, Black Sabbath...

Q. Make a list of 5 albums of all time…
Ufff… this is hard, lets see, not in order...

1. The Doors - The Doors
2. Pink Floyd - Meddle
3. Vox Dei - La biblia
4. Pescado Rabioso - Artaud
5. Black Sabbath - Paranoid

Q. How do you feel playing live?
We are expecting that with Familia de Lobos, since the band was finally formed something like 3 months ago. We recorded the album without having a full band together, so we are very anxious, and looking forward to our first gig. We played live in the past, and one of the reasons we started doing music again is because we couldn’t stand seeing live bands without having that feeling of wanting to be up there playing, so I think that is the best answer.


Q. How would you describe Familia de Lobos sounds?
Psychedelic garage mambo (Made in argentina)

Q: Tell us about the process of recording the songs ?
Started with some demos, homemade demos, then went to Electric Chesterland, a studio in Buenos Aires and recorded them propperly, and with better gear. Everything went well until that, mixing it was a nightmare, as we were three at that time, we didn’t had all the musicians, so we recorded lots of tracks “just in case”. The process that came after was incredibly long, but we learned a lot.

Q. Which new bands do you recommend?
Knei, Kill West, Oro, Cholo Visceral, Culto al Qondor...

Q: Which band would you love to made a cover version of?
We are working on some Vox Dei tracks, definitly we will do “Moises” or “Genesis”, maybe both!

Q: What are your plans for the future?
Playing live this album, as much as we can, and we are starting producing our second album, probably we will release some songs this year, maybe two.

Q: Any parting words?
Let us be free, the rest matters not. (José de San Martín)
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Thanks

https://familiadelobos.bandcamp.com/releases
https://www.facebook.com/delobosfamilia/

sexta-feira, 6 de abril de 2018

Glitterer with Illogical Time Concerns - An Interview


John Ricksen é a mente por trás do projeto, Illogical Time Concerns.

Um trabalho exclusivamente de estúdio e, com uma extensa discografia a ser desvendada. Mas, por aqui vamos apenas focar no que é, ou ao menos, tentar dar um direcionamento a você, no que o ITC te oferta.

A começar pelo mais recente álbum, "Glitterer", lançado há pouco menos de um mês, onde se comparado por exemplo ao trabalho anterior, "Badlands II", do ano passado, traz uma mudança conceitual. Enquando "Badlands II" soa mais cru e orgânico, "Glitterrer", ao contrário, exprime uma sonoridade mais moderna, com evidentes efeitos criados por samples e eletronices diversas, mas sempre com guitarras em evidência.

Reserve seu tempo e experimente experimentar uma banda com conceito de não banda onde tudo pode ser experimentado, sem rótulos, sem pré requisitos, apenas música, assim é o Illogical Time Concerns.


***** Interview with Illogical Time Concerns *****


Q: When did Illogical Time Concerns begin?
A:Illogical Time Concerns is the solo project of John Ricksen who has been creating music since 2004 (Sometime collaborators include Mark Ricksen – John’s brother and Billy Boyle -drummer from Collider). The project started when my college band broke up and I realized I still needed an outlet for expression via music. ITC has been releasing a record or two every year since its inception – even while running in conjunction with my other band Collider (2008 - 2011). I currently only have my output from 2010 – current available on bandcamp.

Q: Who are your influences?
A: I was a child of the 90s and grew up right in the heyday of Nirvana, Pearl Jam, Radiohead, Smashing Pumpkins. Those bands definitely made an impact – as well as the discovery of shoegaze and ambient music as I grew a bit older. I am a huge believer in tone – music that takes you to a different / specific place.

Q: Make a list of 5 albums of all time:
A: Seems like an impossible question – I’ll list 5 below that have been resonating for me with explanations:

Hammock – Maybe They Will Sing For Us Tomorrow – I have listened to this album every night for 10+ years.

Radiohead – Kid A- Probably the best album to come out in my lifetime – I love how they went experimental at the height of their popularity – the tone is all encompassing.

Rolling Stones – Exile On Main Street – My favorite sunny day album – loose /ragged rock n roll.

Stooges – Raw Power – Have started listening to this a lot in the last few years – does rock n roll get better than this? Search and Destroy might be my favorite rock n roll song of all time.

Fleetwood Mac – Tusk – Heard this for the first time a few summers ago and keep coming back to it – great vibes –love the experimental exploratory tone.


Q: How do you feel playing live?
A: ITC is primarily a studio project. ITC has played live only a number of times in very intimate settings. Not a big fan of playing live at this point – as a one man show there is too much to balance in a live setting that the rewards are diminished.

Q: How do you describe ITC’s Sounds?
A: Imagine robert pollard got stoned and recorded in his garage with brian eno all summer - and they all they did was cover Radiohead as Pearl Jam.

Q: Tell us about the process of recording the songs?
A: I try to approach each record I make with a different set of limits and constraints to help create a specific atmosphere and tone. It keeps it fun and easier to make decisions. IE: guitar and drums recorded live only. Electronics only no organic instruments, Samples and Reverb Pianos with no percussion...etc.

Q:Which new bands do you recommend?
A: New bands I’ve recently gotten into are The 1975, Body Vox, Rostam.

Q: Which band would you love to make a cover version of?
A: My two favorite covers I play are Neil Young – Powderfinger and Waxahatchee – Be Good

Q: What are your plans for the future?
A: The future is now – going to keep on creating its what keeps me moving forward.

Q: Any parting words?
A: If you like the songs from Glitterer – please check out my other records – they are all free to download on my bandcamp page and have tone and influences descriptions to help guide the listener.
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Thanks

https://illogicaltimeconcerns1.bandcamp.com
https://www.facebook.com/Illogical-Time-Concerns-231568810256961/

quinta-feira, 5 de abril de 2018

We Are Parasols , "Scoptophilia" - Video/Single Premiere


Para quem acompanha as páginas do TBTCI e principalmente, quem acompanha o que de realmente acontece no submundo dos bons sons que valha a pena, sabe que "Inertia", debute do trio de Portland, We Are Parasols, lançado no ano passado é um dos discos mais excitantes lançados nos últimos anos.

Uma colisão entre darkwave, electrogazer, uma porção de trip hop, em formas excitantementes hipnóticas.

E é, exatamente de "Inertia" que "Scoptophilia" foi extraída, em formas diferentes. O novo single do We Are Parasols, vem acompanhado de remix extra especiais de gente como Blooky Knives, Sex Park e CMB, sem contar no vídeo que estampa agora as páginas do TBTCI em premiere exclusiva.

"Scoptophilia" o vídeo, é uma peça elegante, sofisticada, hipnótica e altamente sensual, inspirado nos antigos vídeos fashions da finada e saudosa MTV, demonstrando dualidade, voyverismo latente.

Altamente inspirador e muito mais, e justamente neste muito mais que o TBTCI pediu a seus criadores dissecarem em detalhes, música, vídeo e suas verdades.

Sras, e Srs, We Are Parasols.


***** We Are Parasols , "Scoptophilia" - Video/Single Premiere *****

Scoptophilia - Deriving pleasure from looking. As an expression of sexuality, it refers to sexual pleasure derived from looking at erotic objects: erotic photographs, pornography, naked bodies, etc.

About the Song - Musically the song is built around loops created by our drummer, Alec. The drone, drum beat, and slinking bass line in the first 8 bars was the foundation that the guitars and vocals were built upon. Something about the mood of Alec’s loops felt like music you’d hear in a futurist stip-club and D has a tendency to think in pictures and visualizes stories for each song we write. Since our album, Inertia, is about an android sex-worker it made sense to work with the idea of the character dancing for “clients”. Lyrically we wanted to explore the idea of the “male gaze” and how it affects the psyche of the objectified being. Also, how our society is built upon images and our perceptions of ourselves and others. In the song the character starts out asking if the voyeurs are seeing “what they want to see” but by the end of the song she’s looking at herself and asking if she is seeing what she wants to see. Has she made herself into a “brand” worth promoting?


About the Video - First off, the video is entirely made up of repurposed footage from our previous video, “ss.tab”. Our friend, Jason Roark, filmed extensive footage that didn’t end up getting used in that video and offered to let us cut it into something else. Since our record is all about the same character we synced the dance footage of D to “scoptophilia” and started trying to figure out what to do with it. Most of our videos have some sort of concept but initially we thought “scoptophilia” would just be a cool looking video with dancing, inspired by old MTV and fashion videos. Once we started editing we began to further explore the ideas of duality, self-image, voyeurism, and sexualization in art, music and society in general. Instead of “saying something” like many of our other videos attempt to do, this one asks the viewer a simple question, “Is this what you want to see?”. If so, why?

Photography by Jason Roark
Art Direction & Styling by Sara Bergqvist
Styling Assistance by Kate Duncan
Edited by Jeremy Wilkins


The digital single for “scoptophilia”, available Friday April 6th, will include remixes by Bloody Knives, Sex Park, and CMB (Cosmic Microwave Background). Get it from our Bandcamp page - https://weareparasols.bandcamp.com
https://www.facebook.com/weareparasols/

quarta-feira, 4 de abril de 2018

Desintegrarme with Lasitud - An Interview


Uma das grandes surpresas deste ano certamente é, e, será o quinteto Lasitud, de Villahermosa, capital da cidade mexicano Tabasco, por conta especialmente do deslumbrante EP de estreia, que conheceu o mundo há pouco mais de um mês.

Embalsamado por cintilantes harmonias, o clássico shoegaze, diga-se de passagem, vocais mais do sonhadores declamam-se por entre a massa sonora que o Lasitud impõe as suas canções.

Conexões com o Slowdive, fase Souvlaki soam óbvias, mas o Lasitud conecta-se principalmente pela língua com o saudoso Resplandor.

Deliciosamente envolvente, pura e simplesmente shoegaze, para que nenhum fã jamais fique órfão.

 ***** Interview with Lasitud *****

Q. When did Lasitud begin? Tell us about the history...
It all started with a previous project called Amehlia back in 2015, where Andrés and Alberto (founding members) tried their hands into alternative music and started working on original material, however, it was something totally different from Lasitud. April 2017 marked a new beginning for the band, that’s when Julio, Cristhell and Priscila joined the project and that was the birth of Lasitud as we know it today, with a more ambitious concept and clear musical direction.

Q: Who are your influences?
We could mention a lot of bands but the biggest are probably Slowdive, Mazzy Star, Whirr, Alcest, My Bloody Valentine, The Pastels and Cocteau Twins.

Q. Make a list of 5 albums of all time…
It’s really hard to come up with a definitive list but these are the ones we can all mostly agree on:
1.- The Beach Boys - Pet Sounds
2.- Mazzy Star – So tonight that i might see
3.- Slowdive – Souvlaki
4.- The Jesus And Mary Chain – Psychocandy
5.- Alcest – Les voyages de l’âme

Q. How do you feel playing live?
We’re working right now on what will be our live set, rehearsing all the songs, preparing some cool visuals because we’re hitting the stages this next month (locally). We want our show to be a really special experience, encourage people’s imagination through ambient interludes. We’re putting a lot of hard work on it and can’t wait to finally play our songs live.

Q. How do you describe Lasitud´s sounds?
Lasitud merges the washed out guitars of Shoegaze, the delicate harmonies of Dream Pop and the sensitivity of Post-Rock, resulting in a very unique and profound, heavy-layered sound. Listening to Lasitud is like slowly falling into a long dream of textures and colours.


Q: Tell us about the process of recording the songs ?
It was a really fun and exciting process in general, however, it was a true challenge to achieve the exact sounds we desired in a complete homemade, independent way. Almost all the songs were already written before recording them. Andrés, and Alberto had demos of the songs "Sobrevolar" and "Planeta Sideral”. On the other hand, when Julio joined the band, he provided the songs "Azul profundo" and "Permagel". The workflow and energy during the recording sessions were so possitive and intense, that the band came up with lots of ideas for new songs. One of them became “Desintegrarme”, the final song on the EP which was included last minute on what would originally be a five-song release.

Q. Which new bands do you recommend?
We’d like to recommend “San Charbel”, a good mexican post-punk band,“Vaya Futuro”, (also mexican) great psych-pop band and really influential to us, “Verano del 83”, twee pop band from Perú and, finally, we’d like you to listen to Andrés’s (our guitarist) solo project called “Cuando la lluvia cae”. If you like Post-rock you’re definitely going to love it.

Q: Which band would you love to make a cover version of?
Right now we’re working on a cover version of “El Muchacho de los Ojos Tristes”, by Jeanette, a dreamy singer from the sixties. We’re all fans of her music and we want to include this piece in our set as a tribute to her.

Q: What are your plans for the future?
We want to play live as much as we can, also we’d like to collaborate with other artists we admire and keep making new music. Hopefully we’ll start working on a new album at the end of this year, with a few sporadic releases here and there in the meantime so saty tuned!

Q: Any parting words?
Just a big thank you to The Blog That Celebrates Itself for featuring us, we’ve been fans for a while now. And of course, invite all of your readers to give us a chance and listen to our music, it’s really hard to promote our project and try to make way in a local scene where shoegaze is not considered. The audience here is really limited but hopefully that’ll change in the future and these kind of genres start getting more appreciation.
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Thanks

https://www.facebook.com/lasitudoficial/
https://lasitud.bandcamp.com/

terça-feira, 3 de abril de 2018

How You'll Grow with Freedom Baby - An Interview


Pouco mais de seis meses de vida, o duo canadense Eric e Brianna, resolveram juntar-se musicalmente, além do fato de serem namorados, em uma viagem contemplativa e melancólica sob a alcunha de Freedom Baby.

E o debute deles nasceu há pouco menos de vinte dias. "How You´ll Grow", o EP, navega por entre um certo indie rock épico com inserções de grandiosidade em suas canções. Tudo de certa forma melancólico, mas com uma esperança sinalizada que paira pelas quatro canções.

O Freedom Baby é daquelas bandas que deveriam estar tocando em rádios mundo afora, mesmo porque o indie, como é categorizado hoje, na visão do TBTCI deveria ser este aqui.

***** Interview with Freedom Baby *****


Q. When did Freedom Baby begin? Tell us about the history...
We released our first song in August 2017, which was a sleepy bedroom electro pop song called Video Daydream. We were just kinda hanging around, messing around on the piano and decided to try and write a song together. And then someone asked us if we wanted to play a show, so we had to write some more songs.

Q: Who are your influences?
Space Jam, Mighty Ducks and The Beach Boys

Q. Make a list of 5 albuns of all time…
David Bowie - Hunky Dory
Deaf School - 2nd Honeymoon
The Beatles - Sgt. Peppers
Marvin Gaye - What's Going On
Freedom Baby - How You'll Grow

Q. How do you feel playing live?
Sometimes weird. Sometimes nice. Depends on the night. Our band is great though. So usually its good.

Q. How do you describe Freedom Baby sounds?
Orchestral indie rock, sometimes post-punky ..sometimes chamber pop. We've been writing a little disco-y lately. But that's a story for another record.


Q: Tell us about the process of recording the songs ?
We record in our apartment. We invite musicians over to play horns and stuff. Everything is real. We use real drums, and real guitar amps and real horns and strings. But it usually starts on a piano on an iPhone voice memo and we build it from there.

Q. Which new bands do you recommend?
Phoebe Bridgers new album is amazing. We both we really love it. Listening to Car Seat Headrests new album a lot as well.

Q: What are your plans for the future?
We're just taking it one day at a time right now. We're excited to see how people respond to the EP and play that live as much as we can. We're constantly writing too, so who knows, maybe there's more new music on the horizon.

Q: Any parting words?
Thanks so much for interviewing us!
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Thanks

https://www.facebook.com/freedombabyband
https://freedombaby.bandcamp.com/releases

Dokumentär with Klass II - An Interview


Se por ventura você ainda não ouviu falar da gravadora sueca, Luxury Records, um conselho, reserve um espaço em seu precioso tempo e descubra algumas maravilhas, como Agent Bla, Makthaverskan, Alpaca Sports entre outros. O selo é especializado em um certo pós punk mesclado com shoegaze com traços de indie pop.

Dentre toda essa fértil cena, o novo destaque é o quinteto Klass II, que debutou há pouco mais de um mês com seu primeiro disco homônimo, que aliás, esta esgotado, vejam só, esgotado em sua edição física, o que nos diz que existe consumidor para este tipo de música. Os caras, pairam entre os três nichos sonoros nos quais a gravadora concentra suas forças.

O Klass II é sem dúvida, uma das belas revelações deste ano. 


***** Interview with Klass II *****


Q. When did Klass II begin? Tell us about the history...
About a year ago, in April 2017, the infamous Gothenburg night club Jazzhuset closed after running for 40 years. On the very last night the club was open Alex (vocals/guitars) and Göran (drums) stood in the bar discussing starting a band while sharing a bottle of Fernet. Some drunken text messages were sent to the other future members of KLASS II and a couple of weeks later we found ourselves in the rehearsal space.

Q: Who are your influences?
Our friends and families and each and every good band that ever was.

Q. Make a list of 5 albuns of all time…
Truth to be told, we can’t agree. We’re five people.

Q. How do you feel playing live?
Soft as snow (but warm inside).

Q. How would you describe Klass II´s sounds?
A random mix of subgenres descending from pop, punk, rock etc. With some kind of shoegaze aspiration.

Q: Tell us about the process of recording the songs ?
All nine songs were written, recorded and produced within a couple of months. We sent one of our demos to Swedish indie label Luxury Records and they wanted to release a record so we had no other choice then to speed up the process. Alex did most of the work himself from his living room, and we’re quite happy with the DIY feeling of the record.

Q. Which new bands do you recommend?
KLASS II

Q: Which band would you love to made a cover version of?
Roxette or ABBA, for sure.

Q: What are your plans for the future?
We will keep drinking beers in our rehearsal room, hoping people will like our music when we occasionally play it live.

Q: Any parting words?
Tack så mycket för visat intresse
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Thanks

https://luxuryrecords.bandcamp.com/album/klass-ii
https://www.facebook.com/klassIIband

segunda-feira, 2 de abril de 2018

Guest Directors, "Captured in the Light" - Track by Track


O quarteto de Seattle, já predileto aqui do TBTCI, Guest Directors, voltaram a carga com seu segundo EP, que conheceu o mundo há três dias atrás, e brindando o lançamento, um super line up que aconteceu no sábado dia 31 ao lado de nada mais nada menos, do que, Overlake e Black Nite Crash.

Mas voltando ao EP, que atende pelo nome de "Captured in the Light", aliás, talvez o nome pode refletir perfeitamente a qualidade quantitativa do disco. Um trabalho de guitarras absolutamente inspirado, que pega referências em ícones oitentistas, leia-se, Johnny Marr e Will Sergeant aliado a experimentações, padrão SY de qualidade.

"Captured in the Light" tem exatamente esses dois ângulos de enfoque, a melodia e a distorção se confrontam nas quatro pérolas sonoras.

O Guest Directors literalmente é descendente direto das guitar bandas noventistas, e com um ponto a favor, consegue absorver outros elementos soando absolutamente modernos.

Com tudo isto em destaque, o TBTCI convi dou dois de seus criadores, Julie D e Gary Thorstensen, para dissecarem o trabalho em detalhes, e o resultado, você lê abaixo.

Ah sim, escute alto, logicamente.


***** Guest Directors, "Captured in the Light" - Track by Track *****


"We started recording this EP a full year before the release date, almost to the day. It was originally going to be a 5-song EP slated for Fall of 2017, but there was a series of frustrating setbacks with technical issues and scheduling that caused that plan to change. At the same time we were also looking for a new bass player because Steve was moving. We ended up tracking things at three different studios, and then mixing at two different studios. It took so long that we released two of the songs last year as a digital-only “single” to feel like we were making progress. It’s really good to have this completed at last. We already have studio time booked for the next set of songs!" - Julie / Gary

Day Follows Day:
[jd] There are recordings of this song in one form or another that go back a couple of years. We kept sort of rearranging the parts, but it wasn’t until we fell into the long middle jam one day that things really came together. When we’re writing we do a lot of open-ended versions and just kind of see what happens. In this case (and the same with the song Believe it All from our first EP), we hit on something magical and then reverse-engineered it to make it reproducible. I like the harmony singing we do in the verses on this song. And I love the main drum part on this so much - it really elevates the song into something special.

[gt] What started out as a folky type verse/chorus idea took a left turn primarily thanks to our drummer Rian. What he came up with was really inspiring and once we began to jam it a bit this whole other hypnotic guitar section just took off plus jd and I got to sing the verses together... a first

Forks:
[jd] This song had a funny creation as the result of a double mis-hearing. I brought in a guitar riff, and we jammed on it a bit at practice, and then later that week Gary sent me his part for it. But he misheard or mis-remembered my part, so it didn’t really work - but I really liked what he wrote so I ended up modifying mine. He sent an additional part at the same time, but I misheard *his* new part as being two distinct parts instead of one, so I wrote two completely different things to go with it. It was super confusing when we tried to put it all together! But ultimately we got things sorted out. We had an intro for this, and we even recorded it, but then we ended up scrapping it during mixing.

[gt] A lush-sounding concise psych thing that revealed itself, backwards guitar imagined and recorded on the spot

[jd] This is one of those songs where the first line just came to me out of nowhere, and then I had to figure out what it meant and what the song was going to be about. In the simplest sense, this is a breakup song.

Spinning Round:
[jd] This is actually one of our oldest songs, at least the main idea. It took a while to build out the structure. I personally had a lot of trouble settling on what I wanted to play, until we actually got in the studio and I had to make some decisions. Sometimes a situation that forces you to make choices can make the choices clearer, and I wound up really happy with the final result.

[gt] Primarily about being stuck and suffocating in a dead-end situation and realizing time for a change

[jd] Gary added those e-bow tracks at the beginning, and I like it so much that I try to replicate the feel with some intro feedback when we play this live.

El Rey:
[jd] I don’t do much solo songwriting, but I’d had this riff kicking around forever and would noodle with it from time to time. One day a vocal melody just popped out at me, and I ended up bringing the song in to the band in nearly-complete form. As a group we ended up modifying the arrangement a bit.

I’ve got a track of feedback through a whole bunch of effects pedals that runs through almost the entire song. My inspiration for that was Wye Oak’s “Too Right”, although it sounds nothing like that.

I think this sounds really different from when we play it live - live it almost has a grunge feel, and I sing it a lot more shouty. We tried approaching it with more dynamics in the recording.

[gt] Bluesy twisted riff that splits between dense/sparse courtesy of jd plus epic mantra chorus. Max guitars, yessss
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Thanks

https://www.facebook.com/guest.directors/
https://guestdirectors.bandcamp.com

domingo, 1 de abril de 2018

Holy Gold with Babbling April - An Interview


Hoje é dia de retornos de velhos conhecidos do TBTCI, desta vez o quarteto de NY, Babbling April, retorna a estas páginas por conta de seu novo trabalho, o EP "Holy Gold", que nasceu no início de Março, depois de um período de hibernação que já durava três anos.

"Holy Gold" vem suceder o belíssimo EP de estreia, "On Breathe" de 2015. Neste meio tempo o Babbling April deu a honra ao TBTCI com sua participação ao tributo dedicado ao New Order, "Dreams Never End" lançado em 2015.

Em seu novo trabalho o Babbling April soa mais pop, mas não menos cintilante, deixando claríssimo seu amor incondicional pelos heróis do indie rock, Yo La Tengo. Mas, a conexão com o trio de Hoboken, fica apenas na reverência e referências, o Babbling April soa de certa maneiro mais direto, um tanto mais climático, e principalmente em altíssima potência.

E ainda dizem que indie rock de qualidade não existe mais, esse pessoal realmente não sabem de nada, pura inocência....experimente o Babbling April, se caso ainda não conhece, é claro.


***** Interview with Babling April *****

Q. Hello, first of all, congratulations on the new EP, it's really brilliant, what is your analysis after conclusion of EP? Are you happy with the result?
Very glad you enjoyed it! And yes, I am very pleased with how it came out. As you know, we do all of our own recording and production. Part of the reason for the hiatus between releases had to do with a big move to Washington DC. After the move we had a chance to expand the studio and pick up some new microphones and gear. I think that the improvement of the space and process comes through when comparing this record to the first one. We were more successful in incorporating a wider bevy of sounds into mixes which sound clean but still have that lo-fi charm.

Q. How was the process of creating "Holy Gold"?
The process was a little slow- the move meant we had to go through a lineup change. Finding the right people to fill out the group took time, and then it took even more time to gel. There were frustrating points, but ultimately we were able to write at a leisurely pace which let the songs take a pretty mature form before committing them to record. Once Ben Melrod (drums) and Ben Medina (bass) were in place full time, it was a lot of fun to hear where they took the songs I had been living with for two years.

Q. What are the main differences between Holy Gold" and "On Breath"?
Holy Gold is less of a hooky pop record. The songs are a little more reflective, but in general have more nuanced compositions. We pull off some bigger moments (climactically) then anything we had dared to try yet on the earlier record.

Q. What were the influences for creating the new EP?
I hate to put out a record with songs that sound the same, so even though there are only 6 tracks, there are plenty of different influences across them. Yo La Tengo always is a major pull for me, and you can hear their softer side on "Without a Care." "Alliances and Rifts..." finds me doing my best Doug Martsch (of Built to Spill), who has created some of the best guitar music I've ever heard. "Blighted Years" starts off sounding kind of like White Denim but ends in a cacophony that is our own special spin.

Q. What are your plans for 2018?
Well, we need to sell some records, (so go on our Bandcamp and order some vinyl!) which means we'll be playing more shows than we have done in the past, mostly up and down the east coast. We will have a new single coming soon on the heels of this EP, probably summertime. Otherwise, I'm really trying to pull myself out of recording mode and back into songwriting mode. When you do it all yourself, it can be hard to pull back from tunnel vision sometimes.
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Thanks